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RE>RE: Green light
- To: Telecine <Telecine at xyzoom.alegria.com>
- Subject: RE>RE: Green light
- From: Paul Grace <paulg at rushes.co.uk>
- Date: 23 Mar 98 10:40:14 +0000
- Resent-Date: Mon, 23 Mar 1998 03:06:37 -0800
- Resent-From: telecine at alegria.com
- Resent-Message-ID: <"r7H_MD.A.xcE.LIkF1" at sun>
- Resent-Sender: telecine-request at alegria.com
- Resent-To: multiple recipients of <telecine at alegria.com>
I think you are missing a point.....
>In the Spirit case it is not a matter of "getting away" with
>something more than actually understanding and making best use of how we
>humans actually operate.
>The lower resolution red and blue are then
>matrixed with a half resolution luminance signal to get the green.
In post production we strive for equal wide bandwidth to allow for precision keying in composites. This is why high end visual FX houses use 4:4:4 in Ursa and Flame/Inferno .
Film work is even more demanding in quality and any datacine/telecine/scanner must offer a wide band response to faithfully capture all the data we need for VFX along with other increased technical demands.
Equating this to the eye's perception is misleading as that has nothing to do with the image manipulation we need to do to the images prior to any transmission.
Paul "anarchy in the UK " Grace
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