From ken at flight4.org  Sat Aug  1 03:43:04 2009
From: ken at flight4.org (Ken Robinson)
Date: Fri, 31 Jul 2009 23:43:04 -0300
Subject: [Tig] RES: Have you ever cried during a session...
Message-ID: <VbDw4z0dccfF.wbqTGKJR@smtp.mail.yahoo.com>



- original message -
Subject: Re: [Tig] RES: Have you ever cried during a session...
From: Benedek Kabán <kabanbenedek at gmail.com>
Date: 31.07.2009 09:46

>Ken, could I ask which feature was that 1.5 hour session?

If I remember correctly, they were Israeli clients who came in on a very low budget. The DP and I looked at one another, I said sorry, and went for it!

Ken Robinson
(up a mountain @ the moment)





From peter_swinson at compuserve.com  Sat Aug  1 12:03:58 2009
From: peter_swinson at compuserve.com (peter_swinson at compuserve.com)
Date: Sat, 01 Aug 2009 07:03:58 -0400
Subject: [Tig] David Fenton Memorial Service.
Message-ID: <8CBE0AEE78FDE19-E8C-3B9@angweb-usm007.sysops.aol.com>

Just a note to say that the memorial service for David Fenton will be in the UK (Cambridgeshire) on 7th October 2009. If there are any of you who may wish to attend please email me privately so that I can offer further details, when they are available.

best regards

Peter Swinson? 


From rob at colorist.org  Mon Aug  3 03:00:31 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Sun, 2 Aug 2009 23:00:31 -0300
Subject: [Tig] grading of stills, etc.
Message-ID: <4B1AA016-A356-402E-AF56-73161FEBB337@colorist.org>

In today's L.A. Times, is a story about the retouching of photos for  
magazines via Photoshop.
http://tinyurl.com/ps-for-mags

it's fairly well-known information for colorists and our ilk, but then  
there was this statement:

'Aside from U.S. newspapers, most of which do not permit photos to be  
manipulated, it's quite possible that the vast majority of images seen  
in the public arena have been altered.'

I didn't realize that US newspapers had that policy.  I wonder though,  
what is the definition of manipulated?  You can do a lot with a camera  
by putting filters on the lens.  Exposure bracketing along with a  
vignette filter and polarizer, color enhancement filter, isn't that  
manipulation?  The use of a pan-and-tilt lens...  the very printing of  
a photo- dodging, burning, pushing, pulling.

The best post-production effects for me are the ones that mimic  
optical counterparts.

--
Rob Lingelbach
rob at colorist.org




From bfriesen at simple.dallas.tx.us  Mon Aug  3 05:37:22 2009
From: bfriesen at simple.dallas.tx.us (Bob Friesenhahn)
Date: Sun, 2 Aug 2009 23:37:22 -0500 (CDT)
Subject: [Tig] grading of stills, etc.
In-Reply-To: <4B1AA016-A356-402E-AF56-73161FEBB337@colorist.org>
References: <4B1AA016-A356-402E-AF56-73161FEBB337@colorist.org>
Message-ID: <Pine.SOC.4.64.0908022327140.21374@freddy.simplesystems.org>

On Sun, 2 Aug 2009, Rob Lingelbach wrote:
>
> 'Aside from U.S. newspapers, most of which do not permit photos to be 
> manipulated, it's quite possible that the vast majority of images seen in the 
> public arena have been altered.'
>
> I didn't realize that US newspapers had that policy.  I wonder though, what

Images are always manipulated.  Perhaps you remember that the images 
in old Playboy magazines were airbrushed to perfection before they had 
computers to do the work.

Time magazine published a cover photo of Judge Sotomayer where she 
looked more like a model than a wrinkly old judge.  Most recently, 
photos have been posted of Sara Palin without her wedding ring.

Ultimately, any publication which wants to influence the reader will 
do so by careful selection of the images they print.  If they do not 
like a politician they will only print images with their mouth gaping 
open, or looking particularly stern.  If they like the politician then 
they will only publish photos where they look particularly wise or 
friendly.  The same applies to war photos, or anything else where 
influence is possible.

Fair and balanced opinions/impressions are no longer the objective of 
most of the media, and films, so careful image selection and 
alterations help propel the desired point of view.

Bob
--
Bob Friesenhahn
bfriesen at simple.dallas.tx.us, http://www.simplesystems.org/users/bfriesen/
GraphicsMagick Maintainer,    http://www.GraphicsMagick.org/



From jpo at prestodigital.ca  Mon Aug  3 19:13:56 2009
From: jpo at prestodigital.ca (Joe Owens)
Date: Mon, 3 Aug 2009 12:13:56 -0600
Subject: [Tig] grading of stills, etc.
In-Reply-To: <4B1AA016-A356-402E-AF56-73161FEBB337@colorist.org>
References: <4B1AA016-A356-402E-AF56-73161FEBB337@colorist.org>
Message-ID: <B18F64DE-9736-49C1-93FF-90301AB67F66@prestodigital.ca>

>
> 'Aside from U.S. newspapers, most of which do not permit photos to  
> be manipulated, it's quite possible that the vast majority of  
> images seen in the public arena have been altered.'

This has been going on for a long time, and it came to a head during  
the OJ trial when Time and Newsweek presented two radically different  
representations of the accused's mugshot:
http://www.tc.umn.edu/~hick0088/classes/csci_2101/false.html
So it even goes back to Trotsky, and there was that famous example of  
the "Hitler jig", an unfortunate leg movement that he made on arrival  
in occupied Paris which the propagandists looped several times to  
make it look like he was dancing.

Or how about http://www.greatdreams.com/war/Napalm-vietnam.jpg
Would have been far more sensational if little Kim were still on  
fire, which would occur to some.... as if it weren't enough horror  
already.

Search Mary Vecchio... Kent State...   if the image is powerful  
enough on raw emotion it doesn't need anything else.

However, sometimes the values need to be adjusted to make it through  
the media, but where does the technical issue cross-over into  
editorializing?

By the way, the latest version of Apple COLOR, (1.5, shipping with  
FCS3) now supports grading of most common graphic images, TIF, JPG,  
etc...

Joe Owens
Presto!Digital Colourgrade
302-9664 106 Avenue
Edmonton, Alberta T5H0N4
+1 780 421-9980
jpo at prestodigital.ca





From rob at colorist.org  Mon Aug  3 19:30:15 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Mon, 3 Aug 2009 15:30:15 -0300
Subject: [Tig] grading of stills, etc.
In-Reply-To: <B18F64DE-9736-49C1-93FF-90301AB67F66@prestodigital.ca>
References: <4B1AA016-A356-402E-AF56-73161FEBB337@colorist.org>
	<B18F64DE-9736-49C1-93FF-90301AB67F66@prestodigital.ca>
Message-ID: <869AF808-EF3F-4958-8E6B-4A47AFC336DA@colorist.org>


On Aug 3, 2009, at 3:13 PM, Joe Owens wrote:

> This has been going on for a long time, and it came to a head during  
> the OJ trial when Time

yes, that's right.  I was trying to draw attention to the definition  
of 'manipulated,' that
it can't really be pinned down, that the capturing of the image can  
itself be manipulation,
so the word is really spurious, ephemeral.

> However, sometimes the values need to be adjusted to make it through  
> the media, but where does the technical issue cross-over into  
> editorializing?

The values are often adjusted from the very beginning.  As an example,  
the photos in nature magazines are often lit artificially.  What if  
you gel the light, isn't that editorializing, or manipulating?  (and  
how about those documentaries, a subject for interminable discussion).

As an example, at the beginning of Mystery Science Theatre 3000  
episode from the DVD collection #10.2, "Teenage Caveman," are two  
short films, the second is "Catching Trouble,"
from Sportlight, narrated by Ted Husing.  It tells the story, in  
documentary form, of a reptile-bear-wildcat hunter commissioned by a  
zoo.  Besides being hilarious, it's obviously staged, but to a 1950s  
youth it represented some kind of truth.   Today's restaged History  
Channel programs, 50 years from now, will be the subject of hilarious  
retelling a la MST3K, no doubt.


--
Rob Lingelbach
rob at colorist.org



From jpo at prestodigital.ca  Mon Aug  3 19:38:51 2009
From: jpo at prestodigital.ca (Joe Owens)
Date: Mon, 3 Aug 2009 12:38:51 -0600
Subject: [Tig] grading of stills, etc.
In-Reply-To: <869AF808-EF3F-4958-8E6B-4A47AFC336DA@colorist.org>
References: <4B1AA016-A356-402E-AF56-73161FEBB337@colorist.org>
	<B18F64DE-9736-49C1-93FF-90301AB67F66@prestodigital.ca>
	<869AF808-EF3F-4958-8E6B-4A47AFC336DA@colorist.org>
Message-ID: <6CE12439-341A-4FF9-8848-7491A8B11BB4@prestodigital.ca>

  A little bit of background work on the Kent State photograph of  
Mary Vecchio revealed this tidbit:

When published, the photograph was retouched to remove the  
distracting fencepost over Vecchio's head in the original image. The  
unretouched original was stored in the archives of Life magazine.[4]

Joe Owens
Presto!Digital Colourgrade
302-9664 106 Avenue
Edmonton, Alberta T5H0N4
+1 780 421-9980
jpo at prestodigital.ca





From systems-news at s-s-c.org  Mon Aug  3 20:46:22 2009
From: systems-news at s-s-c.org (Mirko I.)
Date: Mon, 03 Aug 2009 21:46:22 +0200
Subject: [Tig] from VFX / Design to grading
Message-ID: <4A773E8E.3010805@s-s-c.org>

hello everyone,

after kindly being pointed to this list by Cedric Lejune and reading
about it on Kevin Shaw's website I came to the conclusion that
it's a good idea to register with the TIG to gain knowledge
and hopefully get some Info on how to transfer from Flame to
color grading..

While studying I came across courses (set up by a painter I
believe) like color-phenomenology..

I graduated as a Film & TV-Designer. Before and during my studies
I worked in 2D and 3D-postproduction, in a virtual studio and editing.
I'm currently working with Flame 2010 (just finished a series of three
commercials, color corrected on Flame with a lot of masks) but I'm
interested in becoming a colorist more and more.

Before composing this mail I read "For Those Who Would Become
Colorists" and the corresponding "Training-Options for Colorists",
"How to become a Colorist" or "Career_Paths _from_VFX_to_grading"
of course..
As I started my career in the media- / film-industry between 1995 and
1997 I wouldn't really like to work as a colorist assistant for many years
(as written in the FAQ) before actually doing the work myself.
Not because I don't want to learn from experienced colorists but I guess
the salary of the assistant would be a little less than the colorists..

Does anybody on the list have input concerning the best approach for a
transfer from VFX / Design to grading, with a background like mine in
the current state of the colorist-business.

Does it make sense to "choose" a grading-system / -software (at the
beginning of a colorists career)?
Would it be a good idea to start with Lustre (because of similarities to
Flame / Smoke)?


At the moment I'm working in Vienna, Austria originally from Germany
but wouldn't mind moving to any other country.


In case anybody's interested in my CV or projects I worked on, here's a
user name and password to my site http://www.s-s-c.org/
User: TIG
Pass: TIGWiki
(case-sensitive)


Clients in Flame and grading sessions seem to be quite similar from time 
to time,
although I haven't been near to crying during a Flame-session yet.. :)


cheers,

Mirko
Dipl. Film- & TV-Designer



From prathvihegde at yahoo.com  Tue Aug  4 13:13:53 2009
From: prathvihegde at yahoo.com (prathvish hegde)
Date: Tue, 4 Aug 2009 05:13:53 -0700 (PDT)
Subject: [Tig] Tig Digest, Vol 139, Issue 1
In-Reply-To: <mailman.1831.1248193212.28133.tig@colorist.org>
References: <mailman.1831.1248193212.28133.tig@colorist.org>
Message-ID: <593789.112.qm@web111410.mail.gq1.yahoo.com>



hi all

i wanted to know if any one have experimented or seen stuff shot on 2perf , super 35 mm neg.
 i want to know which camera can do it and also your views on the same.
bcoz i feel that 2perf is similar to the 2.35 which is used in this part of the world (Asia)
and it would save lot of money and could give better quality than all the 16 and super 16 stuffs

comments,advice and explanations are welcome

prathvish at futureworks.in

telecine colourist
futureworks media ltd ,mumbai,india

From janewils at gmail.com  Tue Aug  4 17:58:10 2009
From: janewils at gmail.com (janet wilson)
Date: Tue, 4 Aug 2009 09:58:10 -0700
Subject: [Tig] grading of stills, etc.
Message-ID: <1be23380908040958h12e5394bi1c074800cbdc5194@mail.gmail.com>

This topic interests me, so I did a little googling--

The New York Times policy on photographs:  "No people or objects may be
added, rearranged, reversed, distorted or removed from a scene (except for
the recognized practice of cropping to omit extraneous outer portions).
Adjustments of color or gray scale should be limited to those minimally
necessary for clear and accurate reproduction, analogous to the "burning"
and "dodging" that formerly took place in darkroom processing of images.
Pictures of news situations must not be posed. In the cases of collages,
montages, portraits, fashion or home design illustrations, fanciful
contrived situations and demonstrations of how a device is used, our
intervention should be unmistakable to the reader, and unmistakably free of
intent to deceive."  (Quoted from http://tinyurl.com/mb2v65 )

The L.A. Times' policy is essentially the same:  http://tinyurl.com/nn6v4m
(scroll down to "Photos".)  I suspect that the same holds for most daily
U.S. newspapers; my minimal googling reveals that although it is an
increasingly difficult policy to enforce, papers are apparently trying to do
so.

On the other hand, Time Magazine does not have this policy; instead, they
evidently put disclaimers on digitally altered photos:
http://tinyurl.com/nnfs2v  That blog post contains a critique of Time's
photo policy by a staff photographer for The Wichita Eagle.  I'm guessing
that Time, Newsweek, etc., don't consider themselves bound by the same kind
of considerations as daily newspapers.

Janet Wilson


From rob at colorist.org  Tue Aug  4 22:34:35 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Tue, 4 Aug 2009 18:34:35 -0300
Subject: [Tig] grading of stills, etc.
In-Reply-To: <1be23380908040958h12e5394bi1c074800cbdc5194@mail.gmail.com>
References: <1be23380908040958h12e5394bi1c074800cbdc5194@mail.gmail.com>
Message-ID: <758A0053-90AE-488D-8E8E-CF9FEF0A2646@colorist.org>

On Aug 4, 2009, at 1:58 PM, janet wilson wrote:

> The New York Times policy on photographs:  "No people or objects may  
> be
> added, rearranged, reversed, distorted or removed from a scene  
> (except for
> the recognized practice of cropping to omit extraneous outer  
> portions).

I looked up the whole text thanks to your pointer.  It's nice to read,  
and see
that it was written or last revised in 2003, so it's stood at least 6  
years of
testing.

> Pictures of news situations must not be posed.

It must be hard to come up with all these conditions, and I can find a  
few
loopholes, (what is a "news situation?") but I suppose that's not the  
point.

>  fanciful
> contrived situations and demonstrations of how a device is used,

One fanciful and contrived situation that comes to mind is the  
editor's, when
presented with what might be a fanciful or contrived image.
:/


> The L.A. Times' policy is essentially the same:  http://tinyurl.com/nn6v4m

This is nice to read:

"On occasion, we publish artistic or graphic renderings that include  
altered photographs. Such renderings should be clearly labeled “photo  
illustration.” Before creating a photo illustration, photographers,  
photo editors and designers must obtain approval from a Senior Editor  
for photography.
Complex graphic illustrations should be similarly labeled."

> increasingly difficult policy to enforce, papers are apparently  
> trying to do
> so.

Hopefully these strictures apply to web-based images for those  
newspapers.

> http://tinyurl.com/nnfs2v  That blog post contains a critique of  
> Time's
> photo policy by a staff photographer for The Wichita Eagle.

very illuminating.

there is a Q+A on The NY Times' policy here that goes into detail:
http://tinyurl.com/nowu3t

though I detect a certain continental bias in this remark:

"I remember asking an Eastern European photographer what was in his  
picture? His answer, "what do you want it to be?" Manipulation and  
distortion can happen before an image gets processed and reproduced."

I wish the author had thought a little before writing that.

