[Tig] developments in mergers

Ian Richardson ianr
Fri Sep 20 01:45:44 BST 2002


Well Said Craig,
I couldnt agree more, We set up for no more than 1920x1080 real time [Vialta+2K]
One inferno plus Mac's with cinewave plus PC 3D seats. All Hi-Def. We bill at Std-Def rates. other than stock costs no more than SDef.
Works well. Its all about cost of ownership for us and reasionable cost to clients
Remember our poor old Ausie Dollar is at 50 US cents these days.....

I have never understood why you should block up a realtime TC room
for 'Data' scanning with the huge cost of a 'telecine' that does both
......just go buy a 4-8k filmscanner.
 
We have completed many 'film out' both cinema comms and featurettes at 
1920 x 1080 sneakerneting a disk array to a breaux film recorder.

There is a place down under servicing clients with a non real time scanner
in place of a real time 'telecine'. color correction done later in post.
the only penalty is 'time'  they scan automatically overnight I beleive,
but the cost of equip/ownership is very low and clients happy.
I think clients are more understanding of non real time processing in this day
and age if the cost is effective for their budgets.

cheers,
Ian Richardson
Kotij
Sydney 



Craig & Abbe Leffel wrote:
> 
> Those who would prefer less volume
> are welcome to change to the digest.
> --
> ----- Original Message -----
> From: "Neil B. Feldman" <NeilF at videopost.com>
> To: <tig at emsh.calarts.edu>
> Sent: Thursday, September 19, 2002 4:37 AM
> Subject: Re: [Tig] developments in mergers
> 
> > In fact, from a business perspective, this would be the much smarter thing
> > to do.  The Millennium is both cheaper to build and uses current
> > technology.  I also think it makes a nicer picture, since it still uses
> > PMT's which have a greater dynamic range than solid state sensors.
> 
> I've just returned from IBC as well, and I can say I was a bit shocked to
> see Stuart in a Cintel get-up. I'm glad to come back and find out the real
> deal. ( Thanks Neil )
> 
> I have some questions for the general list about Telecine upgrades at the
> moment;
> 
> It seems to me that anyone in the last 4 years that had a telecine suite
> that was financially stable most likely already upgraded it. I am assuming
> that these kinds of rooms would have been the most financially successful
> rooms in house or the most popular colorists in house. These kinds of rooms
> have the most to gain by upgrading, because by the sheer nature of an
> upgrade you most always gain tools and abilties you can use to become more
> billable, popular, busy, flexible, etc. In short,  the more options you can
> offer your clients, the more kinds of jobs you can serve. SO, assuming I am
> right and those kinds of rooms have been upgraded, what's left for Cintel?
> And really what's left for the Post houses? The kind of money we are talking
> about usually gets amortised over 3-5 years. Let's say you bought a Spirit 4
> to 5 years ago. It could be completely paid off, or have a bit more money
> left on it. It may be time to be thinking about an upgrade. Are you going to
> replace a Sprit with a Milenium? If Data is really as important to all
> telecine markets as I think it is, wouldn't you really be concentrating on
> some sort of real time scanner that doesn't necessaritly have to be tied to
> a room? Maybe that's just me, but I can't see how any current Telecine
> manufacturers are going to continue to be successful with the $1M per
> conventional Telecine / maybe sometimes scanner. Ever more important, I
> don't see how post-houses are going to be able to continue with that model
> given eveything I just saw at IBC. ( More later )
> 
> It seems to me that Spirit 2 and the Northlight Scanner have huge
> possibilities. There's some others I have seen that I liked very much, but
> can't remember exact names at the moment ( ouch, my aching head ) so I'm not
> even going to try.
> 
> None of this is to say that the Millenium is not a good scanner. Stuart made
> some great looking pictures with his setup, and I heard over the years he
> believed he could get 8K out of it if the hardware / network could keep up.
> I don't know how true this is... but it sounds great.
> 
> What I just saw at IBC would suggest that the "middle ground" of
> conventional Post-dom is gone. You are either;
> "high-end"   - meaning tools that can do film res and have the business to
> prove it.  including film-res graphics, editing, (surround) audio, and color
> correction domains.  OR
> 
> You are and SD/HD house. with or without telecine. If you choose without
> telecine, you can quit your job at the mall and go open a viable post house.
> Should you decide to buy a number of G4's with some high end processing, you
> can now get an SD/HD video card, Shake, Final Cut Pro, After Effects, (
> Apple's audio gear which looked way powerful for what it was - can't member
> name ), and you can now VIABLY work in SD/HD.
> 
> I am exaggerating for effect, as you may well guess, but someone asked me
> what I was thought was the most exciting part of the show and my answer was
> " the Viper and the Apple booth ".  It can now be ( and is ) done in a
> working model.
> 
> What the telecine manufacturers are missing is that we all have our own
> business models that are intricate and seperate from anyone else's. We all
> gain our business for a variety of reasons and there is no one business
> model that works across the board. For those of us that work with agencies,
> the new agency model seems to be either "flat bid" or "sorry it's all we
> have". If the folks at Thompson sat on my end of the phone, they might
> realize how ridiculous it is to assume that they can cause a need to buy
> into a pre-built business model that includes a Viper, a Color Corrector (
> they would like it to be a Pandora product from what I can see ) a Spectre,
> and accessory gear like Scream, their new machine / assignable controller,
> and a few other products from the brochure I am forgetting. It's great to
> see a manufacturer put that much thought into how I should do business, but
> I'd like to know when the last time they got a call from an agency producer
> was.
> 
> I'm going to assume I'm wrong and just figure that whole scenario is for
> Feature people. Are you guys all doing that well? maybe it's time for me to
> switch sides, because I had no idea there was all that surplus cash in
> features. I keep forgetting how profitable authoring DVD's are so maybe
> that's where I'm missing it. Thompson was not the only one with high -
> dollar scenarios. Pandora, Davinci, Cintel, 5D, Digital Vision, etc. can all
> join the party.
> 
> In short, I think we are on the verge of meltdown. Every other area of post
> production is showing "cheaper, better, faster" ( I can't tell you how many
> editing platforms with efx and cc I saw on Linux, PC, or Mac ). The models
> we are currently being shown still reflect behemoth attitudes toward post,
> and all I can say in reaction is "that's way old school thinking folks"....
> The behemoth facilities are going to go the way of the dinosaur. Unless our
> manufacturers have some mega-deal with Liberty already in place ( and they
> may have ) - IMHO they are in for a rude awakening in the next 2 years.....
> 
> ( unless the economy changes and we all start billing like the late 90's
> then we'll buy anything they put in front of us )
> 
> Sorry to be so long winded, I always get worked up around IBC/NAB...
> 
> Craig Leffel
> 
> Senior Colorist / Partner
> Optimus / Chicago
> 
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