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Simpsons (was: Re: Awards)
- To: multiple recipients of <telecine at alegria.com>
- Subject: Simpsons (was: Re: Awards)
- From: rob at alegria.com (Rob Lingelbach)
- Date: Thu, 19 Nov 1998 22:24:45 -0600
- In-Reply-To: "Robert Lovejoy" <rlovejoy at bellatlantic.net> "Re: [TIG] Awards for colorists ?" (Nov 19, 22:56)
- Organization: Altruistic Intentions
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- Reply-To: Rob Lingelbach <rob at alegria.com>
- Resent-Date: Thu, 19 Nov 1998 22:25:43 -0600
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On Nov 19, 22:56, "Robert Lovejoy" wrote:
} Subject: Re: [TIG] Awards for colorists ?
> I don't know if you get the Simpsons over in Europe, but I remember one
> episode several years ago where Sideshow Bob was hosting an awards ceremony.
> He was blatantly despising the event, and sarcastically announced: "Now
> here's something _really_ interesting - the award for best film to tape
that almost convinces me I should watch some television. Are inside,
industry-smart jokes common on "The Simpsons" program?
(an aside about the awards: the first year the Monitors had a colorist
category, I worked as a judge. The entries were submitted and judged
on 3/4" tape... I believe now it is D1 or DigiBeta; they've come a
I'm not sure where it's transferred now, but in its first year or two,
I was the colorist on The Simpsons-- when it was a series of short
episodes as part of the Tracey Ullman show. At that time the actual
inking and painting was being shifted to Korea, with key cels drawn in
the US. The film I received for the first year or so of The Simpsons
was among the most difficult color correction I've done: the camera
work was without regard to exposure differences, the cel levels would
change many times within a shot; sometimes each scene would have many
exposure bumps. So that I wouldn't start with a frame that would be
impossible to match on a later, usually underexposed, section, I had
to screen each segment a few times to chart a course of action --which
particular exposure I would use as a baseline, then to adjust all the
other exposures to match it. A lot of frame-by-frame correction,
previewing and then recorrection. The still store (Adda, then later
the Abekas A42) was in constant use; I developed some good techniques
which I still use to do frame-by-frame correction.
I'd be interested in hearing from other colorists reading the TIG who
are working on animated shows-- are the exposure bumps still a factor,
sometimes is it necessary to work with each frame, etc.
oh, and Gabor Csupo, my client for "The Simpons" during that period
about 15 years ago, has gone on to be quite successful-- I believe he
designed the new RugRats movie. A more interesting and fun person to
work with would be hard to find.
Rob Lingelbach | "I would give nothing for that man's religion
rob at alegria.com | whose very dog and cat are not the better for it."
www.alegria.com --Rowland Hill, "Village Dialogues", via A. Lincoln
Thanks to Tim Bond and Lorne Miess for support in 1998.
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