--
Rob Lingelbach
rob at colorist.org




From rob at colorist.org  Tue Aug  4 22:55:16 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Tue, 4 Aug 2009 18:55:16 -0300
Subject: [Tig] Event in LA
Message-ID: <7175E1B8-167F-450C-8A43-CFA23C60AEB0@colorist.org>

Normally I'd just point people to the Calendar section of the TIG  
wiki, but it's down at
the moment, so here's an announcement:

Digital Vision event in L.A.
http://www.digitalvision.se/news/KeyCodeMediaEvents.htm

Tuesday, August 11. 11530 Ventura Blvd Studio City, CA 91604
Thursday, August 13. 1004 Santa Monica Blvd, CA 90401 Santa Monica

Rob
--
Rob Lingelbach     TIG admin.founder
rob at colorist.org




From Mike.Whipple at Technicolor.com  Tue Aug  4 23:04:58 2009
From: Mike.Whipple at Technicolor.com (Whipple Mike)
Date: Tue, 4 Aug 2009 18:04:58 -0400
Subject: [Tig] Tig Digest, Vol 139, Issue 1
In-Reply-To: <593789.112.qm@web111410.mail.gq1.yahoo.com>
References: <mailman.1831.1248193212.28133.tig@colorist.org>
	<593789.112.qm@web111410.mail.gq1.yahoo.com>
Message-ID: <7622907D1293E94287DBC91070ADAC89A5F685@nyclsmail01.am.thmulti.com>

Are you shooting for video or cinema release? 
I have worked on a 2perf job for cinema.   
It was shot on the Aaton Penelope. (http://www.aaton.com/products/film/penelope/)  Footage looks great.  Format can be 2.35 as long as you frame it correctly.  Need to keep the get super clean as well as there is no wiggle room on top and bottom.

Also, dailies houses may have to have specific 2perf licenses to generate ale and flx files so contact them ahead of time.



Michael P. Whipple
p. 212.609.9448
e. mike.whipple at technicolor.com
Technicolor NY
110 Leroy Street
New York, NY 10014

From bob at bluescreen.com  Wed Aug  5 01:43:17 2009
From: bob at bluescreen.com (Bob Kertesz)
Date: Tue, 04 Aug 2009 17:43:17 -0700
Subject: [Tig] grading of stills, etc.
In-Reply-To: <758A0053-90AE-488D-8E8E-CF9FEF0A2646@colorist.org>
References: <1be23380908040958h12e5394bi1c074800cbdc5194@mail.gmail.com>
	<758A0053-90AE-488D-8E8E-CF9FEF0A2646@colorist.org>
Message-ID: <v3kh759c9klua5m963sp72iff971n5q5rc@4ax.com>

>> The New York Times policy on photographs:  "No people or objects may be
>> added, rearranged, reversed, distorted or removed from a scene  
>> (except for the recognized practice of cropping to omit extraneous outer  
>> portions).

>I looked up the whole text thanks to your pointer.  It's nice to read,  
>and see that it was written or last revised in 2003, so it's stood at least 6  
>years of testing.


Actually, all that means is that in the last six years no one at the Times has
been caught altering images, not that it hasn't happened. It's almost
impossible that it hasn't happened - the temptation is just too great, the
cheap and effective tools to do it with too readily available.

Look how long it took those rocket scientists at the Times to figure out that
reporter Judith Miller was a Bush administration plant sent to file false
reports on Iraq and its WMD's, followed by more lies about mobile weapons
labs, in order to sell the war. It was YEARS before they finally caught on to
what she was doing, and even then, they allowed her to resign. A shameful
demonstration of their impotence and lack of journalistic integrity.

And don't forget about that court case where a reporter placed quotation marks
around a paraphrased assessment of an interview, and when the interviewee
actually had the nerve to sue and say he had never said that, the court agreed
with the reporter that statements placed in quotes do not necessarily mean
that it's an exact reproduction of what was said. Quotations no longer have to
be precise in newspapers - they can be pretty much anything the reporter wants
to say they are.

The prudent assumption to make is that in everything you read anywhere, in any
still pictures or footage you see anywhere, the facts or content have been
altered (subtly or otherwise) by someone with an agenda.

As a famous womanizer once said when his wife caught him flagrante delicto:

"Who you gonna believe, baby, me or your lying eyes?"

--Bob

Bob Kertesz
BlueScreen LLC
Hollywood, California
bob at bluescreen.com

The Ultimate in ULTIMATTE® compositing.  
For details, visit http://www.bluescreen.com




From damivc at yahoo.com.br  Tue Aug  4 23:31:36 2009
From: damivc at yahoo.com.br (Damiana Vasconcellos de Carvalho)
Date: Tue, 4 Aug 2009 15:31:36 -0700 (PDT)
Subject: [Tig] Blu-Ray
Message-ID: <498442.24362.qm@web30003.mail.mud.yahoo.com>

I am grading a job that goes to Blu-Ray.   The material is HD video.  Is there anything special
I need to do, anything different?

Thanks in advance.


Damiana V. CarvalhoEstúdios Mega


      ____________________________________________________________________________________
Veja quais são os assuntos do momento no Yahoo! +Buscados
http://br.maisbuscados.yahoo.com

From rob at colorist.org  Wed Aug  5 04:26:55 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Wed, 5 Aug 2009 00:26:55 -0300
Subject: [Tig] Events, and Training Options for Colorists
Message-ID: <6DF0778D-DCB2-4116-A6D4-0A150ADFCD79@colorist.org>

The events Calendar is back up after being down for a couple of days.
http://tig.colorist.org/wiki3/index.php/Calendars:TIG_main
editable by any wiki user.

The Training section of the TIG wiki is in revision, at http://tig.colorist.org/wiki3/index.php/Training_Options_for_Colorists
and has entries for

ICA http://www.icolorist.com
Digital Vision (Nigel Hadley)
Autodesk

But I don't know if they're current, if anyone can help.
Looking for current information from other entities.

--
Rob Lingelbach    TIG admin
rob at colorist.org




From ltc.vitc at gmail.com  Wed Aug  5 14:35:58 2009
From: ltc.vitc at gmail.com (Scott Malkie)
Date: Wed, 5 Aug 2009 09:35:58 -0400
Subject: [Tig] Events, and Training Options for Colorists
In-Reply-To: <6DF0778D-DCB2-4116-A6D4-0A150ADFCD79@colorist.org>
References: <6DF0778D-DCB2-4116-A6D4-0A150ADFCD79@colorist.org>
Message-ID: <95793a460908050635o193a37a1p96a2711f959deba7@mail.gmail.com>

For Lustre, in addition to the classroom training there is also a
pretty tremendous self-paced section online at:
http://tinyurl.com/lustre-training
(It's really an autodesk link, I just shortened it so as not to break
it via email - the link in the original post is broken now,
unfortunately.)

They'll also do private one-on-one or group training sessions at your
facility or theirs.   The best email if you have questions or want
schedules/prices is me.training at autodesk.com.

Hope this helps!
-Scott

-- 
Scott Malkie
Richmond, Virginia



From videogenie at aol.com  Wed Aug  5 12:15:52 2009
From: videogenie at aol.com (videogenie at aol.com)
Date: Wed, 05 Aug 2009 07:15:52 -0400
Subject: [Tig] SOFTWARE
Message-ID: <8CBE3D53AC799CA-FF0-3522@WEBMAIL-DC09.sysops.aol.com>


 Looking for software based color finish system.. recommendations?...and why.... THANK YOU... *)o(*


 


*)0(* bls
barry shankman
bls film & video llc
Mystix Moon Production Distribution
(video email address below)
http://www.tokbox.com/bls 


From Simon.Cuff at digitalvision.se  Wed Aug  5 17:45:38 2009
From: Simon.Cuff at digitalvision.se (Simon Cuff)
Date: Wed, 5 Aug 2009 18:45:38 +0200
Subject: [Tig] Blu-Ray
References: <498442.24362.qm@web30003.mail.mud.yahoo.com>
Message-ID: <364C11E5F589484FB57F3FF5E34BC110020C2EB9@dvexch.digitalvision.se>

One of the considerations are noise and detail management. As you grade you will increase the amplitude of the noise and this can cause encoding issues where you are stealing bits from the picture to encode the noise. Noise reduction combined with sharp cut-off frequency filtering can improve the picture quality by as much as 25%.

Now stand by for the blatant plug. We make such a processor either for HD signal processing DVNR or for software processing DVO. See www.digitalvision.se 

The DVO options are also in the Sonic Solutions Blu Ray encoder but for more control we would recommend you do this processing upstream of the grading.

Simon Cuff
Digital Vision

> -----Original Message-----
> From: tig-bounces at colorist.org [mailto:tig-bounces at colorist.org] On
> Behalf Of Damiana Vasconcellos de Carvalho
> Sent: 04 August 2009 23:32
> To: tig at colorist.org
> Subject: [Tig] Blu-Ray
> 
> Sohonet http://www.sohonet.co.uk sponsors the TIG.
> ICA http://icolorist.com supports the TIG
> Aug 2009: 2210 subscribers.
>  ====
> 
> 
> I am grading a job that goes to Blu-Ray.   The material is HD video.
> Is there anything special
> I need to do, anything different?
> 
> Thanks in advance.
> 
> 
> Damiana V. CarvalhoEstúdios Mega
> 
> 
> 
> _______________________________________________________________________
> _____________
> Veja quais são os assuntos do momento no Yahoo! +Buscados
> http://br.maisbuscados.yahoo.com
> _______________________________________________
> http://reels.colorist.org
> http://www.colorist.org/wiki3
> 




From jpo at prestodigital.ca  Wed Aug  5 18:13:29 2009
From: jpo at prestodigital.ca (Joe Owens)
Date: Wed, 5 Aug 2009 11:13:29 -0600
Subject: [Tig] SOFTWARE
In-Reply-To: <8CBE3D53AC799CA-FF0-3522@WEBMAIL-DC09.sysops.aol.com>
References: <8CBE3D53AC799CA-FF0-3522@WEBMAIL-DC09.sysops.aol.com>
Message-ID: <B5A9E5FC-4E50-4785-8F45-B8A9137A204A@prestodigital.ca>

>
>  Looking for software based color finish system..  
> recommendations?...and why.... THANK YOU... *)o(*

consider the old saw:  Good, Fast, Cheap.  Pick two.    Then you can  
reconcile that with the options that are out there.


Joe Owens
Presto!Digital Colourgrade
302-9664 106 Avenue
Edmonton, Alberta T5H0N4
+1 780 421-9980
jpo at prestodigital.ca





From rcurrier at synthetic-ap.com  Thu Aug  6 01:03:38 2009
From: rcurrier at synthetic-ap.com (Bob Currier)
Date: Wed, 5 Aug 2009 17:03:38 -0700
Subject: [Tig] Events, and Training Options for Colorists
In-Reply-To: <6DF0778D-DCB2-4116-A6D4-0A150ADFCD79@colorist.org>
References: <6DF0778D-DCB2-4116-A6D4-0A150ADFCD79@colorist.org>
Message-ID: <20090806000338.800067298@smarthost.coxmail.com>

fxPhD.com offers on-line training courses that in the past have included
da Vinci, Lustre, Apple Color, and Scratch, as well as covering color
correction in the context of compositing and editing apps like Flame,
Smoke, Toxic, After Effects, etc.

They offer the courses on the basis of academic "terms" so they're not
all available at the same time. Looking at the current term, I see
they're offering "Grading with Apple Color II" (which one presumes has
nothing to do with the Apple II).

I know Jeff Olm taught the Scratch class, but I'm blanking on the other
instructors. Sorry guys.

<fxphd.com> is the link.

No affiliation, yadda yadda.

----- 
Bob Currier                                  rcurrier at synthetic-ap.com
Synthetic Aperture                           voice: +1 949 493-3444
Helping Make Your Work Look Its Best         fax:   +1 949 203-2108
                                             web:   www.synthetic-ap.com


From rob at colorist.org  Thu Aug  6 02:49:27 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Wed, 5 Aug 2009 22:49:27 -0300
Subject: [Tig] Events, and Training Options for Colorists
In-Reply-To: <20090806000338.800067298@smarthost.coxmail.com>
References: <6DF0778D-DCB2-4116-A6D4-0A150ADFCD79@colorist.org>
	<20090806000338.800067298@smarthost.coxmail.com>
Message-ID: <CF38EB5B-4ECE-4FE8-89DC-FDBB724EAEAC@colorist.org>


On Aug 5, 2009, at 9:03 PM, Bob Currier wrote:

> I know Jeff Olm taught the Scratch class, but I'm blanking on the  
> other
> instructors. Sorry guys.

thanks for the information Bob, I'll include it in the Training  
Options section.

The International Colorist Academy, which consists of professional  
colorists
Rich Montez, Warren Eagles, and Kevin Shaw, is giving a class in LA on
Colorist Strategies November 7-9 2009.   http://www.icolorist.com
(these are master colorists and longtime TIG members, so they get an
extra vote of confidence.)

and hey do the courses by fxPHD include H and V blanking?

--
Rob Lingelbach
rob at colorist.org




From rob at colorist.org  Thu Aug  6 15:34:52 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Thu, 6 Aug 2009 11:34:52 -0300
Subject: [Tig] updated Classifieds
Message-ID: <15B091C8-2E2B-4968-A5BA-9AC158FD2C80@colorist.org>

The following ads are current in the Classifieds at
http://tig.colorist.org/wiki3/index.php/Classifieds

Available:
Jim Mann, Freelance Colorist/daVinci Product Specialist
Stuart Blake Jones - Freelance Colorist-Consultant-Instructor-Writer
Jon Mendenhall - Assistant Colourist, Chicago
Loaded Davinci 2K Plus for Sale USA $100,000 USD

Wanted:
Color Correction system for Quadra 444 needed
Good condition reversible 35mm Kinoton projector
16mm gate for Arriscan needed


--
Rob Lingelbach
rob at colorist.org




From garycoates at aol.com  Fri Aug  7 02:01:34 2009
From: garycoates at aol.com (Gary Coates)
Date: Thu, 6 Aug 2009 18:01:34 -0700
Subject: [Tig] 2 Perf
Message-ID: <54F7C3C1-9232-44D2-B71F-A79EAB3B98D1@aol.com>

Prathvish at futureworks.in in Mumbai asked about 2perf in a previous  
post (what camera, example projects, and so forth).

Jean-Pierre Beauviala at AATON has the camera for it, the Penelope (http://www.aaton.com/products/film/penelope/ 
).

I've seen one film that I think used it: MODERN LIFE (http://fest09.sffs.org/films/film_details.php?id=58 
) by Raymond Depardon in a beautiful and sharp 35mm projected print.
I don't know the workflow on this project but the people at AATON can  
probably answer about it.

Spy Post Digital in San Francisco transfers 2perf on their Spirit shot  
by a local director of photography who used it for Francis Coppola's  
American Zoetrope and now for a few corporate clients.


Gary Coates
San Francisco, California, US






From dcorbitt77 at comcast.net  Fri Aug  7 13:23:10 2009
From: dcorbitt77 at comcast.net (dcorbitt77 at comcast.net)
Date: Fri, 7 Aug 2009 12:23:10 +0000 (UTC)
Subject: [Tig] Mark 3 support
Message-ID: <64363796.10274591249647790367.JavaMail.root@sz0137a.westchester.pa.mail.comcast.net>

Is there anyone out there offering technical service support for Cintel's Mark 3 in the Northeast USA? Please contact me off line. I have a lead I can no longer take care of due to current work rules. 

Thanks 

Dave Corbitt 
DCorbitt77 at comcast.net 
Summit, NJ 07901 
http://home.comcast.net/~dcorbitt77 


From jp at aaton.com  Fri Aug  7 06:58:43 2009
From: jp at aaton.com (jp)
Date: Fri, 07 Aug 2009 07:58:43 +0200
Subject: [Tig] 2 Perf
In-Reply-To: <54F7C3C1-9232-44D2-B71F-A79EAB3B98D1@aol.com>
Message-ID: <C6A18F33.70FDA%jp@aaton.com>


7/08/09 3:01  Gary Coates <garycoates at aol.com>

> I've seen one film that I think used it: MODERN LIFE
> http://fest09.sffs.org/films/film_details.php?id=58
> by Raymond Depardon in a beautiful and sharp 35mm projected print.
> I don't know the workflow on this project but the people at AATON can
> probably answer about it.

Hello Gary,
That was shot 2Perf with the Penelope prototype (2007)
scanned @4K on a NorthLight, DI @4K on an ArriLaser at Eclair/Paris.

