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RE: RE>Re: 30fps, Spirit / Beta



>>The physical transfer machine is one aspect, however, I would like to =
see more debate on pushing the correction systems forward. Colourist's =
need a far more richer palette of tools.=20
Where are the filmic look creation tools such as lens flare etc that =
should exist in the grading systems?<<

One of the best things about the way film production is structured is =
that high quality
and efficiency are simultaneously achieved by having individuals with =
highly honed=20
skills executing their crafts. Film production long ago recognized that =
the skills of the=20
set designer and the set decorator are not necessarily the same, and =
that by using=20
two unique talents instead of one combined talent, the sum is often =
greater than the=20
individual parts. No one person can be supremely talented in every =
discipline. Which=20
brings me to the answer to your next question:


Do you feel that this is where the grading systems should stop and Flame =
then take over?

      Absolutely. The skill and knowledge of the colorist lies in =
his/her unique ability to understand
      both the chemical nature and the electronic possibilities of color =
manipulation given =20
      an original image, be it either film or electronic. This is not =
the same skill as "painting"
      new images from scratch. You might argue that the advent of such =
devices as windowing
      has altered this, but I don't feel that way. As a colorist, you're =
still starting with an existing
      image and applying manipulations. You're not a compositor; that =
skill requires one to
      "invent" realism where there isn't any, paying close attention to =
interaction with the=20
      environment, lighting, etc. That's not to say you can't become =
one, it's just that talent
      can be diluted when spread too thin. I'd much rather have 5 =
specialists than 1 genius.

      Mike Most, Encore Video, L.A.