[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index]

Re: Telecine and the future????



Bob writes,


[...]
>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.
[...]

While it is true that the video monitoring equipment on the typical
production set is usually trash, there is far more to dalies than just
seeing if the film got exposed the previous day.  In the world of
independent productions, dalies tapes become "video workprints" for Avid or
Lightworks stations.  They are also often screened under much better
conditions than prevail on a set when producers want to show investors that
they've got a project that's worth financing.  Under such circumstances, the
quality of dalies tapes can make or break productions.

Over the past several years, a number of inexpensive (compared to a
full-blown telecine suite) "dailies-only" telecines have been shown at NAB
and other trade shows.  "Dixi" was one of them; I forget the names of the
others.  They have not displaced regular telecine suites because most
dailies customers expect reasonably high quality video with at least some
color correction, good audio sync, and accurate Flexfiles or the equivalent.


Best regards,
Christopher Bacon







---
Thanks to Cinesite for support in 1999
No advertising/marketing allowed on the main TIG.  Contact rob at alegria.com
anonymous messaging now at http://www.alegria.com/HyperNews/get/ubique.html
1040 subscribers in 41 countries on Fri Jun 18 11:21:31 CDT 1999 
subscribe/unsubscribe with that Subject: to telecine-request at alegria.com
complete information on the TIG website http://www.alegria.com/tig3/