BTW,
R.D. made comparisons between the 2K and 4K workflows, the difference
was stunning in terms of 'life' in the images.
(color subbtlety and crispness due to a much better reproduction
of the original film grain structure).
This experience made us true 4K believers,
scanning @8K for 4K DIs would be ideal...

--jp/Aaton







From grahamcollett at visible-sprockets.co.uk  Fri Aug  7 15:58:56 2009
From: grahamcollett at visible-sprockets.co.uk (Graham Collett)
Date: Fri, 7 Aug 2009 15:58:56 +0100
Subject: [Tig] Mark 3 support
In-Reply-To: <64363796.10274591249647790367.JavaMail.root@sz0137a.westchester.pa.mail.comcast.net>
Message-ID: <FCE3A9D685AB43C983FEE9A92061B46F@Sprocket>

Hi Dave Corbitt, my emails to you all bounce !!

Graham Collett
Visible Sprockets Ltd
www.visible-sprockets.co.uk
Sprockets(telecine) Ltd
www.sprockets-telecine.co.uk


From rob at colorist.org  Sun Aug  9 15:52:42 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Sun, 9 Aug 2009 11:52:42 -0300
Subject: [Tig] current on the TIG
Message-ID: <5B7385DE-4498-45D7-A2AD-005526182EBD@colorist.org>

currently on the TIG wiki at
http://tig.colorist.org/wiki3/index.php/Classifieds

Available
	• Jim Mann, Freelance Colorist/daVinci Product Specialist
	• Stuart Blake Jones - Freelance Colorist-Consultant-Instructor-Writer
	• Jon Mendenhall - Assistant Colourist, Chicago
	• Loaded Davinci 2K Plus for Sale USA $100,000 USD
	• Celco Fury Film recorder ***''PRICE REDUCED 100kUSD''***
Wanted
	• Colorist, Chicago
	• Color Correction system for Quadra 444 needed
	• Good condition reversible 35mm Kinoton projector
	• 16mm gate for Arriscan needed

--
Rob Lingelbach
rob at colorist.org




From rob at colorist.org  Mon Aug 10 20:51:19 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Mon, 10 Aug 2009 16:51:19 -0300
Subject: [Tig] Call for Submissions, IBC Focus Sheet 2009
Message-ID: <CE1E2811-D2A8-4875-AE08-1A38CEDF3945@colorist.org>

Need submissions for the TIGIBCFS09 at
http://tig.colorist.org/wiki3/index.php/TIGIBCFS09

Can use the existing entry from Digital Vision as a model, or the  
TIGIBCFS08 at
http://tig.colorist.org/wiki3/index.php/TIGIBCFS08

Please send them privately to me for review, thank you.

--
Rob Lingelbach
rob at colorist.org




From liveatthesands at yahoo.com  Tue Aug 11 01:27:36 2009
From: liveatthesands at yahoo.com (David Warner)
Date: Mon, 10 Aug 2009 17:27:36 -0700 (PDT)
Subject: [Tig] Looking to Rent External TLC
Message-ID: <433298.78572.qm@web57201.mail.re3.yahoo.com>

  Hello,
 
 We would like to rent an external TLC for a short project.  It will need to be a dual sync unit with at least four VTR ports.  If someone has one available, please contact me off list at dnwarner at crawford.com or by phone at 678-421-6814. 
  Thanks very much!  Dave


      

From velocite at mac.com  Tue Aug 11 04:04:06 2009
From: velocite at mac.com (John Buck / Velocite)
Date: Tue, 11 Aug 2009 13:04:06 +1000
Subject: [Tig] Dates?
Message-ID: <18BC9927-8AF2-4AB1-8305-3F75E1E2E165@mac.com>

Anyone care to tell me when these systems were released.

Rank Cintel
Mk. I Polygonal Prism system
Mk. II Twin Lens
Mk. III Hopping Patch (jump scan) - 1975?
Mk. IIIB
  Mk. IIIC



From grahamcollett at visible-sprockets.co.uk  Tue Aug 11 12:41:09 2009
From: grahamcollett at visible-sprockets.co.uk (Graham Collett)
Date: Tue, 11 Aug 2009 12:41:09 +0100
Subject: [Tig] Dates?
In-Reply-To: <18BC9927-8AF2-4AB1-8305-3F75E1E2E165@mac.com>
Message-ID: <D5BB538456984338902BC531BB24A57B@Sprocket>

Rank Cintel
Mk. I Polygonal Prism system
I saw Brian Townsend working on the last couple in about 1976 ..dont
know when they started, I think it might even be a tough question for
the great Swinny brain. 

Mk. II Twin Lens
Again I saw the last being made around 75/6 .and even got involved in
recalibrating claw mechanism's ... Stability spec was 1/12th line ...
Something some machines today would struggle with.

Mk. III Hopping Patch (jump scan) - 1975
Yes that was 76 ... I joined Cintel in 75, went to college and while I
was away the big wardrobe's were changed for these funny shaped things

Mk. IIIB
No such thing .. The Mkiii above was jumpscan or digiscan1 or and later
digiscan2 with a variety of options, all custom built. 

  Mk. IIIC
The options werecoming thick and fast, digi3 varispeed, zoom,  all
became very complicated and very different so someone had the great idea
of making one standard machine where the options could be fitted as and
when ..it was the mkiiic and I think it was 1979.



Graham Collett
Visible Sprockets Ltd
www.visible-sprockets.co.uk
Sprockets(telecine) Ltd
www.sprockets-telecine.co.uk
 
Anyone care to tell me when these systems were released.

Rank Cintel
Mk. I Polygonal Prism system
Mk. II Twin Lens
Mk. III Hopping Patch (jump scan) - 1975?
Mk. IIIB
  Mk. IIIC

_______________________________________________
http://reels.colorist.org
http://www.colorist.org/wiki3




From peter.stansfield at wavecrest-systems.com  Tue Aug 11 14:37:57 2009
From: peter.stansfield at wavecrest-systems.com (peter stansfield)
Date: Tue, 11 Aug 2009 14:37:57 +0100
Subject: [Tig] Dates?
In-Reply-To: <D5BB538456984338902BC531BB24A57B@Sprocket>
References: <D5BB538456984338902BC531BB24A57B@Sprocket>
Message-ID: <4ACF4D37-36D0-411A-8E1E-376E63D10B75@wavecrest-systems.com>

Graham

I beg to differ, but I think there WAS a Mk IIIB

I seem to remember a Rank Cintel flyer with a photo of one. The Flyer  
was
around 1987

Anyone care to join in, Mr Swinson?

Regards

Peter Stansfield
ex-Technical Director of Rank Cintel



On 11 Aug 2009, at 12:41, Graham Collett wrote:

> Sohonet http://www.sohonet.co.uk sponsors the TIG.
> David Warner, Crawford Communications supports the TIG
> Aug 2009: 2210 subscribers.
> ====
>
>
> Rank Cintel
> Mk. I Polygonal Prism system
> I saw Brian Townsend working on the last couple in about 1976 ..dont
> know when they started, I think it might even be a tough question for
> the great Swinny brain.
>
> Mk. II Twin Lens
> Again I saw the last being made around 75/6 .and even got involved in
> recalibrating claw mechanism's ... Stability spec was 1/12th line ...
> Something some machines today would struggle with.
>
> Mk. III Hopping Patch (jump scan) - 1975
> Yes that was 76 ... I joined Cintel in 75, went to college and while I
> was away the big wardrobe's were changed for these funny shaped things
>
> Mk. IIIB
> No such thing .. The Mkiii above was jumpscan or digiscan1 or and  
> later
> digiscan2 with a variety of options, all custom built.
>
>  Mk. IIIC
> The options werecoming thick and fast, digi3 varispeed, zoom,  all
> became very complicated and very different so someone had the great  
> idea
> of making one standard machine where the options could be fitted as  
> and
> when ..it was the mkiiic and I think it was 1979.
>
>
>
> Graham Collett
> Visible Sprockets Ltd
> www.visible-sprockets.co.uk
> Sprockets(telecine) Ltd
> www.sprockets-telecine.co.uk
>
> Anyone care to tell me when these systems were released.
>
> Rank Cintel
> Mk. I Polygonal Prism system
> Mk. II Twin Lens
> Mk. III Hopping Patch (jump scan) - 1975?
> Mk. IIIB
>  Mk. IIIC
>
> _______________________________________________
> http://reels.colorist.org
> http://www.colorist.org/wiki3
>
>
> _______________________________________________
> http://reels.colorist.org
> http://www.colorist.org/wiki3




From ken at flight4.org  Tue Aug 11 15:25:33 2009
From: ken at flight4.org (Ken Robinson)
Date: Tue, 11 Aug 2009 11:25:33 -0300
Subject: [Tig] Dates?
In-Reply-To: <4ACF4D37-36D0-411A-8E1E-376E63D10B75@wavecrest-systems.com>
References: <D5BB538456984338902BC531BB24A57B@Sprocket>
	<4ACF4D37-36D0-411A-8E1E-376E63D10B75@wavecrest-systems.com>
Message-ID: <88061237ECF04ED1977F67CC7E23BB89@Flight4N>

I remember a Mk 3 b

Graham you're too young to remember... Oh wait, you just look young.

Ken Robinson

-----Original Message-----
Of peter stansfield

Cc: Graham Collett
Subject: Re: [Tig] Dates?


Graham

I beg to differ, but I think there WAS a Mk IIIB


Peter Stansfield
ex-Technical Director of Rank Cintel







From grahamcollett at visible-sprockets.co.uk  Tue Aug 11 15:39:08 2009
From: grahamcollett at visible-sprockets.co.uk (Graham Collett)
Date: Tue, 11 Aug 2009 15:39:08 +0100
Subject: [Tig] Dates?
In-Reply-To: <88061237ECF04ED1977F67CC7E23BB89@Flight4N>
Message-ID: <5C28E919D3E545E5AEF6F654CDE68C16@Sprocket>

The mkiiib that most remember was just an americanism .... Maybe Peter
or Peter can prove me wrong

Graham

Graham Collett
Visible Sprockets Ltd
www.visible-sprockets.co.uk
Sprockets(telecine) Ltd
www.sprockets-telecine.co.uk
 


From ken at flight4.org  Tue Aug 11 18:33:05 2009
From: ken at flight4.org (Ken Robinson)
Date: Tue, 11 Aug 2009 14:33:05 -0300
Subject: [Tig] Dates?
In-Reply-To: <C6A6F357.1249A%pchapman@fotokem.com>
References: <5C28E919D3E545E5AEF6F654CDE68C16@Sprocket>
	<C6A6F357.1249A%pchapman@fotokem.com>
Message-ID: <2B0AC5DBADAE4B81B46E1BCA3FA56974@Flight4N>

I bought the last MK3 c jumpscan with xyzoom.... Beautiful... Non existent
flicker, and sharp as a razor in comparison to Digiscan.

OK... I was in PAL land and had only 2 patches to deal with... But, really
the pictures were head and shoulders above the Dodgiscans.

Ken Robinson

-----Original Message-----
From: Paul Chapman [mailto:pchapman at fotokem.com] 
Sent: Tuesday, August 11, 2009 2:07 PM
To: Graham Collett; 'Ken Robinson'; 'peter stansfield'; 'Telecine Group
Internet'
Subject: Re: [Tig] Dates?

Yes I seem to remember it was an American term. I think it referred to an
original 'non'C' (ex jumpscan) machine field upgraded to Digiscan 1. A nasty
piece of work in my opinion!

MKIIIc machines were Digiscan 2/3/4
MKIIIc with Digiscan 2 was standard when I joined Rank Cintel in 1983.

Early MKIIIc could be either Digi or Jumscan. Graham & I did a field install
once of an XYZ zoom on a 3C Jumpscan. Can you say flicker!

Paul Chapman
FotoKem




From pchapman at fotokem.com  Tue Aug 11 18:07:19 2009
From: pchapman at fotokem.com (Paul Chapman)
Date: Tue, 11 Aug 2009 10:07:19 -0700
Subject: [Tig] Dates?
In-Reply-To: <5C28E919D3E545E5AEF6F654CDE68C16@Sprocket>
Message-ID: <C6A6F357.1249A%pchapman@fotokem.com>

Yes I seem to remember it was an American term. I think it referred to an
original 'non'C' (ex jumpscan) machine field upgraded to Digiscan 1. A nasty
piece of work in my opinion!

MKIIIc machines were Digiscan 2/3/4
MKIIIc with Digiscan 2 was standard when I joined Rank Cintel in 1983.

Early MKIIIc could be either Digi or Jumscan. Graham & I did a field install
once of an XYZ zoom on a 3C Jumpscan. Can you say flicker!

Paul Chapman
FotoKem



> From: Graham Collett <grahamcollett at visible-sprockets.co.uk>
> Date: Tue, 11 Aug 2009 15:39:08 +0100
> To: 'Ken Robinson' <ken at flight4.org>, 'peter stansfield'
> <peter.stansfield at wavecrest-systems.com>, 'Telecine Group Internet'
> <tig at colorist.org>
> Subject: Re: [Tig] Dates?
> 
> Sohonet http://www.sohonet.co.uk sponsors the TIG.
> David Warner, Crawford Communications supports the TIG
> Aug 2009: 2210 subscribers.
>  ====
> 
> 
> The mkiiib that most remember was just an americanism .... Maybe Peter
> or Peter can prove me wrong
> 
> Graham
> 
> Graham Collett
> Visible Sprockets Ltd
> www.visible-sprockets.co.uk
> Sprockets(telecine) Ltd
> www.sprockets-telecine.co.uk
>  
> _______________________________________________
> http://reels.colorist.org
> http://www.colorist.org/wiki3





From kevs at finalcolor.com  Tue Aug 11 16:52:49 2009
From: kevs at finalcolor.com (kevs at finalcolor.com)
Date: Tue, 11 Aug 2009 11:52:49 -0400
Subject: [Tig] Dates?
Message-ID: <380-220098211155249880@M2W042.mail2web.com>

These and other dates are at http://www.finalcolor.com/history4colorists.htm
I believe them to be pretty accurate, the sources are generally reliable
but as with all history, some are open to a little interpretation, but here
is what I have

1946: 
Cinema Television produce the first 35mm Twin Lens Continuous Motion Flying
Spot Telecine - the Mark 1.The twin lens was needed to scan each frame
twice. Cinema Television later became Cintel

1964 
Mk. II was a 16mm telecine produced by Cintel for news gathering

1975 (correct)
Mk. III Hopping Patch (jump scan) - finally supports 525 for US markets

Not exactly sure about the next two
Mk. IIIB
  Mk. IIIC

But...
1978 saw the Topsy programmer
1983 the Amigo programmer
1987 4:2:2 Digiscan
1989 Ursa

Happy Coloring

 Kevin Shaw                kevs at finalcolor.com 
colorist, instructor and consultant 
www.finalcolor.com          www.icolorist.com


--------------------------------------------------------------------
mail2web LIVE – Free email based on Microsoft® Exchange technology -
http://link.mail2web.com/LIVE





From peter_swinson at compuserve.com  Tue Aug 11 18:47:54 2009
From: peter_swinson at compuserve.com (peter_swinson at compuserve.com)
Date: Tue, 11 Aug 2009 13:47:54 -0400
Subject: [Tig] Dates?
Message-ID: <8CBE8C2FD6CF5AA-CD0-BEC@angweb-usd011.sysops.aol.com>




From a combination of dredging up the old grey cells,
Cintel’s website history and asking some “old timers” the history seems to go
like this



 



Mk. I Polygonal Prism system  Monochrome from late
1950’s.   Modified for Colour at BBC  early 1970’s.







Mk. II Twin Lens 35mm from late 1950’s,   16mmm from about 1963



 



Mk. III Jumpscan (2 hopping patches) introduced to 625 areas
1975. Around 1977  a NTSC version with 5 patches was introduced.

 





I am advised by ex designers of that era and an M.D of that
time that there was never a MKIIIB, but there may have been earlier in the
years a MKIVB 
 but that was a slide scanner. Of course I am so young that there
may have been such a thing way way before my time !!!!



 



Mk. IIIC 1978 initially still as a jumpscan but soon
had a framestore added that eliminated the need for a hopping patch, If I
remember rightly and as Graham states “The options were coming thick and fast, by
Digi 3 we had  varispeed, zoom", and other trinkets.



 



MKIII-HD 1985. Development commences on a High Definition
(30MHz) version of the Mk III telecine, first exhibited in America in 1986 (1125lines ) and in a
European version in 1988 (1250 lines). 



