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Telecine and the future????
Geoff Boyle wrote:
> > I think we've all seen examples of a reference card shot and
> > then the camera
> > is panned 90 degrees to shoot the real scene... or the case of
> > a light being
> > turned on and aimed at the card and then turned-off for the real shoot.
> I plead guilty to doing this regularly, but it's not a mistake, it's a
> clearly taken decision.
Absolutely (me too). There are also situations where it would be impossible
to shoot an evenly lit grey card in the shot (for me, it seems more often than
not!) due to light levels/contrast/color/composition.
I realize that there are a lot of incompetent and lazy DP's (successful by
virtue of phenomenal colorists), but there are also cameramen who work very
hard to put their negative precisely where they want it and shouldn't be
second guessed. By shooting a "clean" grey card at a correct exposure and
color temp. the DP knows where the correct base is.
For example: If shooting a moving scene, through dark hallways with pools
varying colored light and wanting to keep some color and varied exposure, the
DP can shoot a "clean" grey card in even light. As long as they have
carefully metered and filtered as they see fit there should be few surprises
(?). If the grey card is correctly balanced in the dailies transfer, they
have that visual reference point on any viewing system. In this case the grey
card ensures the accuracy of metering, exposure and filtration and smoothes
out most variables (ie. filmstock, lense, etc.). Right?
If the negative looks horrible, the DP should know and take full
responsibility, after all, that is his/her job.
I hope that this thread continues...
Thanks to Cinesite for support in 1999
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