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Re: Telecine and the future????
><veenotph at earthlink.net> wrote:
>>Nowadays I don't get FILM dailies, I get video dailies.
>>Well for my purposes they are insufficient and misleading. I need to know
>>what I am getting on the NEG, not what can be done in the transfer.
>>Especially for a film finish.
Which brings up an interesting point.
I have spent a LOT of time on film sets over the years, and with the
exception of a single DP (Bill Bennet - who bought his own BetaSP playback
deck and component monitor for daily viewing), the video dailies that I
have seen on set have always been 3/4" or VHS, fed in composite format to
whatever disgusting monitor happened to be available. I have even seen them
fed via the deck's built-in modulator to an old tv set on channel 3 when
nothing else was available.
Sometimes the daily playback package came from the production company's
offices, sometimes from the video assist person, and sometimes the stage
itself had a cart with gear available. The big common factor amongst all of
them was just how badly the equipment was out of alignment, how little
anyone connected with the viewing knew anything about how to set up even
the most BASIC controls on the monitor, and how horrible things sometimes
looked as a result.
So what happens is that even if the colorist and DP communicate, and the
colorist busts his/her buns to turn out the product looking as good as a
one light can get, it usually looks like crap during lunch on the set the
next day, because the hardware being used to show it is junk. And the DP
has to do the same "don't be concerned, it's going to look a LOT better on
the film, this monitor is not very good" song and dance for the clients and
director as when they ask about the color they see on the monitor from the
If video dailies are to become a really useful tool for the DP, real money
has to be spent to rent or buy much better gear to view them on set.
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