 



MKIIIC Digiscan 4:2:2 
1987 brought telecines into the standardized world of=2
 0Digital Television



 



MKIII-ED. Circa 1987. This was a 13MHz bandwidth telecine
designed for British Satellite Broadcasting (Later became BSB under Sky Group).
BSB in its old guise was to be a world beater, using a square satellite
receiver dish, known as the squaerial and offering, high resolution widescreen
imaging. However Sky eclipsed its launch and within 1 year the system was dead!






1989 - The all-digital URSA makes its first appearance, at Montreux, and at
simultaneous launches in New York
and Los Angeles 



 



1993   The Mk III HD
high definition telecine goes into service at Universal Studios in Hollywood




 








Don't shoot me if I am wrong

=0
 A

cheers




Peter





From videogenie at aol.com  Tue Aug 11 16:54:59 2009
From: videogenie at aol.com (videogenie at aol.com)
Date: Tue, 11 Aug 2009 11:54:59 -0400
Subject: [Tig] REMEMBER JUMP SCAN
In-Reply-To: <88061237ECF04ED1977F67CC7E23BB89@Flight4N>
References: <D5BB538456984338902BC531BB24A57B@Sprocket><4ACF4D37-36D0-411A-8E1E-376E63D10B75@wavecrest-systems.com>
	<88061237ECF04ED1977F67CC7E23BB89@Flight4N>
Message-ID: <8CBE8B337349C7E-1498-D3@webmail-mh18.sysops.aol.com>


 As far as GREAT IMAGE QUALITY.. "JUMP SCAN"


 


vaya con dios   "Happy Trails"

*)0(* bls
barry shankman
bls film & video llc
Mystix Moon Production Distribution
(video email address below)
http://www.tokbox.com/bls 



From Mark.Sweeney at starz.com  Tue Aug 11 21:28:56 2009
From: Mark.Sweeney at starz.com (Mark Sweeney)
Date: Tue, 11 Aug 2009 14:28:56 -0600
Subject: [Tig] Dates?
In-Reply-To: <8CBE8C2FD6CF5AA-CD0-BEC@angweb-usd011.sysops.aol.com>
References: <8CBE8C2FD6CF5AA-CD0-BEC@angweb-usd011.sysops.aol.com>
Message-ID: <CEFBCD896A047E44A79794E762AA66C001CC4ADB46@STARZMAIL1.encore.corp.root>

Back when I started in the wonderful world of TV ('76 in Australia) they already had in place 5 Cintel telecines.

1x Cintel plumbicon based machine. I think it had a Bauer(sp?) 16mm mechanism on one side and 2x 35mm slide trays on the other with the usual mirror to change sides. It produced the worst pictures you can imagine! Noise and lag were horrendous! The 16mm Bauer also had a tendency to shred the sprocket holes! As far as I can tell no one has ever heard of this machine - even old Cintel people I have mention it to! The pictures were so bad maybe everyone really just hoped it would never, ever be mentioned again!

3x MKII machines which were pretty damn good! A fresh CRT and you had beautiful pictures.

1x MKVIII 35mm flying spot slide scanner which was good and had a similar slide mechanism to the plumbicon machine. The 2x slide trays moved horizontal and allowed a vertical gear driven rod (that only occasionally missed the edge of the slide) raise the slide into the optical path. I think a mirror split the CRT path so you could have a PGM/PVW path. It came with a fade/mix control that allowed you to mix between slides and would automatically advance each slide once the fade was completed.

Memories....

Mark Sweeney


-----Original Message-----
From: tig-bounces at colorist.org [mailto:tig-bounces at colorist.org] On Behalf Of peter_swinson at compuserve.com
Sent: Tuesday, August 11, 2009 11:48 AM
To: tig at colorist.org
Subject: [Tig] Dates?

Sohonet http://www.sohonet.co.uk sponsors the TIG.
David Warner, Crawford Communications supports the TIG
Aug 2009: 2210 subscribers.
 ====





From a combination of dredging up the old grey cells,
Cintel’s website history and asking some “old timers” the history seems to go
like this



 



Mk. I Polygonal Prism system  Monochrome from late
1950’s.   Modified for Colour at BBC  early 1970’s.







Mk. II Twin Lens 35mm from late 1950’s,   16mmm from about 1963



 



Mk. III Jumpscan (2 hopping patches) introduced to 625 areas
1975. Around 1977  a NTSC version with 5 patches was introduced.

 





I am advised by ex designers of that era and an M.D of that
time that there was never a MKIIIB, but there may have been earlier in the
years a MKIVB 
 but that was a slide scanner. Of course I am so young that there
may have been such a thing way way before my time !!!!



 



Mk. IIIC 1978 initially still as a jumpscan but soon
had a framestore added that eliminated the need for a hopping patch, If I
remember rightly and as Graham states “The options were coming thick and fast, by
Digi 3 we had  varispeed, zoom", and other trinkets.



 



MKIII-HD 1985. Development commences on a High Definition
(30MHz) version of the Mk III telecine, first exhibited in America in 1986 (1125lines ) and in a
European version in 1988 (1250 lines). 



 



MKIIIC Digiscan 4:2:2 
1987 brought telecines into the standardized world of=2
 0Digital Television



 



MKIII-ED. Circa 1987. This was a 13MHz bandwidth telecine
designed for British Satellite Broadcasting (Later became BSB under Sky Group).
BSB in its old guise was to be a world beater, using a square satellite
receiver dish, known as the squaerial and offering, high resolution widescreen
imaging. However Sky eclipsed its launch and within 1 year the system was dead!






1989 - The all-digital URSA makes its first appearance, at Montreux, and at
simultaneous launches in New York
and Los Angeles 



 



1993   The Mk III HD
high definition telecine goes into service at Universal Studios in Hollywood




 








Don't shoot me if I am wrong

=0
 A

cheers




Peter



_______________________________________________
http://reels.colorist.org
http://www.colorist.org/wiki3

From peter.stansfield at wavecrest-systems.com  Tue Aug 11 21:10:14 2009
From: peter.stansfield at wavecrest-systems.com (peter stansfield)
Date: Tue, 11 Aug 2009 21:10:14 +0100
Subject: [Tig] Dates?
In-Reply-To: <8CBE8C2FD6CF5AA-CD0-BEC@angweb-usd011.sysops.aol.com>
References: <8CBE8C2FD6CF5AA-CD0-BEC@angweb-usd011.sysops.aol.com>
Message-ID: <B5ACB1A8-DBC5-4D1E-9362-CB4F5B3EEA4F@wavecrest-systems.com>

Peter

I bow to your superior knowledge - you were there when there wasn't a  
Mk IIIB, and I wasn't (if that makes sense...)

Peter Stansfield




From grahamcollett at visible-sprockets.co.uk  Tue Aug 11 23:13:06 2009
From: grahamcollett at visible-sprockets.co.uk (Graham Collett)
Date: Tue, 11 Aug 2009 23:13:06 +0100
Subject: [Tig] Dates?
In-Reply-To: <8CBE8C2FD6CF5AA-CD0-BEC@angweb-usd011.sysops.aol.com>
Message-ID: <C1AC87949CEF4E9B9C0FECFCD0E31F39@Sprocket>

A slight correction, maybe from a typo, the Mkvii was a single carraige
slide scanner and the mkviii was the dual multiplex slide scanner ..dont
remember the mkviiiib but I suppose its likely.. 
Jumpscan zoom was fun :) ..got stuck in moscow for weeks shipping in
BU208's by the dozen trying to make it work.
Would have loved to have seen an ntsc jumpscan with zoom ... 
And what ever happened to those 2 mkiiied's from sky ... And the
mkiiihd's one or two ?  one was s/n1000 I remember.
My flatmate in NY worked for philips NY modifying a mkiii to HD .. With
a wardrobe of framestore attached, he got it working but nothing
happened to it .. He since went to work for wallstreet maintaining comms
with LSE and is still there I think.
Paul chapman, thx for lunch in Santa barbara, it was a fun flight...
Always remember that.


Graham Collett
Visible Sprockets Ltd
www.visible-sprockets.co.uk
Sprockets(telecine) Ltd
www.sprockets-telecine.co.uk
 


From ken at flight4.org  Tue Aug 11 23:16:27 2009
From: ken at flight4.org (Ken Robinson)
Date: Tue, 11 Aug 2009 19:16:27 -0300
Subject: [Tig] REMEMBER JUMP SCAN
In-Reply-To: <8CBE8B337349C7E-1498-D3@webmail-mh18.sysops.aol.com>
References: <D5BB538456984338902BC531BB24A57B@Sprocket><4ACF4D37-36D0-411A-8E1E-376E63D10B75@wavecrest-systems.com><88061237ECF04ED1977F67CC7E23BB89@Flight4N>
	<8CBE8B337349C7E-1498-D3@webmail-mh18.sysops.aol.com>
Message-ID: <586114A618364DBBA9A62B790248FE2A@Flight4N>

Yeah, but the 5 patch machine was a bit lively to handle....!


Ken Robinson

-----Original Message-----

 As far as GREAT IMAGE QUALITY.. "JUMP SCAN"



From peter_swinson at compuserve.com  Wed Aug 12 00:11:10 2009
From: peter_swinson at compuserve.com (peter_swinson at compuserve.com)
Date: Tue, 11 Aug 2009 19:11:10 -0400
Subject: [Tig] Dates?
In-Reply-To: <C1AC87949CEF4E9B9C0FECFCD0E31F39@Sprocket>
Message-ID: <8CBE8F025D94E2F-1240-BBB@angweb-usm019.sysops.aol.com>


 Graham,
My apologises, of course the slide scanners were? MK VII not? MKIV. There was internally at Cintel a MKIV telecine, but that's another story!

Peter Stansfield, I would not bow, I may well be wrong, just passing on info gleaned from those around at the time. I was just a lowly sales rep covering Middle Eaast & Africa in those days!

cheers

Peter


 





From benjamin at digitalsprockets.net  Wed Aug 12 00:26:42 2009
From: benjamin at digitalsprockets.net (=?iso-8859-15?Q?Benjam=EDn_Fern=E1ndez_Maribona?=)
Date: Tue, 11 Aug 2009 18:26:42 -0500
Subject: [Tig] Tig Digest, Vol 142, Issue 2
In-Reply-To: <mailman.2372.1250026621.28133.tig@colorist.org>
References: <mailman.2372.1250026621.28133.tig@colorist.org>
Message-ID: <op.uyit2sst8lv66o@amd64.lan>

Also remember the Turbo circa 1988.



From weagles at mac.com  Wed Aug 12 00:36:42 2009
From: weagles at mac.com (warren eagles)
Date: Wed, 12 Aug 2009 09:36:42 +1000
Subject: [Tig] Bosch Philips Thomson DFT dates?
In-Reply-To: <mailman.2350.1249960206.28133.tig@colorist.org>
References: <mailman.2350.1249960206.28133.tig@colorist.org>
Message-ID: <5AC8235B-48BC-463F-BD5F-1ECF51B84D29@mac.com>

Enjoying the Telecine history lesson,
maybe somebody from DFT could update us
with their machine history?

Cheers

Warren
Freelance Colorist
www.icolorist.com



From rob at colorist.org  Wed Aug 12 01:07:47 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Tue, 11 Aug 2009 21:07:47 -0300
Subject: [Tig] Now on the TIG classifieds
Message-ID: <1F672B1C-FAE1-4A9D-92EC-1CBF57CBB9F1@colorist.org>

Currently appearing on the TIG wiki classifieds at
http://tig.colorist.org/wiki3/index.php/Classifieds

Available:

	• Jim Mann, Freelance Colorist/daVinci Product Specialist
	• Stuart Blake Jones - Freelance Colorist-Consultant-Instructor-Writer
	• Adam Halasz colourist
	• Jon Mendenhall - Assistant Colourist, Chicago

	• Loaded Davinci 2K Plus for Sale USA $100,000 USD
	• Celco Fury Film recorder ***''PRICE REDUCED 100kUSD''***

Wanted:

	• Product Specialist/Demo Artist (N. Hollywood, LA, CA)
	• Colorist, Chicago
	• Color Correction system for Quadra 444 needed
	• Good condition reversible 35mm Kinoton projector
	• 16mm gate for Arriscan needed


--
Rob Lingelbach
rob at colorist.org




From velocite at gmail.com  Wed Aug 12 01:16:39 2009
From: velocite at gmail.com (John Buck / Velocite)
Date: Wed, 12 Aug 2009 10:16:39 +1000
Subject: [Tig] Thanks to everyone for the Ran dates
Message-ID: <8375AA50-059D-4C9D-AEA5-E8BB7C9732F2@gmail.com>

(no text)


From grahamcollett at visible-sprockets.co.uk  Wed Aug 12 08:07:44 2009
From: grahamcollett at visible-sprockets.co.uk (Graham Collett)
Date: Wed, 12 Aug 2009 08:07:44 +0100
Subject: [Tig] Dates?
In-Reply-To: <8CBE8F025D94E2F-1240-BBB@angweb-usm019.sysops.aol.com>
Message-ID: <B721C0D9BA1E4D6FAF1A56648431B29F@Sprocket>

Benjamin mentioned the Turbo ... That was a story in itself and made one
man .. A contracted wireman, quite rich.



Graham Collett
Visible Sprockets Ltd
www.visible-sprockets.co.uk
Sprockets(telecine) Ltd
www.sprockets-telecine.co.uk


From rob at colorist.org  Wed Aug 12 13:59:20 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Wed, 12 Aug 2009 09:59:20 -0300
Subject: [Tig] wanted: 35mm Kinoton projector
Message-ID: <0E79BC1E-E453-455E-B5ED-144EDE82AC9B@colorist.org>



Wanted: Good condition reversible 35mm Kinoton projector.”  Contact manny at digitalpictures.com.au


--
Rob Lingelbach    TIG admin, founder
rob at colorist.org




From jdhouston at earthlink.net  Wed Aug 12 13:59:54 2009
From: jdhouston at earthlink.net (Jim Houston)
Date: Wed, 12 Aug 2009 05:59:54 -0700
Subject: [Tig] Bosch Philips Thomson DFT dates?
In-Reply-To: <5AC8235B-48BC-463F-BD5F-1ECF51B84D29@mac.com>
References: <mailman.2350.1249960206.28133.tig@colorist.org>
	<5AC8235B-48BC-463F-BD5F-1ECF51B84D29@mac.com>
Message-ID: <F3E5D197-B788-4DC6-9F40-0E8D73115823@earthlink.net>


For other reasons, I recently confirmed some dates with the DFT/ 
Thomson/Phillips/BKS  folks.

1996 Spirit DataCine
2003 Spirit 4K/2K/HD
2009 Scanity

Jim Houston
Sony  Pictures Entertainment



From peter.stansfield at wavecrest-systems.com  Wed Aug 12 14:08:33 2009
From: peter.stansfield at wavecrest-systems.com (peter stansfield)
Date: Wed, 12 Aug 2009 14:08:33 +0100
Subject: [Tig] Dates?
In-Reply-To: <B721C0D9BA1E4D6FAF1A56648431B29F@Sprocket>
References: <B721C0D9BA1E4D6FAF1A56648431B29F@Sprocket>
Message-ID: <2EEF2F5E-3352-4028-A22D-6A512876DB5B@wavecrest-systems.com>

Graham

So rich in fact that I remember he had a real Jackson Pollock (not a  
print) in his office....

Peter Stansfield


From dlt at earthlink.net  Thu Aug 13 05:01:01 2009
From: dlt at earthlink.net (David Tosh)
Date: Wed, 12 Aug 2009 21:01:01 -0700
Subject: [Tig] Dates?
In-Reply-To: <2EEF2F5E-3352-4028-A22D-6A512876DB5B@wavecrest-systems.com>
References: <B721C0D9BA1E4D6FAF1A56648431B29F@Sprocket>
	<2EEF2F5E-3352-4028-A22D-6A512876DB5B@wavecrest-systems.com>
Message-ID: <4A838FFD.9030901@earthlink.net>

I have notes from a mini-course on MKIII maintenance I attended in 
November 1985. It was held in the Saticoy office of Rank North Hollywood 
and taught by Paul Chapman and William Capon.

 From those notes:

1976: MKIII Jumpscan introduced at NAB. All analog (no Digiscan) and 
24fps only.

1977: First Jumpscan machines delivered in USA. Serial numbers 1-80 
approximately.

1978: MKIIIB Digiscan I Serial numbers 80-250 approximately. Digiscan I 
was 24fps 525/60 only but was capable of being modified to run @30fps. 
MKIIIB had dark grey control panels and included DigiVAC I.

