[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index]
Re: Half Color Bandwidth???
Bill Hogan wrote:
> 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.
> 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.
Night and day difference to the quality of Bulworth.
> The color fringing that Mike mentioned is certainly there. This is
> especially evident on the opening and closing titles.
Definately horrendous on the opening titles, but I certainly saw it all the way through.
> 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
To me, it had the definate appearance of lower "color" resolution to that of
luminance. Hence my original Subject name of: Half Color Bandwidth. That's
exactly what it looked like. I emphasize, it definately did not take on
the visual characteristic of just a low res image photographed on film. To me,
it had the appearance of an image electronically manipulated in a non-photographic
fashion. You know, Video. Like the Mann theatre logo at the end of the
trailers, except not quite as bad.
> 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.
That is very interesting. You would have definately seen it.
> These could be caused by the 3 pass color printing process.
If so, how is it that the hits stayed with particular scenes that would cut
back and forth. Certainly, they would have had to have been in elements
prior to making a final print.
> I saw a similar problem in the right edge of the black background of the end
> There were also many scenes with very mixed color temperature lighting that
> could lead to color matching problems.
Definately an understatement.
> A clue that might lead anyone to assume that it included a
> telecine step was an unusual end credit.
At first, I recognized a definate difference in image quality beyond that
of just a bad print or even bad photography. As time went on, I would
see scenes that definately had a non-photographic electronic look, as I have
seen before in hi-def images brought back to film. Again, the color correction
was inconclusive, but yet a hint, of a major difference from conventional
film photography. What convinced me, was the hits about a half to three
quarters through the movie. I've got to tell you, I have never seen any film
defects like these, whether it be, emulsion defects, chicken scratches or
whatever. These had the definate visual signature of digital data hits as if
they were in a hi-def image re-recorded back to film.
If in fact, there was no telecine'd elements that made there way back to
the film, I would love to know how these hits, defects, or whatever you
want to call them, ended up in scenes, that would cut back and forth,
and end up in apparantly some but not all release prints. I've heard from
about 5 or 6 other people, not on this NG, that have confirmed seeing
exactly the same thing (the hits), and others of course that did not see it
at all. ??? Any ideas? It's certainly a new one on me.
Thanks to International Image Services for supporting the TIG in 1998..
No product marketing allowed on the main TIG. Contact rob at alegria.com
984 subscribers in 37 countries on Mon Jun 8 20:45:53 PDT 1998
subscribe/unsubscribe with that Subject: to telecine-request at alegria.com
complete information on the TIG website http://www.alegria.com/tig3/