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Re: Film stocks and transfering



>Hi, 
>	First off, thank you for all the replies about doing an NTSC transfer at the
>same time as a PAL transfer.
>	New question ----- As colorists, do you find it to be beneficial for you to
>have different stocks grouped together during the transfer? Or in English. If
>youare transfering a project that has been shot on two different stocks, such
>as 52/7277, and 52/7245. When you get the lab flats to TELECINE, does it
>matter if they are mixed together, ie. half the roll is **77, and the other
>half**45?
>I've kind of begun to hear that every filmstock reacts a little differently
>on the Telecine, and I was wondering if grouping together stocks, so you
>don't have to keep adjusting your "base" correction back and forth, would
>help. Or is this not really an issue? What do you guys prefer? How would You
>like to have the rolls sent from the lab?
>
>Steven Gladstone


Any approach with organization in mind before you get to an actual high 
cost session is welcome.  However, one of the skills in this environment 
is the ability to quickly adapt to whatever wrench is thrown into the 
works, including a variety of stocks and, of course, exposures, opinions, 
etc..  Now if we could perhaps group all of the art directors into one 
corner of the room, and the account guys into another, and the editorial 
folks into another . . .   More often than not, though, elements are 
arranged by the editor - according to his style of operation.

Tim Bond

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