1980: MKIIIB Digiscan II (Serial numbers < 500). Included DigiVACI, ran 
18fps, 24fps, 30fps in 525/60 and 18 & 25fps in 625/50. It also ran at 
655/48.

1982: MKIIIC Started with Digiscan II (Serial numbers 500 - 650 light 
grey control panels. Included options VariSpeed, XYZoom, Variable 
shuttle, Saturation control. Still included DigiVAC I.

1984: MKIIIC Digiscan 3 (Serial numbers 650 - 780). Included improved 
mechanical construction, better screening...

A note at the bottom of the page indicates that there were no MKII 
machines in the US and they didn't run at 525/60.)

--------

The machine in TC1 at Action Video was a Digiscan 2, included all of the 
1982 options above but I always suspected they were fitted after the 
machine left the factory. Action Video opened in 1983. The suite 
included a Dubner 32 slider preprogrammer interfaced to the MKIII by 
Alex Jepson. A RCA camera secondary chroma comp was included in the 
original installation but it was never "right."

I remember the lost weekends spent on the floor in front of this machine 
  while bringing a pin registered transfer system up. I ended up 
replacing the XYZoom card with one I built for pin reg use only due to 
the hum and noise present in the system modulating both the scans and 
the shading correction.

David Tosh
Sierra Madre CA



From steve at veralith.com  Thu Aug 13 02:40:18 2009
From: steve at veralith.com (Steve Hullfish)
Date: Wed, 12 Aug 2009 20:40:18 -0500
Subject: [Tig] Hollywood versus the World
Message-ID: <4EBEAE1E-7A5E-4DB2-B37A-1C98980B8FC0@veralith.com>

Hey TIG-gers -

What's your take on the differences in color grading between Hollywood  
and everywhere else?

Do you think there's any real appreciable difference between workflows  
or culture or technology as a general rule?



From rob at colorist.org  Thu Aug 13 05:53:27 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Thu, 13 Aug 2009 01:53:27 -0300
Subject: [Tig] Dates?
In-Reply-To: <4A838FFD.9030901@earthlink.net>
References: <B721C0D9BA1E4D6FAF1A56648431B29F@Sprocket>
	<2EEF2F5E-3352-4028-A22D-6A512876DB5B@wavecrest-systems.com>
	<4A838FFD.9030901@earthlink.net>
Message-ID: <7310860D-F090-40A9-974F-6465BD49F856@colorist.org>


On Aug 13, 2009, at 1:01 AM, David Tosh wrote:

> The machine in TC1 at Action Video was a Digiscan 2, included all of  
> the 1982 options above but I always suspected they were fitted after  
> the machine left the factory. Action Video opened in 1983. The suite  
> included a Dubner 32 slider preprogrammer interfaced to the MKIII by  
> Alex Jepson. A RCA camera secondary chroma comp was included in the  
> original installation but it was never "right."

It was an advanced machine for its day, especially with the white  
compression in negative (black compression in print) controllable for  
balance and toning in each channel of RGB, that you developed with Sam  
Holtz.  Worked so well I've not seen its equal since in any system.

The biggest improvement in the Digiscans, for me, was the introduction  
of the Digi IV.  Suddenly there was much better S/N and color  
separation.

> I remember the lost weekends spent on the floor in front of this  
> machine  while bringing a pin registered transfer system up.

And at Planet Blue I whiled away the hours similarly with Mike Goslin,  
Bill Laverty, and
the Flying Spot himself, Mike Waldie.

> I ended up replacing the XYZoom card with one I built for pin reg  
> use only due to the hum and noise present in the system modulating  
> both the scans and the shading correction.

The original Rank  potentiometers on the remote panel worked nicely  
for live
zooms and pan-tilts.   The Dubner sliders also worked well to do live  
color and xyzoom moves.  Later, with other systems using soft, menu- 
controlled non-dedicated knobs, live work became much more difficult.   
It was always great to challenge yourself to do best light sessions  
live to tape with a client in the room.  You could preview the
roll in extreme fast forward, then cue it back and roll it live.  The  
alertness
level was like that zen from negotiating a fast commute, lane- 
splitting on the motorcycle.

--
Rob Lingelbach
rob at colorist.org




From prathvihegde at yahoo.com  Thu Aug 13 16:32:23 2009
From: prathvihegde at yahoo.com (prathvish hegde)
Date: Thu, 13 Aug 2009 08:32:23 -0700 (PDT)
Subject: [Tig] aaton penelope
In-Reply-To: <mailman.38.1250137374.25896.tig@colorist.org>
References: <mailman.38.1250137374.25896.tig@colorist.org>
Message-ID: <876137.76441.qm@web111401.mail.gq1.yahoo.com>

hi all,
 
do anyone know the rough price of aaton penelope 2/3 perf camera??
i visited aaton site it has just the picturesof the camera but know price.

prathvish hegde

telecine colourist 
Futureworks Media ltd
Mumbai,India


      


From rob at colorist.org  Thu Aug 13 17:07:16 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Thu, 13 Aug 2009 13:07:16 -0300
Subject: [Tig] what modern grading system
Message-ID: <61AE9ECA-5024-4C7C-8C7E-6A1B392A42AC@colorist.org>

What modern, electronic-digital grading system could create something  
like the
Photochrome process, as exemplified in this print:
http://en.wikipedia.org/wiki/File:NYC_Mulberry_Street_3g04637u.jpg


--
Rob Lingelbach
rob at colorist.org




From abrosenfeld at gmail.com  Thu Aug 13 17:39:56 2009
From: abrosenfeld at gmail.com (Alan Rosenfeld)
Date: Thu, 13 Aug 2009 12:39:56 -0400
Subject: [Tig] Dates?
In-Reply-To: <4A838FFD.9030901@earthlink.net>
References: <B721C0D9BA1E4D6FAF1A56648431B29F@Sprocket>
	<2EEF2F5E-3352-4028-A22D-6A512876DB5B@wavecrest-systems.com> 
	<4A838FFD.9030901@earthlink.net>
Message-ID: <53bac0a60908130939v749643bcmc80ba5f043f57024@mail.gmail.com>

*1976: MKIII Jumpscan introduced at NAB. All analog (no Digiscan) and 24fps
only.*
**
Dick Marcus shows me a picture of the unit in the BKSTS Journal and says we
are getting one for Rombex Productions
**
*1977: First Jumpscan machines delivered in USA. Serial numbers 1-80
approximately.*

To the best of my recollection:
Machine one delivered to a post house in Toronto, Canada
Machine two to Rombex from NAB
Next were Devlin and Image Transform I think. Someone help me here. :-)

Alan Rosenfeld
The Studio at B&H


From abrosenfeld at gmail.com  Thu Aug 13 17:31:21 2009
From: abrosenfeld at gmail.com (Alan Rosenfeld)
Date: Thu, 13 Aug 2009 12:31:21 -0400
Subject: [Tig] Hollywood versus the World
In-Reply-To: <4EBEAE1E-7A5E-4DB2-B37A-1C98980B8FC0@veralith.com>
References: <4EBEAE1E-7A5E-4DB2-B37A-1C98980B8FC0@veralith.com>
Message-ID: <53bac0a60908130931v183080f5qfc1634da7fb9abbb@mail.gmail.com>

Not sure if this is still true, but way back in the 80's when I ran
Broadcast Quality Control for Showtime I noticed that West Coast colorists
always made people look much healthier, warmer skin tones.   Most of the
features we ran were corrected in LA. This was exemplified best by when we
aired The Eyes of Laura Mars which takes place in NYC in the middle of
winter - evreyone had a healthy suntan.

Alan Rosenfeld
The Studio at B&H

On Wed, Aug 12, 2009 at 9:40 PM, Steve Hullfish <steve at veralith.com> wrote:

> Sohonet http://www.sohonet.co.uk sponsors the TIG.
> David Warner, Crawford Communications supports the TIG
> Aug 2009: 2210 subscribers.
> ====
>
>
> Hey TIG-gers -
>
> What's your take on the differences in color grading between Hollywood and
> everywhere else?
>
> Do you think there's any real appreciable difference between workflows or
> culture or technology as a general rule?
>
> _______________________________________________
> http://reels.colorist.org
> http://www.colorist.org/wiki3


From grahamcollett at visible-sprockets.co.uk  Thu Aug 13 22:45:30 2009
From: grahamcollett at visible-sprockets.co.uk (Graham Collett)
Date: Thu, 13 Aug 2009 22:45:30 +0100
Subject: [Tig] Dates?
In-Reply-To: <53bac0a60908130939v749643bcmc80ba5f043f57024@mail.gmail.com>
Message-ID: <C167C7FAF15644319FB0453D5FF8CA4F@Sprocket>

I thought Sandra Devlin was really anti Cintel , ,, bought an FDL60  ..
Or was that later on.
I remember the late David Fenton talking of going into battle with her
.. But never succeeding.

Graham Collett
Visible Sprockets Ltd
www.visible-sprockets.co.uk
Sprockets(telecine) Ltd
www.sprockets-telecine.co.uk
 


-----Original Message-----
From: tig-bounces at colorist.org [mailto:tig-bounces at colorist.org] On
Behalf Of Alan Rosenfeld
Sent: 13 August 2009 17:40
To: tig
Subject: Re: [Tig] Dates?


Sohonet http://www.sohonet.co.uk sponsors the TIG.
David Warner, Crawford Communications supports the TIG
Aug 2009: 2210 subscribers.
 ====


*1976: MKIII Jumpscan introduced at NAB. All analog (no Digiscan) and
24fps
only.*
**
Dick Marcus shows me a picture of the unit in the BKSTS Journal and says
we are getting one for Rombex Productions
**
*1977: First Jumpscan machines delivered in USA. Serial numbers 1-80
approximately.*

To the best of my recollection:
Machine one delivered to a post house in Toronto, Canada Machine two to
Rombex from NAB Next were Devlin and Image Transform I think. Someone
help me here. :-)

Alan Rosenfeld
The Studio at B&H _______________________________________________
http://reels.colorist.org
http://www.colorist.org/wiki3




From Stn3 at aol.com  Thu Aug 13 23:31:45 2009
From: Stn3 at aol.com (S. T. Nottingham III)
Date: Thu, 13 Aug 2009 15:31:45 -0700
Subject: [Tig] Hollywood versus the World
In-Reply-To: <53bac0a60908130931v183080f5qfc1634da7fb9abbb@mail.gmail.com>
References: <4EBEAE1E-7A5E-4DB2-B37A-1C98980B8FC0@veralith.com>
	<53bac0a60908130931v183080f5qfc1634da7fb9abbb@mail.gmail.com>
Message-ID: <34DC1C88FAEB41658039DCEA1C4CB548@DESKTOP>

Oh that was so true. In the early days of Telecine, most feature films were
unsupervised. Not many people in the film industry considered the cable and
videotape business a very important segment. Then as market share grew, and
the dynamics of the business shifted to more people seeing films in these
home formats, the creative people started to become involved in the process.

Since colorists draw on personal experiences for inspiration, it is easy to
see why people were timed to match the southern California look. Back in the
day when I worked with Robert Wise on Sound Of Music, he constantly called
for ruddier skin tones as he said it rained all the time in Austria, and
people just didn't have tans. That moment was a reality check for me.

It was also about this time that the Studios started calling for colorists
to attend screenings of the current project so that they could get some idea
of how things were to be timed.

Now, it is almost always true that creative people are involved in the
process, and that is just how much things have changed. These days, if the
DP or Director is not involved, it is because the Producer does not want
them there - and that has happened to me more than once.

Tom Nottingham 

-----Original Message-----
From: tig-bounces at colorist.org [mailto:tig-bounces at colorist.org] On Behalf
Of Alan Rosenfeld
Sent: Thursday, August 13, 2009 9:31 AM
 
-snip-

Not sure if this is still true, but way back in the 80's when I ran
Broadcast Quality Control for Showtime I noticed that West Coast colorists
always made people look much healthier, warmer skin tones.   Most of the
features we ran were corrected in LA.




From BobCampbell at astound.net  Fri Aug 14 00:46:49 2009
From: BobCampbell at astound.net (Bob Campbell)
Date: Thu, 13 Aug 2009 16:46:49 -0700
Subject: [Tig] Hollywood versus the World
In-Reply-To: <34DC1C88FAEB41658039DCEA1C4CB548@DESKTOP>
References: <4EBEAE1E-7A5E-4DB2-B37A-1C98980B8FC0@veralith.com>
	<53bac0a60908130931v183080f5qfc1634da7fb9abbb@mail.gmail.com>
	<34DC1C88FAEB41658039DCEA1C4CB548@DESKTOP>
Message-ID: <ED9EFECE-C729-414D-8AAE-A5F45950FBC3@astound.net>

I got caught making the ocean blue for a east coast phone company spot  
with the talent in front of a light house and the ocean in the  
background.
West coast director and production company, etc. The east coast agency  
producer comes in at the end of the session and tells everyone the  
Atlantic is more green than the blue of the Pacific.
Had to re-rack a lot of film.

Bob Campbell
San Francisco




From mikko.kuutti at kava.fi  Fri Aug 14 06:34:19 2009
From: mikko.kuutti at kava.fi (Mikko Kuutti)
Date: Fri, 14 Aug 2009 08:34:19 +0300
Subject: [Tig] Dates?
In-Reply-To: <4A838FFD.9030901@earthlink.net>
References: <B721C0D9BA1E4D6FAF1A56648431B29F@Sprocket>
	<2EEF2F5E-3352-4028-A22D-6A512876DB5B@wavecrest-systems.com>
	<4A838FFD.9030901@earthlink.net>
Message-ID: <0EB2EE27-264E-413D-A191-466C5EBD2C26@kava.fi>

Hi Folks,

we're just retiring our MkIII, which may be one of the few extant  
(some even think non-existent) MkIIIBs, as per David's list since it  
has serial number 106.

It has been later equipped with Quattroscan, but we're now 'upgrading'  
to a Quadra Vision 4:4:4 with a Renaissance 8:8:8 controller. This  
will be pure luxury for us since we've been doing everything on the  
fly so far!

The archive world is a different world.

Best regards,

Mikko

Mikko Kuutti
Deputy Director
National Audiovisual Archive
Pursimiehenkatu 29-31 A / P.O. Box 177, FI-00151 Helsinki, Finland
tel. +358 9 6154 0254, mobile +358 40 900 0455



On 13.8.2009, at 7.01, David Tosh wrote:

> I have notes from a mini-course on MKIII maintenance I attended in  
> November 1985. It was held in the Saticoy office of Rank North  
> Hollywood and taught by Paul Chapman and William Capon.


From nextgn at ptd.net  Fri Aug 14 12:50:07 2009
From: nextgn at ptd.net (Nextgen)
Date: Fri, 14 Aug 2009 07:50:07 -0400
Subject: [Tig] Hollywood versus the World
In-Reply-To: <34DC1C88FAEB41658039DCEA1C4CB548@DESKTOP>
References: <4EBEAE1E-7A5E-4DB2-B37A-1C98980B8FC0@veralith.com><53bac0a60908130931v183080f5qfc1634da7fb9abbb@mail.gmail.com>
	<34DC1C88FAEB41658039DCEA1C4CB548@DESKTOP>
Message-ID: <38A03EB88ADB40BFB5F2BE4F4B57CD79@sigma.local>

Back in the early 70's when we were doing demonstrations of our color
correction system, we used to point out that you could set a reference base
for the 'East Coast' or the 'West Coast' look and run the material with each
reference to make a release version that was region considerate.

The demand to have the 'product' appearance consistent while shifting flesh
tones either beach tan or a north east healthy pink, is what inspired us to
create the palette system with the first 6 vector secondary correction
facilities.

It was a significant improvement for commercial productions as they were the
reason that precise color correction actually became an industry.


Stan Chayka



From steve.roberts at bbc.co.uk  Fri Aug 14 17:36:39 2009
From: steve.roberts at bbc.co.uk (Steve Roberts)
Date: Fri, 14 Aug 2009 17:36:39 +0100
Subject: [Tig] Dates?
In-Reply-To: <0EB2EE27-264E-413D-A191-466C5EBD2C26@kava.fi>
References: <B721C0D9BA1E4D6FAF1A56648431B29F@Sprocket><2EEF2F5E-3352-4028-A22D-6A512876DB5B@wavecrest-systems.com><4A838FFD.9030901@earthlink.net>
	<0EB2EE27-264E-413D-A191-466C5EBD2C26@kava.fi>
Message-ID: <244E9A3A7711D64DBF9C99CE1DFA9EB004B6BF50@bbcxue218.national.core.bbc.co.uk>

 
-----Original Message-----
>>From: tig-bounces at colorist.org [mailto:tig-bounces at colorist.org] On
Behalf Of Mikko Kuutti
>>Sent: 14 August 2009 06:34
>>we're just retiring our MkIII, which may be one of the few extant
(some even think non-
>>existent) MkIIIBs, as per David's list since it has serial number 106.

