[Tig] Telecine lighting tests an the beginning of control rm. de sign standards 1955-1965

Emory Cohen ecohen
Wed Apr 17 19:22:39 BST 2002

On Wednesday, April 17, 2002, Rauffer, Walt <Walt.Rauffer at sesameworkshop.org> wrote:

>At Movielab which was the major supplier of flat prints to CBS for air
>direct or tape transfer later on the timers worked under very controlled
>lighting conditions. In fact up to 12 prints of each primetime show was
>given to CBS and they would select 2 of the best one air, one backup. If
>they couldn't agree on the 1st batch another 12 prints were

CBS and the other networks required delivery of their primetime programs on film (except, of course, for the programs shot on videotape) up to about 1985.  Further, most of those programs were produced in "Hollywood" and the air prints were made by CFI, Deluxe, Movielab, Metrocolor, or Technicolor.  The film timing rooms, whether Hazeltine, proof-print, or comparator, at those laboratories did not have carefully controlled or standardized color or lighting conditions but were appropriate for the task.  

The uniform practice was to screen a 35mm first trial in a theatre with  producer and network representatives, reprint whatever might be needed for qualitative and creative needs, then make a second 35mm print and one or two 16mm prints.  These were the network delivery elements.  I am unfamiliar with the procedure Walt described in use at Movielab.

During the late '80s the networks began to accept videotape transfers from the producers of film-originated programs and no longer required delivery of film prints.  This coincided with the move to electronic finish of film-originated primetime programming. I believe that Pacific Video's (now Laser Pacific) Electronic Laboratory was instrumental in that change.  When this change in postproduction methodology occurred, the delivery of the substantial majority of primetime programs continued to come from "Hollywood".

Emory Cohen 

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