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I've wanted to do this for a long time.
- To: telecine at sun.alegria.com
- Subject: I've wanted to do this for a long time.
- From: drewfish at netgazer.net (Drew Marsh)
- Date: Sun, 15 Mar 1998 21:51:54 GMT
- Resent-Date: Sun, 15 Mar 1998 19:51:12 -0800
- Resent-From: telecine at alegria.com
- Resent-Message-ID: <"t0-cB.A.erF.QFKD1" at sun>
- Resent-Sender: telecine-request at alegria.com
- Resent-To: multiple recipients of <telecine at alegria.com>
Beg my forgiveness. Do not read any further if you are not
interested. Millimeter published an article that I wrote some time ago and
the following is what I sent them. It's quite different
than what they wanted and eventually published.
For those of you who love me for who I am, read on. For those of
you are curious, keep going.
For those of you who don't care. Read on and think again.
I just now decided to press send!
Why is it so important to have the right guide and the proper
weighted rod in trying to tackle the mighty Digital Bit Stream.
By M. Drew Marsh
The FilmWorkers Club
drewfish at netgazer.net
The temptation exists to approach a technical issue, chat about
gamma structure or dailies procedures. However, I've chosen this forum to
instead discuss the state of Texas.
I was given the opportunity to demonstrate a product from Phillips
at N.A.B. in April.
What makes the Spirit DataCine so special and why did I go all the
way to Texas to drive one was routinely asked. I shall approach the latter
Now you've all been raised having heard, "They do things big in Texas!"
Well yes they do.
This town had never had a specialized transfer house at it's
disposal. Chicago, New York and L.A. have all kindled their own style. It
had become obvious that Dallas, as a market, was now mature enough to
support this concept.
Following in the lead of The FilmWorkers Club/Chicago, FWC/Dallas
was willing to make the commitment towards the Phillips/Kodak Spirit
DataCine and Cintel URSA Gold Telecine. Incorporate into the Suites.
daVinci DUI color graphics stations, Advanced Digital N/R from Digital
Vision and Alphie keyer/combiners. Pit boss the crew with GM. Tony Saldi
Jr. Add over 45 years combined driving experience in Senior Colorists Omar
Godinez, Rick Stephenson and myself. Back it all up with an experienced
wrench and pit crew. Thus providing this market with the most creatively
experienced and technically advanced option at its beck-n-call.
Sanitary Lab/Dallas is under construction to provide custom 16mm
and 35mm negative processing to the film community. This combined with
(T-Dailies) and our new facility, FWC/Nashville, should further demonstrate
our ability to service expanding markets.
Combine this with our ability to network staff Special Effects
Directors in Chicago and New York , our Effects Group at FWC/Chicago,
Sanitary Lab/Chicago and all our satellite facilities. We feel that we have
positioned ourselves to best service the creative community as a whole.
And best yet. - Make it feel like a trip to the modern day
"Cleavers" house. All aspects of client servicing, right down to lunch and
supper, are arranged with pride
Suddenly "BIG" comes back to mind. But it's more in ability and
style, than in size.
Did not Columbus set sail with three ships.
The FilmWorkers Club/Dallas. -Fit snugly into an elegant package. A
family oriented environment for Dallas, and the world, to create a style of
Bottom line folks. I got a damn good ride, in a damn nice town,
working righteous gear with some damn good people.
A blessing well deserved.
Follow the WHITE light.
The Spirit uses a modern approach to an old technique. Use of a
balanced diffused light source to project the image.
Light from a 300 W. Zenon lamp is passed through a fast aperture,
selectable blue filter wheel, high speed shutter and then to the diffusion
box. Inside this diffusion box the light bounces around of a surface
painted with spectaflect white flat. Creating a balanced, color correct,
diffused light source to the film stock. This eliminates artifacts that can
be introduced in conventional tube based systems. Tube burn pattern, tube
phosphor, shading, run/stop and speed color shifts. Base side scratches and
dirt, film surface aberrations. The color of the film stock with which your
images are shared, thereby reducing the need for extra blue electronic gain
and associated noise. Aliasing is non-existent at this point. Eliminated.
It's not a matter of correcting for a limitation. It a matter of
Note that all this has happened within the optical path.
The light source now containing the projected image is focused into
a prism. Luminance information is then converted into electrons and begins
it's electronic life at 1920 pixels of resolution. Red, green and blue
information start life in the electronic world at 960 pixels.
The electrons then get converted into a digital lifestyle. Passed
through a fixed pattern noise correction system and to the film store.
Now we get to start manipulating the bits of information the way we
so desire. All film matching and color grade control are live to the touch.
All speeds are calculated and allied to an extremely stable image at the
gate and the electronic visual is passed to the detail extractor. Sounds
cool. -True electronic aperture correction can now be applied. All the
pixels get mixed back together and sent to a spatial processor. Sounds even
Image positioning is now done at 2K resolution. Well beyond the
current resolution of conventional image reproduction systems. This
eliminates all tube based limitations during session. Full rotation,
X-Y-Zoom and anamorphic are supported and programmable. Go from a full
aperture position to 300% zoom position with a 360% rotation. Contours for
additional resolution thrust is also now available.
All this information is then sent into the various conversion
processes necessary to achieve 525, 625. HD and Data output.
Basic summary of by far the worlds most sophisticated and stable
film reproduction device I have ever had the pleasure to drive. This
machine takes the twists and turns I tend to throw at her with the
precision of a racing coupe while giving a ride as stable and comfortable
as a world class touring sedan..
Take one out for a test ride.
I would like to take the opportunity to thank everyone that
visited, and those with whom I worked the Phillips booth during my Spirit
demonstrations at N.A.B. All the positive feedback to the Spirit was
professionally gratifying. The recognition and respect exhibited toward me
personally was humbling. Thank You.
Back to the headline!
I would always first,
Book your excursion with a guide service that is extremely familiar with
your specific needs. They will be able to make all the necessary
recommendations on what tackle you should bring. As well as what they will
The experienced guide will put you in touch with the stream.
Bend a Rod.
I can not express how important is to become extremely familiar with the
basic fundamentals of tackling any given situation. Especially when dealing
with a continuously changing ebb, and shift to the rifts that one is
fortunate to encounter while drifting a stream.
Continuously presenting your offering in a manner that is familiar will
certainly bring expected results. However, making changes that are more
harmonious and poetic to the current flow of the stream, will often yield a
more fruitful catch.
Practice Catch & Release.
Having had the opportunity to spend time on streams that are
considered a drifters dream. I have come to a certain understanding in my
surroundings. That it is absolutely necessary to be fluid, blending,
invisible with your presentation.
Only then can an it be appreciated by those who wish to see!
PS. Remember, "If you're not dangling a line, and wetting a hook.
You're not going to catch a fish!"
FOR those of you that made it through. Let's all get together and
drop a line some time!
FOR those of you that consider me nuts.-Thank you for the
Grade at scale of: technical merit
1 bent rod ok thru 5 bent rod excellant
Grade at scale of: creative writing
1 bent rod ok thru 5 bent rod excellant
" If you're not dangling a line, and wetting a hook.
You're not going to catch a fish."
M. Drew Marsh
aka. Dir. Of Telecine Sercices
The Filmworkers Club/Dallas
w. 214-754-9333 drewfish at netgazer.net
Thanks to Philips for support the TIG in 1998..
No product marketing allowed on the main TIG. Contact rob at alegria.com
953 subscribers in 36 countries on Sun Mar 15 19:49:31 PST 1998
complete information on the TIG website http://www.alegria.com/tig3/