I'm just retiring one of our two remaining MK3 Digiscan4 machines at the
moment. Serial number 24, I remember installing it as a very shiny new
BBC engineer in late '87 or early '88. I've looked after it ever since
and it's still in perfect working order, we just don't have the work to
support it anymore. Along with its mate, serial number 83 (nearly the
last, if not actually the last of the MK3's, I believe?), it performed
sterling service as the BBC's top-end telecine when brand new and has
spent the last few years comfortably specialising in short order library
clips work and small format transfers (8mm, S8mm and even 9.5mm centre
sprocket!).

This leaves us with one MK3, an Ursa Diamond Y-Front (shortly coming out
to be replaced by a Shadow) and a Spirit. Very different from 22 years
ago when we ran live telecine transmissions from many 35mm MKII
twin-lens pairs, 16mm MKII's, MK3 hopping patch and Digi3 machines!

I feel quite sad today.

Steve

http://www.bbc.co.uk/
This e-mail (and any attachments) is confidential and may contain personal views which are not the views of the BBC unless specifically stated.
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Do not use, copy or disclose the information in any way nor act in reliance on it and notify the sender immediately.
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From steve at veralith.com  Fri Aug 14 16:23:44 2009
From: steve at veralith.com (Steve Hullfish)
Date: Fri, 14 Aug 2009 10:23:44 -0500
Subject: [Tig] Hollywood versus the World
In-Reply-To: <38A03EB88ADB40BFB5F2BE4F4B57CD79@sigma.local>
References: <4EBEAE1E-7A5E-4DB2-B37A-1C98980B8FC0@veralith.com><53bac0a60908130931v183080f5qfc1634da7fb9abbb@mail.gmail.com>
	<34DC1C88FAEB41658039DCEA1C4CB548@DESKTOP>
	<38A03EB88ADB40BFB5F2BE4F4B57CD79@sigma.local>
Message-ID: <CBA33572-5806-4FFB-9204-954009CF588E@veralith.com>

This color difference between east and west coast is something that's  
been pretty thoroughly documented. It's definitely an interesting  
cultural difference.

I also heard from people off-list that grading suites outside of the  
US tend to be much more minimalist compared to Hollywood or even US  
suites in general. Comments?

Do people come to color grading as a profession in different ways than  
in the US? Possibly some come more from an arts background or from a  
film school background while others are more from a technical/ 
engineering background?

Or what about pay-wise and prestige? Are colorists "rock stars" like  
some are in Hollywood? Or are they simply cogs in the wheel of post- 
production?

Is there a significant difference in the gear that's used outside of  
Hollywood? A preference toward a manufacturer or a workflow that is  
different in different parts of the world?

The push in Hollywood seems - and other places that I know in the US -  
seem to be trending away from "telecine" and towards film scanning. Is  
the rest of the world or even the rest of the US swinging just as fast  
in the same direction?

I'm just trying to drum up some good discussion. (I don't have any  
future books in the works. :-)

Steve Hullfish
author, "The Art and Technique of Color Correction."

On Aug 14, 2009, at 6:50 AM, Nextgen wrote:
>
> Back in the early 70's when we were doing demonstrations of our color
> correction system, we used to point out that you could set a  
> reference base
> for the 'East Coast' or the 'West Coast' look and run the material  
> with each
> reference to make a release version that was region considerate.


From pickettscharge at hotmail.com  Fri Aug 14 20:12:45 2009
From: pickettscharge at hotmail.com (Dave Pickett)
Date: Fri, 14 Aug 2009 15:12:45 -0400
Subject: [Tig] Hollywood versus the World
In-Reply-To: <CBA33572-5806-4FFB-9204-954009CF588E@veralith.com>
References: <4EBEAE1E-7A5E-4DB2-B37A-1C98980B8FC0@veralith.com><53bac0a60908130931v183080f5qfc1634da7fb9abbb@mail.gmail.com>
	<34DC1C88FAEB41658039DCEA1C4CB548@DESKTOP>
	<38A03EB88ADB40BFB5F2BE4F4B57CD79@sigma.local> 
	<CBA33572-5806-4FFB-9204-954009CF588E@veralith.com>
Message-ID: <BAY136-W166ECFDDEE70A0C359EAF5D2020@phx.gbl>


My experience in quite a few American markets, including LA, as well as some overseas is pretty much the same.  There are really great suites all over the place as well as spartan ones .  

Featured artists get pretty good treatment from management and support staff if they are billing.  

I would suggest that, at its heart, colo(u)r is the same all over. Yet color fashions are like clothes or food or anything else, always changing.  You have to be able to interpret the material and the clients in short order and come up with what they feel is appealing at the time.  

 

It seems most leading shops are full on into scanning to take advantage of data grading systems.  Yet most of them have telecines as well with familiar workflows.  Its an interesting time to be freelancing.  I see a lot of variations on the theme of trying to make a profit in grading.  

 

Dave 

 

 

Dave Pickett

Colorist

 

 

 


From beautardy at yahoo.com  Fri Aug 14 21:53:02 2009
From: beautardy at yahoo.com (Beau Tardy)
Date: Fri, 14 Aug 2009 13:53:02 -0700 (PDT)
Subject: [Tig] color correction
Message-ID: <774072.40944.qm@web84004.mail.mud.yahoo.com>

Rob said: "What modern, electronic-digital grading system could create something  
like the
Photochrome process, as exemplified in this print:
http://en.wikipedia.org/wiki/File:NYC_Mulberry_Street_3g04637u.jpg

That's not fair, this image was painted in photoshop! :)  I don't know that you could color a film that way without rotoscoping and matte painting.

Beau Tardy
Director/ Editor/ Final Cut Pro Certified Trainer
www.beautardy.com
cell: 917-407-3319


From rob at colorist.org  Sat Aug 15 00:19:12 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Fri, 14 Aug 2009 20:19:12 -0300
Subject: [Tig] color correction
In-Reply-To: <774072.40944.qm@web84004.mail.mud.yahoo.com>
References: <774072.40944.qm@web84004.mail.mud.yahoo.com>
Message-ID: <93559761-DDB1-47B2-9319-6F72B146FBF2@colorist.org>


On Aug 14, 2009, at 5:53 PM, Beau Tardy wrote:

> Rob said: "What modern, electronic-digital grading system could  
> create something
> like the
> Photochrome process, as exemplified in this print:
> http://en.wikipedia.org/wiki/File:NYC_Mulberry_Street_3g04637u.jpg

Hi Beau,

Actually it was done as a Photochrom in a process that predates  
Photoshop by more than 100 years.   from
http://en.wikipedia.org/wiki/Photochrom  the following:

Photochrom[Note 1] (also called the Aäc process) prints are colorized  
images produced from black and white photographic negatives via the  
direct photographic transfer of a negative onto lithographic printing  
plates.

> That's not fair, this image was painted in photoshop! :)  I don't  
> know that you could color a film that way without rotoscoping and  
> matte painting.

Sometimes it pays to look back a bit to see the original techniques.   
Kind of
like learning counterpoint before playing jazz.

--
Rob Lingelbach
rob at colorist.org




From shukkra at yahoo.in  Sun Aug 16 09:17:11 2009
From: shukkra at yahoo.in (Mr Shukkra)
Date: Sun, 16 Aug 2009 13:47:11 +0530 (IST)
Subject: [Tig] repairing the HST1871 URSA telecine CRT's
Message-ID: <119688.11935.qm@web95309.mail.in2.yahoo.com>

 
Hello. anyone know about who will repair URSA telecine CRT's.
 
 It is posible repair the CRT's whichone filament open ( but there is no any burnt patches).
 
Waiting for good result
 
Seeyou...
 
 
shuk


      Love Cricket? Check out live scores, photos, video highlights and more. Click here http://cricket.yahoo.com

From irichardson at cuttingedge.com.au  Mon Aug 17 00:44:21 2009
From: irichardson at cuttingedge.com.au (Ian Richardson)
Date: Mon, 17 Aug 2009 09:44:21 +1000
Subject: [Tig] Hollywood versus the World
In-Reply-To: <38A03EB88ADB40BFB5F2BE4F4B57CD79@sigma.local>
References: <4EBEAE1E-7A5E-4DB2-B37A-1C98980B8FC0@veralith.com><53bac0a60908130931v183080f5qfc1634da7fb9abbb@mail.gmail.com><34DC1C88FAEB41658039DCEA1C4CB548@DESKTOP>
	<38A03EB88ADB40BFB5F2BE4F4B57CD79@sigma.local>
Message-ID: <3F5E20D66164884C893C00EF95161925C81AD1@syd-exchange1.ce-bne.cuttingedge>

Greetings Stan

As part of a company whom was an early adopter of one of Stans  CC and
sunburst systems, firstly on a Bosch FDL-60 then on a MkIII. I have fond
memories of it as a leading device way ahead of its time. The secondary
correction was a winner at the time for commercial productions. I also
have to say I had many conversations with the device as it was fitted
with a voice synthesizer chip and 'spoke' to you during the grade, so
during the long hours at the knobs....you never got lonely.
Our Advertising at the time was 'we have a colour grader you can talk
to'
A 'colour grader' was the early term for 'colourist' and also for the
hardware.

Fun days

Cheers
Ian [Richo] Richardson

Sydney 
Aus

-----Original Message-----
From: tig-bounces at colorist.org [mailto:tig-bounces at colorist.org] On
Behalf Of Nextgen
Sent: Friday, 14 August 2009 9:50 PM
To: tig at tig.colorist.org
Subject: Re: [Tig] Hollywood versus the World

Sohonet http://www.sohonet.co.uk sponsors the TIG.
David Warner, Crawford Communications supports the TIG
Aug 2009: 2210 subscribers.
 ====


Back in the early 70's when we were doing demonstrations of our color
correction system, we used to point out that you could set a reference
base
for the 'East Coast' or the 'West Coast' look and run the material with
each
reference to make a release version that was region considerate.

The demand to have the 'product' appearance consistent while shifting
flesh
tones either beach tan or a north east healthy pink, is what inspired us
to
create the palette system with the first 6 vector secondary correction
facilities.

It was a significant improvement for commercial productions as they were
the
reason that precise color correction actually became an industry.


Stan Chayka

_______________________________________________
http://reels.colorist.org
http://www.colorist.org/wiki3



From beautardy at yahoo.com  Sat Aug 15 00:52:57 2009
From: beautardy at yahoo.com (Beau Tardy)
Date: Fri, 14 Aug 2009 16:52:57 -0700 (PDT)
Subject: [Tig] color correction
In-Reply-To: <93559761-DDB1-47B2-9319-6F72B146FBF2@colorist.org>
Message-ID: <32769.44341.qm@web84006.mail.mud.yahoo.com>

Sure, I understand- still this was painted, whether in photoshop, by  
hand or on a lithograph (lithographs are many times hand painted  
btw).  My point is that you can't do that to a moving image without  
rotoscoping (which is like hand painting film!)

Beau Tardy
Director/ Editor/ Final Cut Pro Certified Trainer
www.beautardy.com
cell: 917-407-3319



From david.catt at filmsys.com  Mon Aug 17 19:11:55 2009
From: david.catt at filmsys.com (David Catt)
Date: Mon, 17 Aug 2009 14:11:55 -0400
Subject: [Tig] repairing the HST1871 URSA telecine CRT's
In-Reply-To: <119688.11935.qm@web95309.mail.in2.yahoo.com>
References: <119688.11935.qm@web95309.mail.in2.yahoo.com>
Message-ID: <4A899D6B.1040102@filmsys.com>

Hello Mr Shukra,
There is a resistor in the CRT base connector that may have become 
unsoldered. We received a CRT from Brimar which had a loose base 
connector and no filament current. I carefully unsoldered the CRT base 
and found  that a resistor was not soldered between one of the pins on 
the base and the filament wire of the CRT. I resoldered the resistor and 
the CRT is now fine.

On another note, we manufacture HD flying spot telecines. We use the 
chassis, deck plate, and refurbished spooling motors  and capstan from a 
Cintel M111 telecine and the rest is ripped out and discarded. We 
replace this with our own film gates, Optics, digital scan generator, 
MetaSpeed servo and  Accugrade. We are able to work in any SD or HD 
video standards and 2K (2048 x 1556) via HSDL dual link video. Do you 
think there is a market for our telecine in India? If we attended one of 
the Indian trade shows, do you think there would be much interest?
Many thanks in  advance for your input.

David Catt
Product Manager

david.catt at filmsys.com
+1-678-336-1647
+1-678-336-1990
www.filmsys.com

Mr Shukkra wrote:
> Hello. anyone know about who will repair URSA telecine CRT's.
>  
>  It is posible repair the CRT's whichone filament open ( but there is no any burnt patches).

From rob at colorist.org  Tue Aug 18 19:13:33 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Tue, 18 Aug 2009 15:13:33 -0300
Subject: [Tig] black and white film
Message-ID: <184F8C3A-A473-4411-8FA9-D695434087D2@colorist.org>

In the NY Times today is a gallery of photography by Oleg Videnin, of  
Russian subjects.

enter Full Screen mode at
http://lens.blogs.nytimes.com/2009/08/18/showcase-36/

Reminds me of how gorgeous and silvery this Ilford HP5 Plus 120 film  
can look.

What would be the equivalent Motion Picture film?

--
Rob Lingelbach
rob at colorist.org




From BobCampbell at astound.net  Tue Aug 18 19:16:35 2009
From: BobCampbell at astound.net (Bob Campbell)
Date: Tue, 18 Aug 2009 11:16:35 -0700
Subject: [Tig] Hollywood versus the World
In-Reply-To: <3F5E20D66164884C893C00EF95161925C81AD1@syd-exchange1.ce-bne.cuttingedge>
References: <4EBEAE1E-7A5E-4DB2-B37A-1C98980B8FC0@veralith.com><53bac0a60908130931v183080f5qfc1634da7fb9abbb@mail.gmail.com><34DC1C88FAEB41658039DCEA1C4CB548@DESKTOP>
	<38A03EB88ADB40BFB5F2BE4F4B57CD79@sigma.local>
	<3F5E20D66164884C893C00EF95161925C81AD1@syd-exchange1.ce-bne.cuttingedge>
Message-ID: <0C767C9D-DB53-485F-9702-8B7E6E49BA6C@astound.net>

Ian and Stan,

I also used the Sunburst systems to color spots during that era and  
enjoyed working with Stan and Armand during the installation process  
on systems in Chicago.

The voice synthesizer was a great selling point for some clients. Gave  
them some idea of what I was doing.

For the more difficult clients we found that for some of their more  
inane requests the system would respond verbally with .... You.  In  
that wonderful digital voice that you could make run together.
Lucky for me the that room was set up with the console behind the  
clients and they couldn't see me pressing the digital key pad with the  
4,5 numbers in rapid succession.
They never quite figured it out.

It sure helped my frustration level though.

They where fun times, indeed!

Bob Campbell
San Francisco

Colorist
925 588 5489 cell
BobCampbell at astound.net




From rob at cinelab.com  Tue Aug 18 19:32:19 2009
From: rob at cinelab.com (Robert Houllahan)
Date: Tue, 18 Aug 2009 14:32:19 -0400
Subject: [Tig] black and white film
In-Reply-To: <184F8C3A-A473-4411-8FA9-D695434087D2@colorist.org>
References: <184F8C3A-A473-4411-8FA9-D695434087D2@colorist.org>
Message-ID: <BA0C7B20-BC36-4FE2-BBDC-2E506B6719C4@cinelab.com>

> Reminds me of how gorgeous and silvery this Ilford HP5 Plus 120 film  
> can look.
> What would be the equivalent Motion Picture film?

I would think 5231/7231 would be the closest available stock right now.

