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RE: Production design for B&W to color spot.
- To: telecine at xyzoom.alegria.com
- Subject: RE: Production design for B&W to color spot.
- From: doctorpepper at thevine.net
- Date: Fri, 17 Apr 1998 08:10:00 -0800
- Resent-Date: Fri, 17 Apr 1998 08:09:01 -0700
- Resent-From: telecine at alegria.com
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There is a definite difference shooting a real
mono neg and shooting a
GE>colour neg and draining the colour.
I could not agree more. Although it does take special procedures
to handle black and white neg in telecine, the results can be quite
stunning and impossible to re-create with color film. As Rob points out
there is a certain silvery shine to the black and white.
GE>There is more subtlety to the mid tones, a much smoother look.
Yes, this is true. I think that color film stripped of color also
loses detail in the entire grey scale. Black and white film brings out
fine detail in every part of the image.
Finally ,Geoff adds:
GE>The image is made in totally different ways, with the colour neg you're
GE>looking at the dyes left behind after the silver has been removed, with a
GE>mono neg you're looking at the silver.
I think this hits it right on the mark. And when we remove the color
from the color film we also remove some of the subtle detail. I find
black and white images from color film to be merely acceptable
imitations of the real thing. If you want stunning images in black and
white, shoot black and white. And if you must do a transition to full
color you should shoot a locked off image in both formats for the
dissolve. This is not the cheap or simple approach, but well worth the
effort. Long live monochrome!
Matchframe Video, Burbank
doctorpepper at msn.com
doctorpepper at thevine.net
to: IN:geoff at cinematography.net
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