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Re: what's so hard?
- To: telecine at alegria.com
- Subject: Re: what's so hard?
- From: Deidre McClelland <bricky at xtra.co.nz>
- Date: Sun, 11 May 1997 16:07:13 -0700 (PDT)
- Old-Date: Mon, 12 May 1997 11:06:14 +1200
- Old-Return-Path: <rob>
- Old-X-Envelope-To: telecine
- Organization: Altruistic Intentions, Hollywood, CA
- Phone-number: +1 213 464 6266
- References: <970509113915_1719785237 at emout14.mail.aol.com>
- Reply-To: bricky at xtra.co.nz
- Resent-Date: Sun, 11 May 1997 16:40:31 -0700
- Resent-From: "Rob Lingelbach" <rob at sun.alegria.com>
- Resent-Message-Id: <970511164031.ZM12996 at sun.alegria.com>
- Resent-Sender: telecine-request at sun.alegria.com
- Resent-To: telecine internet group <telecine at alegria.com>
KA2IQB at aol.com wrote:
> Hi Nicole,
> In answer to your question, there isn't anything hard about being a colorist
> or a telecine operator **if**
> 1. you have the ability to take what's on a piece of film and make it look
> the way the director wanted it to look..... 10. you also have the diplomacy and tact to keep your boss out of trouble.... etc
I would like to add a couple more points to your list
...there isn't anything hard about being a colorist or telecine
operator if ...
11. you have enough knowledge of film, labs and camera problems that
become apparent at the telecine stage and cause clients to panic.
Knowing what could have caused problems and if they can be repaired may
save a lot of undue stress or reshooting.
12. you have enough knowledge of the rest of the post production phase
so that what you do in telecine is going to be a help to other operators
i.e correct timecode for editors, different grades to help keys, mattes
or other fx.
Senior Colourist, Digital Post, Auckland, New Zealand
thanks to Sam Dlugach, Dean Humphus, & Clark Bierbaum
for support of the TIG in 1997
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