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- To: telecine at sun.alegria.com
- Subject: Alarming Amcade
- From: James Mann <jfmann at worldnet.att.net>
- Date: Sun, 6 Jul 1997 03:25:37 +0000
- Old-Return-Path: <jfmann at worldnet.att.net>
- Resent-Date: Sat, 5 Jul 1997 20:26:02 -0700 (PDT)
- Resent-From: telecine at sun.alegria.com
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At 03:52 AM 7/4/97 +0000, you wrote:
>Basil Pappas Wrote:
>Unfortunately, most (not all) telecine houses in New York have no idea what
>ACMADE was designed for, which is indeed alarming, as Mike Most points out.
>The current attitude of most (not all) video dailies houses in New York
>towards precision in the way synced film dailies are delivered is deplorable.
>I find it alarming, to say the least, that one of the most prominent labs in
>this city has no idea how ACMADE inknumbers are used in feature film
Dear Mr. Pappas:
I am sorry, but when I answered Dave C.'s question I did not consult the DuArt
brain trust before I started typing. I do not speak for Duart as a whole just as
a Colorist answering a question from my point of view. Mr.Pappas you should
not be alarmed, I have transfered countless acmade jobs during my 9 years at
every job had accurate burn-ins and flawless "SMPTE A" 2:3 precision.
I admit I did not give the use of acmade numbers downstream of the telecine
much thought when I framed my answer. I am always concerned that the color
of the print transfer accurately represented the projected image in the
screening room and that all the numbers are dead nuts on. I thank you
for your post I found it most informative.
Formerly of DuArt/Now freelance
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