-Rob-

Robert Houllahan
rob at cinelab.com
Vp Cinelab Inc.
www.cinelab.com






From rob at cinelab.com  Tue Aug 18 19:34:22 2009
From: rob at cinelab.com (Robert Houllahan)
Date: Tue, 18 Aug 2009 14:34:22 -0400
Subject: [Tig] Hollywood versus the World
In-Reply-To: <0C767C9D-DB53-485F-9702-8B7E6E49BA6C@astound.net>
References: <4EBEAE1E-7A5E-4DB2-B37A-1C98980B8FC0@veralith.com><53bac0a60908130931v183080f5qfc1634da7fb9abbb@mail.gmail.com><34DC1C88FAEB41658039DCEA1C4CB548@DESKTOP>
	<38A03EB88ADB40BFB5F2BE4F4B57CD79@sigma.local>
	<3F5E20D66164884C893C00EF95161925C81AD1@syd-exchange1.ce-bne.cuttingedge>
	<0C767C9D-DB53-485F-9702-8B7E6E49BA6C@astound.net>
Message-ID: <98ABC885-E974-40A9-9F00-A20DD4A53249@cinelab.com>

> I also used the Sunburst systems to color spots during that era and  
> enjoyed working with Stan and Armand during the installation process  
> on systems in Chicago.

I am still running a AFA Copernicus 4X4 but with Digi-Talker disabled  
it is a great color corrector.

-Rob-

Robert Houllahan
rob at cinelab.com
Vp Cinelab Inc.
www.cinelab.com






From rob at colorist.org  Tue Aug 18 19:34:51 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Tue, 18 Aug 2009 15:34:51 -0300
Subject: [Tig] TIG archives search improved
Message-ID: <38316619-B366-49EE-A368-7F5FEE360701@colorist.org>

The TIG mailing list message archives, which include all postings from  
1994 to today, have been re-indexed and can be searched using  
webglimpse at

http://www.colorist.org/wgindex.html .

New features are:
*daily re-indexing
*Rank by date, popularity, title/meta

Webglimpse was chosen after testing all current Open Source search  
engines.

--
Rob Lingelbach  http://www.colorist.org/robhome.html
rob at colorist.org




From BTopazio at company3.com  Tue Aug 18 19:38:35 2009
From: BTopazio at company3.com (Bill Topazio)
Date: Tue, 18 Aug 2009 14:38:35 -0400
Subject: [Tig] Hollywood versus the World
In-Reply-To: <0C767C9D-DB53-485F-9702-8B7E6E49BA6C@astound.net>
References: <4EBEAE1E-7A5E-4DB2-B37A-1C98980B8FC0@veralith.com><53bac0a60908130931v183080f5qfc1634da7fb9abbb@mail.gmail.com><34DC1C88FAEB41658039DCEA1C4CB548@DESKTOP><38A03EB88ADB40BFB5F2BE4F4B57CD79@sigma.local><3F5E20D66164884C893C00EF95161925C81AD1@syd-exchange1.ce-bne.cuttingedge>
	<0C767C9D-DB53-485F-9702-8B7E6E49BA6C@astound.net>
Message-ID: <8B0BA2808E4CEA47B36553F01A9EC63402CB8A70@harbor250ex2.corp.ad>

Yes and if you were so inclined the phrase "cancel" sounded a bit like "a.....e".
It was very demeaning to be called that by your own Sunburst.

 
Bill Topazio
Engineering

-----Original Message-----
From: tig-bounces at colorist.org [mailto:tig-bounces at colorist.org] On Behalf Of Bob Campbell
Sent: Tuesday, August 18, 2009 2:17 PM
To: tig at tig.colorist.org
Cc: Nextgen
Subject: Re: [Tig] Hollywood versus the World

Sohonet http://www.sohonet.co.uk sponsors the TIG.
FilmLight supports the TIG
For IBC, see http://tig.colorist.org/wiki3/index.php/TIGIBCFS09
 ====


Ian and Stan,

I also used the Sunburst systems to color spots during that era and  
enjoyed working with Stan and Armand during the installation process  
on systems in Chicago.

The voice synthesizer was a great selling point for some clients. Gave  
them some idea of what I was doing.

For the more difficult clients we found that for some of their more  
inane requests the system would respond verbally with .... You.  In  
that wonderful digital voice that you could make run together.
Lucky for me the that room was set up with the console behind the  
clients and they couldn't see me pressing the digital key pad with the  
4,5 numbers in rapid succession.
They never quite figured it out.

It sure helped my frustration level though.

They where fun times, indeed!

Bob Campbell
San Francisco

Colorist
925 588 5489 cell
BobCampbell at astound.net


_______________________________________________
http://reels.colorist.org
http://www.colorist.org/wiki3

From rob at cinelab.com  Tue Aug 18 20:17:04 2009
From: rob at cinelab.com (Robert Houllahan)
Date: Tue, 18 Aug 2009 15:17:04 -0400
Subject: [Tig] Hollywood versus the World
In-Reply-To: <8B0BA2808E4CEA47B36553F01A9EC63402CB8A70@harbor250ex2.corp.ad>
References: <4EBEAE1E-7A5E-4DB2-B37A-1C98980B8FC0@veralith.com><53bac0a60908130931v183080f5qfc1634da7fb9abbb@mail.gmail.com><34DC1C88FAEB41658039DCEA1C4CB548@DESKTOP><38A03EB88ADB40BFB5F2BE4F4B57CD79@sigma.local><3F5E20D66164884C893C00EF95161925C81AD1@syd-exchange1.ce-bne.cuttingedge>
	<0C767C9D-DB53-485F-9702-8B7E6E49BA6C@astound.net>
	<8B0BA2808E4CEA47B36553F01A9EC63402CB8A70@harbor250ex2.corp.ad>
Message-ID: <5D710EAE-0C82-4A3C-87BE-6EAD6E8DC6A5@cinelab.com>

> Yes and if you were so inclined the phrase "cancel" sounded a bit  
> like "a.....e".
> It was very demeaning to be called that by your own Sunburst.

That's why mine is disconnected, it's pretty funny the first few time  
but gets a bit long in the tooth after a while..

-Rob-


Robert Houllahan
rob at cinelab.com
Vp Cinelab Inc.
www.cinelab.com






From rob at colorist.org  Wed Aug 19 18:35:40 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Wed, 19 Aug 2009 14:35:40 -0300
Subject: [Tig] IBC; Fix it in Post from Jack James
Message-ID: <D1DF8F66-43FB-4F0C-B859-5065835EB9A0@colorist.org>

Digital Vision and da Vinci Systems have posted writeups for next  
month's IBC.  See http://tig.colorist.org/wiki3/index.php/TIGIBCFS09

Any manufacturers/vendors showing at IBC are welcome to send me their  
information.

Jack James' new book Fix It In Post has been published, and includes  
significant information on color grading.    See http://tinyurl.com/l3r637 
  or the TIG main wiki page http://tig.colorist.org/wiki3 .  For a  
preview of the book see
http://tinyurl.com/mc7hva


--
Rob Lingelbach    TIG admin
rob at colorist.org




From rob at colorist.org  Wed Aug 19 19:03:55 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Wed, 19 Aug 2009 15:03:55 -0300
Subject: [Tig] Potato prints
In-Reply-To: <4A4A303E.1080206@filmlight.ltd.uk>
References: <mailman.1570.1246374462.28133.tig@colorist.org>
	<4A4A303E.1080206@filmlight.ltd.uk>
Message-ID: <D1CD138F-93C2-4438-ADFB-0142A1A98015@colorist.org>


On Jun 30, 2009, at 12:33 PM, Richard Kirk wrote:

> Craig Leffel <craig at optimus.com> sez...
>> I'm trying to find the links I had to the earliest Potato color  
>> prints....
>>
> You mean this sort of thing?
> http://www.flickr.com/photos/george_eastman_house/2677422353/in/set-72157606226772243/
> (Autochromes can involve a potato)

I hadn't had the time to look at that link until recently.  The color  
is really amazing.


--
Rob Lingelbach
rob at colorist.org




From abrosenfeld at gmail.com  Wed Aug 19 19:16:19 2009
From: abrosenfeld at gmail.com (Alan Rosenfeld)
Date: Wed, 19 Aug 2009 14:16:19 -0400
Subject: [Tig] Sad news
Message-ID: <53bac0a60908191116u2a706593q3e00d39d2944f81f@mail.gmail.com>

Steve Garfinkel passed away suddenly on Tuesday morning.  Many of you may
have known him from his 14 years as the East Coast Tech Rep for Kodak or
from his time at Movielab Video.  Steve worked with me in Broadcast QC at
Showtime in the early 80's and was a very good friend.

I have no more details, arrangements are pending, but will be handled
through Riverside Memorial Chapel, 180 West 76th Street, NY, NY,
212-362-6600 http://www.riversidememorialchapel.com/default.asp.

Alan Rosenfeld
The Studio at B&H


From mlbnyc at verizon.net  Wed Aug 19 21:12:48 2009
From: mlbnyc at verizon.net (Michael Bittle)
Date: Wed, 19 Aug 2009 16:12:48 -0400
Subject: [Tig] Sad news
In-Reply-To: <53bac0a60908191116u2a706593q3e00d39d2944f81f@mail.gmail.com>
References: <53bac0a60908191116u2a706593q3e00d39d2944f81f@mail.gmail.com>
Message-ID: <8E94AC12-FA25-4D27-A3A5-D189DABE429A@verizon.net>

Just recv'd this info:

Memorial Service for Steve

Monday evening Aug 24th. 6pm

Riverside Memorial Chapel
180 West 76th Street, NY, NY

(76th and Columbus)

Mike Bittle
VP Tech Ops & Quality
PostWorks LLC

Sent from my iPhone

On Aug 19, 2009, at 14:16, Alan Rosenfeld <abrosenfeld at gmail.com> wrote:

> Sohonet http://www.sohonet.co.uk sponsors the TIG.
> FilmLight supports the TIG
> For IBC, see http://tig.colorist.org/wiki3/index.php/TIGIBCFS09
> ====
>
>
> Steve Garfinkel passed away suddenly on Tuesday morning.  Many of  
> you may
> have known him from his 14 years as the East Coast Tech Rep for  
> Kodak or
> from his time at Movielab Video.  Steve worked with me in Broadcast  
> QC at
> Showtime in the early 80's and was a very good friend.
>
> I have no more details, arrangements are pending, but will be handled
> through Riverside Memorial Chapel, 180 West 76th Street, NY, NY,
> 212-362-6600 http://www.riversidememorialchapel.com/default.asp.
>
> Alan Rosenfeld
> The Studio at B&H
> _______________________________________________
> http://reels.colorist.org
> http://www.colorist.org/wiki3



From jp at aaton.com  Wed Aug 19 21:55:03 2009
From: jp at aaton.com (jp)
Date: Wed, 19 Aug 2009 22:55:03 +0200
Subject: [Tig] Potato prints
In-Reply-To: <D1CD138F-93C2-4438-ADFB-0142A1A98015@colorist.org>
Message-ID: <C6B23347.71929%jp@aaton.com>

Craig Leffel  <craig at optimus.com>

> I'm trying to find the links I had to the earliest Potato color prints.

better color saturation than Eastman House ones:

http://images.google.fr/images?hl=fr&q=autochrome+lumi%C3%A8re&um=1&ie=UTF-8
&ei=2mGMStrROpmOjAf-w_jkCw&sa=X&oi=image_result_group&ct=title&resnum=4

http://www.autochrome.com/Autochrome-centenaire/BioTechnologie.html

--jp
www.aaton.com










From paul at cinelicious.tv  Thu Aug 20 04:42:00 2009
From: paul at cinelicious.tv (Paul Korver)
Date: Wed, 19 Aug 2009 20:42:00 -0700
Subject: [Tig] 35mm Perforator?
Message-ID: <40685BA7-5704-492F-BA1C-7551385A4A47@cinelicious.tv>

Weird question:  I have a short piece of specialized 35mm film stock  
that is currently un-perforated to be used for film scanner analysis.   
I'm looking for someone in Los Angeles that would have the capability  
to add standard BH1866 perfs to this strip of film.  The film is  
already exposed and processed.  I already asked my contacts at Kodak  
and, strangely, they said they were not able to do it.

Thanks in advance,

Paul

www.cinelicious.tv




From grahamcollett at visible-sprockets.co.uk  Thu Aug 20 08:50:41 2009
From: grahamcollett at visible-sprockets.co.uk (Graham Collett)
Date: Thu, 20 Aug 2009 08:50:41 +0100
Subject: [Tig] 35mm Perforator?
In-Reply-To: <40685BA7-5704-492F-BA1C-7551385A4A47@cinelicious.tv>
Message-ID: <2B6B40999F7D40D3AD96DDF604CB4960@Sprocket>

Even if you found someone, you wouldn't have any frame to perf reference
.. Normally that would be generated by the camera when putting the
pictures on .. But you already have the pictures ..what you need is a
sprocketless scanner, maybe like the P+S Teknik german one ..not sure
about the MWA or Sondor. 

Good luck

Graham Collett
Visible Sprockets Ltd
www.visible-sprockets.co.uk
Sprockets(telecine) Ltd
www.sprockets-telecine.co.uk
 


-----Original Message-----
From: tig-bounces at colorist.org [mailto:tig-bounces at colorist.org] On
Behalf Of Paul Korver
Sent: 20 August 2009 04:42
To: tig at tig.colorist.org
Subject: [Tig] 35mm Perforator?


Sohonet http://www.sohonet.co.uk sponsors the TIG.
FilmLight supports the TIG
For IBC, see http://tig.colorist.org/wiki3/index.php/TIGIBCFS09
 ====


Weird question:  I have a short piece of specialized 35mm film stock  
that is currently un-perforated to be used for film scanner analysis.   
I'm looking for someone in Los Angeles that would have the capability  
to add standard BH1866 perfs to this strip of film.  The film is  
already exposed and processed.  I already asked my contacts at Kodak  
and, strangely, they said they were not able to do it.

Thanks in advance,

Paul

www.cinelicious.tv


_______________________________________________
http://reels.colorist.org
http://www.colorist.org/wiki3




From jp at aaton.com  Thu Aug 20 14:08:59 2009
From: jp at aaton.com (jp)
Date: Thu, 20 Aug 2009 15:08:59 +0200
Subject: [Tig] 35mm Perforator?
In-Reply-To: <2B6B40999F7D40D3AD96DDF604CB4960@Sprocket>
Message-ID: <C6B3178B.719B2%jp@aaton.com>



20/08/09 9:50  Graham Collett <grahamcollett at visible-sprockets.co.uk>

>> The film is 
already exposed and processed.

> what you need is a
sprocketless scanner,

like the Jeff Kreines' Kinetta built for the Library of Congress

--jp
www.aaton.com










From rob at cinelab.com  Thu Aug 20 18:01:43 2009
From: rob at cinelab.com (Robert Houllahan)
Date: Thu, 20 Aug 2009 13:01:43 -0400
Subject: [Tig] 35mm Perforator?
In-Reply-To: <C6B3178B.719B2%jp@aaton.com>
References: <C6B3178B.719B2%jp@aaton.com>
Message-ID: <4F389F6D-18EA-400F-8D2B-144217C66CDA@cinelab.com>

> like the Jeff Kreines' Kinetta built for the Library of Congress

I think both the Kinetta and the P+S (we have one) do optical  
recognition of the perfs to steady the frame for scanning. I know Jeff  
made a special kinetta scanner for paper prints that used strobes I do  
not know if that will work for negative though...

-Rob-


Robert Houllahan
rob at cinelab.com
Vp Cinelab Inc.
www.cinelab.com






From rob at colorist.org  Thu Aug 20 21:59:57 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Thu, 20 Aug 2009 17:59:57 -0300
Subject: [Tig] Reels: Google Search Results
Message-ID: <3EFCEB7B-020C-43EC-A39B-4B06860387EA@colorist.org>

These colorists' reels return top results in searches on Google:

**Biggi Klier: #1 ranking (among search results when entering her  
name) for her reel at http://reels.colorist.org

**Benedek Kaban: #6

**Janet Falcon: #3

**Dan Mitre: #1

Because the TIG has been on the net for 17 years and the web for 15,  
statistics weigh in its favor for high returns on Google.

More detailed statistics for any participating colorist are available  
on request.

Any colorist who would like to post her/his reel, and get these kinds  
of search results, is welcome to participate.   Those who are already  
there can update their reels, upload instructions will be sent on  
request.

