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Re: transfomania: the thinning of America



On Feb 4, 18:49, Bob Festa wrote:
} Subject: transfomania: the thinning of America

> Theres nothing better than matching to an URSA master and having to
> explain all that compositional parabola walla to your clients. It just
> makes my job of selling the Spirit so much easier.

I spent some time with a Spirit recently and was quite impressed.
However:

I work with an Ursa Gold (with TwIGi) that makes the best
picture I've ever seen from a Cintel product, with which I'm quite
happy.  Drift is never an issue with my equipment-- if it happens I
adjust, and the clients are blissfully unaware.

One of my regular clients came in yesterday to speak with me after
having worked with you the day before, Bob.. and said although the
Spirit looked 'nice' and 'different', there apparently was "too much
sharpness" in a few scenes that he was going to have to soften (!) in
the Henry.  After many years of working with you at Action and Editel,
and knowing that if I couldn't transfer my own film I'd take it to
you, I don't think the "excessive detail" to which my client referred
was due to any errors on your part-- it is, perhaps, a reaction to
unexpected greater dynamic range.  I'm reminded of 1991, when the Ursa
was taking hold in L.A., and the complaint out of New York City was
"it shows too much of the film" --too much resolution; the MkIII was
perceived as 'friendlier' to film.

I envy you Bob, having both machines in one shop.

The SMA test has been the most provocative, galvanizing event in the
telecine world in a while.  It would be great to have more of these
meetings, though I think we need to cohere our expectations with
specific engineering guidelines (ref: Dave Corbitt's posting).

--Rob Lingelbach
Senior Colorist Pacific Ocean Post
Santa Monica, CA




-- 
Rob Lingelbach          |  2660 Hollyridge Dr., Los Angeles, CA 90068
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