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[Fwd: [Fwd: "compressed" grade]]



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Dominic,

Here are my impressions about doing "flat grade", then doing the online
and finally doing a "tape-to-tape" off D1 or digi-beta. 

1. In terms of 'long-form' or drama type work, we find that this way of
working is very popular. We transfer all the rushes to tape with a
"one-light" look applied, (ie, no crushed blacks, no clipped whites, and
the
colour in the blacks looking neutral). This allows you almost total
freedom to create whatever look you want in the final grade.

2. We've found that because the first grade is merely a transfer of all
the
rushes, the client seldom, if ever, even comes to the telecine session.
He
really only needs to be present when we do the final grade.

3. This question, as mentioned in the previous answer, is that the
client/DP/Producer really only makes an appearance at the final grade
stage. (Since there are no creative decisions to make during the 
transfer to tape from the neg.

4. We find that we seldom apply ANY correction to the original transfer.
(I prefer to call it that, as it's not really a grade in the true
sense.)
Mostly, we're able to apply enough correction to the final grade to
ensure that what remains can be digitally removed. That's usually when
you've got
a hair in the gate or some other big obstacle that the DVNR won't take
out.

Well I hope that is helpful to you Dominic, and may I just say that
working
this way is certainly my favourite way of grading. The most notable
reason for this is that the shots have already been edited, so you know
what order they run in and what shot has to match what other shot. (As
opposed to grading overlength rushes, where you have no idea how they
all fit together)
I suppose the fact that I was an online editor before becoming a
Colourist has a lot to do with that - you get a good feel of how the
final programme
will look.

Cheers for now...

Mark Carter.

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The term "compressed grade" or "flat grade" is being applied to the
technique of transferring neg to tape with minimal colour correction and
with low enough contrast to keep as much of the original negative data
as possible. Never mind what it looks like. Transfer is typically to D1
or Digibeta. After editing, the program goes to an on-line finish, with
the "real" colour correction being done tape-to-tape.   (As opposed to a
quick but "filmy" rushes transfer, followed by neg extraction and
re-transfer with full correction).

We are seeing this happening a lot now on TV serial drama .

My questions for everyone who has an opinion (why else are we on the
list:-)) are these: 

1.	is this a widespread practice?  

2.	does the obviously flat image after the first grade cause confusion
with the client?

3.	if the final grade is the critical one, when does the
client/DP/editor/producer/etc sit in on the grade - oroginal transfer or
re-transfer?

4.	what level of noise reduction, aperture correction, sharpening, etc
should be applied in the telecine grade as opposed to the final grade?

Hope this reaches the list before Rob closes his servers down (message
arrived seconds before I hit the "Send" button  - Murphy strikes again!
Also hope any answes don't disappear into the Hollywood Hills meltdown.
If so, Rob, Chris Bacon, Dominic Rom - just talk among yourselves ;-)

Thanks in advance for any enlightening help on this one.


~~~~~~~~~~~~~~~~~~~
            Dominic Case   
            Atlab Australia   
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+++ thanks to Rich Torpey of MTI/Image Group for support in 1997
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