Mon Feb 25 18:35:45 GMT 2002
From: "Harding, Rick" <Rick.Harding at am.sony.com>
> I think some following this stream may be unaware that you are talking
> optical functions here and not electronic. As you know, Vialta's optical
> function was never intended for the applications you are referring to. The
> optical functions are intended to allow proper video framing of images
> without need of electronic blow up; not for programmable moves. As you
> know, Vialta has the full arsenal of electronic moves for the applications
> you describe below.
Programmable moves are not the only type of operation that requires
repeatability in the optical/positioning system. See my earlier post.
Let me add something from personal experience here. After getting to a
certain level as a telecine engineer I felt compelled to "sit in the chair"
in order to become better at what I did, to truly understand the craft
full-circle. I was in for quite a ride and didn't know it.
So, off I went to daVinci in Florida for a full course of colorist training.
I surprised to find out how much I had to learn. Sure, I knew what every
button and menu did and I could tear apart a telecine and rebuild it over a
weekend. No, what I had to learn had nothing to do with the technical
aspects of the craft, it had to do with the visual realm and how to
translate a idea or vision for a client without letting technology rudely
interrupt the process. A client doesn't come to you for really cool
mechano-opto-software technology. He/she comes to you to get good looking
I came back and took on just about any job anyone was willing to throw my
way. I did an interesting assortment of work: dailies (of course), student
films (go screw-up this stuff before we give you anything serious), music
videos (boy, can you get away with murder!) and some mastering. By far the
highlight of my short stint was a tape-to-tape session for one of the
Phantom Menace trailers (don't ask).
What's the first thing that happened to me on my first session with a
client? I couldn't pull a key on the switcher to save my life. My mind
went blank. Absolutely blank. Now, here I was, the guy that entered that
very same room a million times to push that one button that got the colorist
out of a bind stuck neck-deep in mud. Or the couple of times I got myself
stuck in the primaries and couldn't achieve a look somebody wanted with
secondaries because my approach was wrong (thinking technically, not
visually) and had to get help from a colorist.
Anyhow, I came to realize what talent lies with the guys who make it their
career to put film on tape and got a really good dose of what's important
and what is desirable and undesirable in the telecine environment. Now,
after that experience, I think I can express this very simply: Don't do
anything that gets in the way of the creative process. Don't do anything
that forces the room to substantially change from a that mode into a
technical mode. Having a gear backlash problem lurking in the background
can cause more problems than we in the technical side of the world might be
able to recognize on first inspection.
Built in DVE:
First of all, electronic moves (pan, zoom, rotate, perspective, defocus,
etc.) are eye candy for the uninformed. What you put down on tape when you
apply an electronic move to an image acquired at 1920 x 1080 is a distorted
version of what would have been captured with the same effect performed
optically (or, in the case of CRT machines, via a mofication of the scan).
I know, I know, DVE technology has advanced substantially. But, still, it
is a demonstable fact (mathematics of the DVE operation) that the
information gotten this way is synthetic.
eCinema Systems, Inc.
ecinema at pacbell.net
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