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RE: Flame/Inferno Coloring
- To: multiple recipients of <telecine at alegria.com>
- Subject: RE: Flame/Inferno Coloring
- From: Case Dominic <Dominic_Case at atlab.com.au>
- Date: Wed, 25 Mar 1998 15:09:27 +1100
- Resent-Date: Tue, 24 Mar 1998 20:09:02 -0800
- Resent-From: telecine at alegria.com
- Resent-Message-ID: <"VcE5I.A.QnC.1MIG1" at sun>
- Resent-Sender: telecine-request at alegria.com
- Resent-To: multiple recipients of <telecine at alegria.com>
Craig Leffel writes:-
>>If the Flame/Inferno person wants to believe that he/she can color correct
like we do, Great! -- Let them try. <<
Hmm! OK, so telecine's got all this great colour correcting stuff now:
but is it the right place to be doing fine colour correction, for
material that's going on to online, Flame etc?
IMHO . . .(as an observer - I'm not a colorist or a Flame operator) . .
Firstly, colour correcting any shot or element really needs the rest of
the shots in the scene, or the rest of the elements in the (final) shot
to be colour corrected at the same time, in the final sequence.
Secondly, final grading at this early stage can result in loss of data
too soon. The film has much more data than the final video image can
reproduce on a monitor: This needs to be carried through the post
production system right up to the end product, and the decisions made
Agreed, there's plenty more to do in the Flame suite. But that's just
the way the operation is configured now.
Any comments, anyone?
Meanwhile . .
>>Can you believe it? it's almost the 20th C and film's still not dead<<
And still the best part of 100 years in front of it, I suspect:-)
Thanks to Peter Stansfield for supporting the TIG in 1998..
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