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Re: Half Color Bandwidth???



Michael C. Kaye wrote:

> Recently I saw the movie Bulworth in the theatre.  Although it
> was a very clever, funny movie, it took me less than 30 seconds to
> recognize that I was looking at a HD telecine transfer.

To All:

Well, not everything is what it might appear to be.  The movie Bulworth
is indeed
not what a normal film print might look like.  This is one of two wide
release
Imbibition Dye Transfer Technicolor prints.  The other film recently
released is
Godzilla.

Some of the facts re Bulworth are:

Both Warren Beatty (Director, Writer, Producer and Star) and Vittorio
Storaro
(Director of Photography) are big fans of the Technicolor process of
old.  The
prints made in the process are characterized  by saturated colors,
blacker blacks
and tracking of the gray scale very accurately into the blacks.  They
wanted
Technicolor to make all the prints in the IB process but as Technicolor
was making
Godzilla prints at the same time they could only make a portion of the
print order
in Dye Transfer.

But Technicolor is just getting started in the ramp up to make hugh
print orders in
the revitalized process.  As with the few prints of Batman that were
made last year
Tech is fighting several problems.  The color fringing that Mike
mentioned is
certainly there.  This is especially evident on the opening and closing
titles.
Don't know whether this is an optical problem in making the separations
or a factor
in the three separate color printing passes of the blank clear film
stock.  This
fault was not inherent in the IB prints of yester year and they will fix
the
problem.

The other problem that I see is the prints are not as sharp as a
standard silver
print.  Technicolor will have to solve this problem for the process to
be
competitive.  The appearance of the prints is that they are sharper than
they really
are because of the darker blacks that give the prints more contrast. 
(But Eastman
Kodak is also trade testing a new print stock with wider latitude and
deeper
blacks.)

When I saw the film I saw the faults that you mentioned.  --  Color
fringing and a
lower resolution image.  Did not see the color hits you mentioned. 
These could be
caused by the 3 pass color printing process.  As the Dyes are applied to
the blank
stock any un-even pressure of the rollers can cause density problems.  I
saw a
similar problem in the right edge of the black background of the end
credits.  There
were also many scenes with very mixed color temperature lighting that
could lead to
color matching problems.  Also some scenes seem to be marginally out of
focus. But I
saw it at one of the smaller theatres at the Chinese complex in
Hollywood and the
focus of the projection was not very good.

But the Good Points of the print that I observed were the great neutral
blacks and
the color tracking of the mid range and low lights.  With more work
Technicolor can
probably solve these problems you mentioned.
But this  film certainly did not go through a high definition telecine
transfer
process.  A clue that might lead anyone to assume that it included a
telecine step
was an unusual end credit.  The end credit existed for Lou Levinson (aka
Joe Beats
of the 1125th Tactical Video Division) as the High Definition Telecine
Colorist.
Usually when the end credits are composed the production company does
not know who
will be doing the telecine transfer. As a member of the TIG maybe Lou
Levinson can
comment on his involvement.


Regards, Bill

Bill Hogan    bhogan at sprocketdig.com    v.818-566-7700
Sprocket Digital    Burbank,CA        f.818-566-4477

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