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Re: Flame/Inferno Coloring
On the subject of CC on Flame/Inferno I do have some comments.
Martin Euredjian wrote:
>the artist is overwhelmingly concentrated on the SGI monitor and very rarely looks at the >broadcast monitor.
Hmmmmm... We have been operating FFI for 3½ years. The SGI monitors are
placed directly in front of the operator, the broadcast monitor to the
left. The monitors are aligned as close as possible to each other but
all work in TV res. (especially grading) is constantly checked and
evaluated on the broadcast monitor. This is also the monitor the clients
are asked to look at. This, I think, is standard precedure at all
professional FFI houses. We like the SGI based concept. It would be
quite impossible to operate an advanced system like this from the bottom
of a TV monitor. Just think of adjusting animation curves.
Funny enough, in the past many clients have asked us to fully grade
their work for them. We've been resisting this since the bandwith of the
signal is too narrow and our skills not those of a full time colourist.
One of the reasons for this was the very low quality of the transfers
and grades in this country. 6 months ago we established a telecine (or
should I say DataCine) facility and hired top international colourists.
After this things changed a lot. We still do an occasional, limited
grade, which is needed when the client sees the production cut together
or in order to match composites.
> I would actually feel better about someone doing tablet-based color
> correction on a Quantel box than an SGI box....
Well... (and another hmmmm...) Bet you would not feel better if you
were to operate one. As far as I know the Q boxes do not even have
animation curves. A grade changing over a clip has to be processed and
then dissolved. Also remember that the Q systems are 8bit YUV. Not much
colorspace left for grading, is there?
Kris, Destiny-601 (Flame/Inferno house) & The Warehouse (8:4:4
<<"Everything is possible for one that does not have to do it himself."
Anonymous Flame op.>>
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