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Telecine and the future???



Thread one.
     One-light on telecine.  I am reluctant to categorize this mode of
operation with Santa Claus and The Tooth Fairy, but they seem to be at least
cousins.  True, you can make it happen, and its appropriate for those who
don't REALLY have to do anything meaningful with the output -- the project
is film-finish, or select re-transfer is already scheduled.  And the DoP and
Colourist have a bond of trust and an honest, open, immediate communication
path.  One-light work prints have always been better on film, because the
stocks complement each other -- the dye layers "mate".  But on telecine -
the "print stock" is the dichroic splitters and pickup devices -- tube or
chip.  And the spectral centers are fixed, while the negative emulsions are
taking off in all kinds of wild wonderful shapes and forms, as the exposure
wanders around its optimum index.  And I can count on the fingers of one
hand the number of shooters who can "nail" the chart, at least in my
territory.  Luckily, most viewers at home aren't all that interested in
being on the chart, so who really cares... it just makes the session basemem
deadly, and saves a lot of time and tweaking for bestlight.

Thread two.
     Not two days after I publicly pooh-poohed the concept of home colour
correction....  I get 2300 feet of 16 stock footage.  The client has
requested a 2:1 transfer ratio (2hr session).  Don't worry too much about
the colour, he sez, "'l'll fix it at home on my computer -- I like
processing it for different looks"...
A voice seemed to whisper in my ear.... "Mesa thinks dis very bombad..."
... the Walther PPK was in my hand in an instant... but as Arnold put it, "I
let him go"  -- I never get invited to those Raves, anyway.  (Thats what the
footage was for -- it went out on S-VHS).
An interesting coincidence?

Cheers
Joe Owens
Colourist
Studio Post
Edmonton


---
Thanks to Don Ver Ploeg for support in 1999
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