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Working with the D.P. ( was Day for Night)



<<On Jan 8,  0:38, Martin Euredjian wrote:>>

<<the only treatment that is significant will be that given
during the telecine session.  Folks at the CML list may be a lot more
familiar with what to do for a conventional film finish situation where you
have the lab do the color timing.>>

I do not speak for THE CML, or anyone besides myself. However I would venture
to guess that Most of the work ends up on Video for a Finish. AT least Mine
does. 
However, It is the D.P., in conjunction with the Colorist who give the film
its "TREATMENT". Wheather or not it is a film or video Finish, the Negative is
not a formless lump of clay for the Colorist or Timer to do whatever they want
with it. I have seen many images ruined because someone, not the D.P., decided
that they wanted something out of the Negative that wan't there. Now with
Telecine, and the Wide lattitude Negative, while shots may not be ruined, they
can be changed from what they were intended to be. Lighting and Exposures are
determined for the shot to look a specific way, printing or Telecineing that
shot in a different way from how it was exposed is not something that should
be done merely because in some cases it can. I apologise in advance if my
attitude seems harsh, however I just sat through a projection of a film I
shot, where due to financial concerns the Lab did their own timing, and I
wasn't allowed to talk to the timer,  in addition for the Video transfer The
Films EDITOR ( Not even a colorist) did the color timing, I was not consulted.
Needless to say, There were a few major changes I wanted, and Many many subtle
adjustments. Please feel comfortable with Talking to the D.P. of any image you
are working on.
By the Way,  IMHO an excellent example of day for night is in A MIDSUMMER
NIGHTS SEX COMEDY, inside the Grove of trees. 
Thanks
Steven Gladstone

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