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Correction timing



I wonder if I could ask a few questions of TIG members?

I feel the development of bells and whistles has become the first
concern of colour corrector makers and that this has occurred at the
expense of good solid performance. The performance I'm most concerned
about is the (in)ability and/or unreliability of colour correctors to
perform adjustments at the correct time. Hence, I would like to get the
opinions of others professionals in the film to tape transfer business
to see if my feelings are based on fact or just a generally grouchy
nature.
Jargon in this business can be troublesome so I would like to make a
couple of definitions ( as I mean them ) clear.
In this instance, I define timing as 'a point in time', NOT the timing
of NEG/POS for best look, and colour corrector as a device, NOT the
artist(s) behind the wheel.

I would be very grateful to any engineers and/or colourists willing to
take a moment to select the letter which best defines their feelings
toward their colour corrector as send it to me.

To ease my email sorting burdens, please put "CT" as the subject. 


...............................................................................
When it comes to correction timing...
A) my colour suite performs perfectly.   
B) sometimes my suite performs perfectly but not always. 
C) my suites performs perfectly in one standard (625 or 525) but not
both. 
D) my suite performs perfectly in both standards but only at certain
speeds.  
E) my suite timing is really kacked but I don't need frame accuracy. 
F) I would trade two bells and a whistle for a corrector that worked.
G) it's none of your business.
H) I have this to say
_____________________________________________________!
...............................................................................

Please send your response to: wvarley at compt.com

PS: I make no apologize regarding the way I spell colour.  ;>)

Thanks again.
Bill

-----------
Bill Varley
wvarley at compt.com

---
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