--
Rob Lingelbach
rob at colorist.org




From vinny at cineworks.com  Thu Aug 20 22:21:04 2009
From: vinny at cineworks.com (Vincent G. Hogan)
Date: Thu, 20 Aug 2009 17:21:04 -0400
Subject: [Tig] Aaton Keykode UCR-B reader needed
Message-ID: <D7C4A80DB6B6D347977B1F936558CF6088B7EA@PDC.cineworks.com>


In need of an Aaton Keykode UCR-B reader head on an S-1 base for a  
Sony Vialta.

Thanks,
Vinny
Cineworks Digital Studios,Inc.


From jeffkreines at mindspring.com  Thu Aug 20 23:20:12 2009
From: jeffkreines at mindspring.com (Jeff Kreines)
Date: Thu, 20 Aug 2009 17:20:12 -0500
Subject: [Tig] Kinetta Scanner -- was 35mm Perforator?
In-Reply-To: <4F389F6D-18EA-400F-8D2B-144217C66CDA@cinelab.com>
References: <C6B3178B.719B2%jp@aaton.com>
	<4F389F6D-18EA-400F-8D2B-144217C66CDA@cinelab.com>
Message-ID: <5ACC552E-5522-40F4-94DE-2724DE992308@mindspring.com>


On Aug 20, 2009, at 12:01 PM, Robert Houllahan wrote:
>
>> like the Jeff Kreines' Kinetta built for the Library of Congress
>
> I think both the Kinetta and the P+S (we have one) do optical  
> recognition of the perfs to steady the frame for scanning. I know  
> Jeff made a special kinetta scanner for paper prints that used  
> strobes I do not know if that will work for negative though...

The original prototype Kinetta scanner,  built a few years ago for  
the Library of Congress, was designed specifically for scanning paper  
prints, and used pulsed xenon frontlighting.  We added a gate and  
lamphouse for film because it seemed silly not to.  At the time,  
pulsed-xenon was the best choice in terms of brightness and short  
pulses of light -- but we now use R-G-B photonic devices that can be  
pulsed as briefly as 10 microseconds at very high current, in a  
traditional integrating sphere for scratch suppression.

The original paper print scanner was damaged in the move to the LOC's  
new facility, so we are modifying their new Kinetta Archival Scanner  
to handle paper prints in addition to all of the film formats it can  
scan (everything from 8mm to 35mm, including 9.5mm, 17.5mm, 22mm,  
28mm).  We use proprietary optical perf readers and a specialized  
processor that can deal with all sorts of perf damage, and can even  
scan unperforated material (many paper prints are unperforated).

We are installing the first fast 4K version at another archive --  
with a special monochrome 4K x 3K sensor that will run at 24 fps.  We  
were somewhat surprised to find that even older dupes (e.g. a nitrate  
master positive contact printed from a negative of 1937 newsreel  
film) contain a lot of detail evident in a 4K scan but lost in a 2K  
scan.  The scanner can be instantly upgraded (in minutes) to take  
advantage of new sensors as they come along -- we are working on a  
special 8K x 6K machine for a very interesting archival project that  
requires that much resolution.  Standard res is, for 1:1.33 material,  
2400 x 1800, and sensor and lens can be moved like an optical printer  
to scan the entire image, part of the image, or the entire film edge- 
to-edge to preserve all edge markings.

Please note that this scanner is not designed to compete with modern  
production scanners or telecines -- it is meant specifically for  
scanning extremely damaged and shrunken film that would never make it  
through machines with sprockets or small-diameter rollers.  A couple  
of weeks ago we scanned some extremely decomposed nitrate -- a tinted  
print that was oozing goo, and made horrible noises as each layer  
unstuck itself from the roll.  Left a good bit of residue on the PTRs  
and gate, but the scan was surprisingly steady, even in places where  
the film was missing an edge and most of the perfs on one side.  This  
reel would not have made it through a traditional scanner.  It's not  
a replacement for your Arriscan or Spirit 4K or Northlight.

The other goal of our archival scanner is to greatly reduce the cost  
of scanning so it's as cheap as recanning.  The only way that most  
material will get preserved is if an archive decides to scan  
everything they have, not just the hits that might generate income.   
If you have enough material to keep a machine busy, the total cost of  
scanning a reel of film (1000 feet of 35mm) and storing it on 2 LTO-4  
tapes is in the $20-30 range, including operator salary, based on a  
five year project.  That makes scanning too cheap NOT to do.  And  
that's the point -- the best things in archives are the undiscovered  
gems, the mystery cans, the films no one has ever heard of.  They  
need to be preserved too.

Jeff "a bit obsessed, clearly" Kreines
Kinetta





From mikko.kuutti at kava.fi  Fri Aug 21 06:50:53 2009
From: mikko.kuutti at kava.fi (Mikko Kuutti)
Date: Fri, 21 Aug 2009 08:50:53 +0300
Subject: [Tig] 35mm Perforator?
In-Reply-To: <40685BA7-5704-492F-BA1C-7551385A4A47@cinelicious.tv>
References: <40685BA7-5704-492F-BA1C-7551385A4A47@cinelicious.tv>
Message-ID: <20463805-241B-4823-BEE9-92CC8C6A30F3@kava.fi>

I guess you are looking for someone with one of these for instance: http://www.buko-gmbh.de/pfm335_e.htm

I also surmise that you need to run your film through a specific  
scanner to test the scanner so another sprocketless scanner won't do  
the trick?

The only perforating machines I have personally seen have been in film  
museums. I'll ask around in the archive world.

Best,

Mikko

Mikko Kuutti
Deputy Director
National Audiovisual Archive



On 20.8.2009, at 6.42, Paul Korver wrote:

> Sohonet http://www.sohonet.co.uk sponsors the TIG.
> FilmLight supports the TIG
> For IBC, see http://tig.colorist.org/wiki3/index.php/TIGIBCFS09
> ====
>
>
> Weird question:  I have a short piece of specialized 35mm film stock  
> that is currently un-perforated to be used for film scanner  
> analysis.  I'm looking for someone in Los Angeles that would have  
> the capability to add standard BH1866 perfs to this strip of film.   
> The film is already exposed and processed.  I already asked my  
> contacts at Kodak and, strangely, they said they were not able to do  
> it.
>
> Thanks in advance,
>
> Paul
>
> www.cinelicious.tv
>
>
> _______________________________________________
> http://reels.colorist.org
> http://www.colorist.org/wiki3




From paul at cinelicious.tv  Fri Aug 21 07:32:56 2009
From: paul at cinelicious.tv (Paul Korver)
Date: Thu, 20 Aug 2009 23:32:56 -0700
Subject: [Tig] 35mm Perforator?
In-Reply-To: <20463805-241B-4823-BEE9-92CC8C6A30F3@kava.fi>
References: <40685BA7-5704-492F-BA1C-7551385A4A47@cinelicious.tv>
	<20463805-241B-4823-BEE9-92CC8C6A30F3@kava.fi>
Message-ID: <1C3B29E5-CEFC-4A35-99A0-23028392472C@cinelicious.tv>

Thanks Mikko,
Yes don't want my test to be limited to sprocketless scanners.  Thank  
you all for the info.  Ted Langdell suggested I post on AMIA which I  
will do soon.
-Paul

On Aug 20, 2009, at 10:50 PM, Mikko Kuutti wrote:

> I guess you are looking for someone with one of these for instance: http://www.buko-gmbh.de/pfm335_e.htm


From richard at filmlight.ltd.uk  Fri Aug 21 09:04:00 2009
From: richard at filmlight.ltd.uk (Richard Kirk)
Date: Fri, 21 Aug 2009 09:04:00 +0100
Subject: [Tig] Potato prints
In-Reply-To: <mailman.179.1250802099.25896.tig@colorist.org>
References: <mailman.179.1250802099.25896.tig@colorist.org>
Message-ID: <4A8E54F0.3080304@filmlight.ltd.uk>

Rob Lingelbach (rob at colorist.org) wrote:
> I hadn't had the time to look at that link until recently. The color 
> is really amazing.

Before everyone rushes out to look at Autochrome originals, I had better 
warn you that they  may not look as good as  they appear on the web. The 
image is made from dots of orange-red, green, and blue-violet, so the 
best white you can get will be a muddy brown-grey, about the tone of an 
18% grey card. You can adapt to the white point - I am always amazed by 
the 'white' you can get in the 'Financial Times' images, which is 
printed on pink paper - but this is too dark for us to adapt to, even 
with a dark surround.

Remember 'Polacolor' slides? This was the same technology - you had red, 
green, and blue stripes and a black & white emulsion that developed. The 
stripes were used to filter the incoming light, and to produce the 
colours on the developed image. The horizontal resolution was not great, 
and they looked pretty dim in a presentation with ordinary slides.

The solution with some autochromes was to go for 'high-gain' images. 
They made autochrome prints on silver foil, or glass mirrors. These can 
give you wonderful, bright, saturated images, but only if you can view 
the image when it is reflecting a broad, white source. It is a bit like 
viewing a colour hologram - you have to do a lot of wiggling you head 
and moving the thing before you can seen the colors properly.

Heres an even funkier color process...
http://en.wikipedia.org/wiki/Lippmann_plate

Cheers.
Richard Kirk

-- 
FilmLight Ltd.  	Tel: +44 (0)20 7292 0400 or 0409 224 (direct)
Artists House,		Fax: +44 (0)20 7292 0401
14-15 Manette Street    
London W1D 4AP





From ted at tedlangdell.com  Fri Aug 21 16:25:56 2009
From: ted at tedlangdell.com (Ted Langdell)
Date: Fri, 21 Aug 2009 08:25:56 -0700
Subject: [Tig] 35mm Perforator?
In-Reply-To: <1C3B29E5-CEFC-4A35-99A0-23028392472C@cinelicious.tv>
References: <40685BA7-5704-492F-BA1C-7551385A4A47@cinelicious.tv>
	<20463805-241B-4823-BEE9-92CC8C6A30F3@kava.fi>
	<1C3B29E5-CEFC-4A35-99A0-23028392472C@cinelicious.tv>
Message-ID: <05EBB070-45E5-4A4B-A08E-1D7C66E3780C@tedlangdell.com>

I've been asking around AMIA's Reel Thing happening Thurs-Sat. at the  
Academy.
http://www.amianet.org/events/thereelthing/schedule09.html

We've turned up a company with a 16mm perforator... but no 35 yet.

Folks I've asked are cogitating about whom might have one... perhaps  
buried in storage somewhere.

Then the question is, "What type and pitch of perfs can it produce?"

BTW:  The 4K digital restoration and 4K projection of Snow White was  
quite a presentation.  No image weave or bounce. And no perceptible  
grain!

It's headed for BluRay disc, but if you get a chance to see it as a  
4K projection in a good theater, you're in for a treat.

(I do not work for Disney :)

Ted

On Aug 20, 2009, at 11:32 PM, Paul Korver wrote:
>
> Thanks Mikko,
> Yes don't want my test to be limited to sprocketless scanners.   
> Thank you all for the info.  Ted Langdell suggested I post on AMIA  
> which I will do soon.
> -Paul
>
> On Aug 20, 2009, at 10:50 PM, Mikko Kuutti wrote:
>
>> I guess you are looking for someone with one of these for  
>> instance: http://www.buko-gmbh.de/pfm335_e.htm
> _______________________________________________
> http://reels.colorist.org
> http://www.colorist.org/wiki3

Ted Langdell
flashscan8.us
209 East 12th Street
Marysville, CA 95901
Main: 	(530) 741-1212
Cell: 	(530) 301-2931

ted at flashscan8.us

See you at AMIA 2009 in St. Louis
flashscan8.us







From rob at colorist.org  Fri Aug 21 22:11:27 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Fri, 21 Aug 2009 18:11:27 -0300
Subject: [Tig] Wanted: used Northlight One
Message-ID: <C1DB7475-DDF3-4ECA-8117-DE204598DEB1@colorist.org>

"Wanted: Used Northlight One.  please contact Jean-Francois Curtes,
tvprovideo at gmail.com"

see http://tig.colorist.org/wiki3/index.php/Classifieds  for more ads.

--
Rob Lingelbach
rob at colorist.org




From abrosenfeld at gmail.com  Mon Aug 24 18:22:43 2009
From: abrosenfeld at gmail.com (Alan Rosenfeld)
Date: Mon, 24 Aug 2009 13:22:43 -0400
Subject: [Tig] Panasonic Professional Plasma Seminar in NY
Message-ID: <53bac0a60908241022w17c0efb8m7ba78e835115611f@mail.gmail.com>

On Wednesday September 2nd, 2009 The Studio at B&H will be hosting a
technical seminar about the professional line of Panasonic Plasma Monitors.
The discussion will center on issues of mastering and color evaluation in
post production environments.  The seminars are being presented by Peter
Putnam of HDTVexpert.com and Jim Noecker, Director of Systems Sales
Engineering, *Panasonic Professional Display Company*. There will be two
sessions available.  For more information and registration please use the
following link to The B&H Event Space:


http://www.bhphotovideo.com/find/eventDetails.jsp/id/480

The event is also posted to the TIG calendar.  Hope to see some of you
there.

Alan Rosenfeld
The Studio at B&H


From carl at stopp.se  Tue Aug 25 10:23:51 2009
From: carl at stopp.se (Carl Skaff)
Date: Tue, 25 Aug 2009 11:23:51 +0200
Subject: [Tig] 3D mivie with subtitles
Message-ID: <C67BBBCA6F40ED408E4F8154EFDA4725931D693C00@exchange.stopp.se>

When wathcing a 3D movie that haw subtitles, the text apear to float in the middle of the focus depth...
Aperently that can be very anoying for the audience to have to shift their focus to look at the text and then shift it back to look at the movie.

Is there anyone that are working on a new way to subtitle in 3D?
Maybe thats a new way to make money, after the grading/online is all done and aproved you get the client in for a 3D subtitleing session, desiding on a shot per shot basis on the depth of the text. 
Although from what I've heard from 3D colorists is that changing the depth (aligning the eyes) will make your brain hurt after an hour or two.
So you would have to book two "colorists"doing a tag team session for maybe two days.


/carl



Carl Skaff
_____________________
Head of Telecine
Stockholm Postproduction
www.stopp.se
phone: +46 8 50 70 35 00
fax:     +46 8 32 77 22


From ramona at spectsoft.com  Tue Aug 25 17:01:22 2009
From: ramona at spectsoft.com (Ramona Howard)
Date: Tue, 25 Aug 2009 09:01:22 -0700
Subject: [Tig] 3D mivie with subtitles
In-Reply-To: <C67BBBCA6F40ED408E4F8154EFDA4725931D693C00@exchange.stopp.se>
References: <C67BBBCA6F40ED408E4F8154EFDA4725931D693C00@exchange.stopp.se>
Message-ID: <200908250901.22165.ramona@spectsoft.com>

On Tuesday 25 August 2009 2:23:51 am Carl Skaff wrote:

> When wathcing a 3D movie that haw subtitles, the text apear to float in the
> middle of the focus depth...

This is very much the truth.

A different issue, along the same lines.  Within our new 3D product, we  
consider how the text appears to the user for this very same reason.  Luckily 
the programmers can see all this in real-time and put forth a method that 
makes this watchable.

If we could provide a tool to place the titles in the proper 3D space in 
real-time would that be useful? 

Cheers,
Ramona


-- 
Ramona Howard
Oakdale, Ca 95361
209 847-7812 ext 104
www.spectsoft.com

Co-founder of SpectSoft, makers of the Rave product line.



From xsankar at hotmail.com  Wed Aug 26 03:22:56 2009
From: xsankar at hotmail.com (Sankar Thiagasamudram)
Date: Tue, 25 Aug 2009 19:22:56 -0700
Subject: [Tig] 3D mivie with subtitles
In-Reply-To: <C67BBBCA6F40ED408E4F8154EFDA4725931D693C00@exchange.stopp.se>
References: <C67BBBCA6F40ED408E4F8154EFDA4725931D693C00@exchange.stopp.se>
Message-ID: <BAY104-W51352170A85A3C141454AFB3F70@phx.gbl>


>> Is there anyone that are working on a new way to subtitle in 3D?
Yes. There is a lot of work being done currently in the SMPTE 21 DC - stereo subtitle committee on standardization of 3d subtitles for Digital cinemas. Once the standard is available there should be a lot more support from vendors. This is being built on top of the existing 2D subtitle spec.
Some of the interesting things being discussed are, if there is a "drop shadow" for the 3D text, should it be in a plane behind the subtitle or in the same plane (feather effects instead of drop shadow) etc.
Sankar Thiagasamudram--DVS Digital Video Inc,Burbank, CA

> From: carl at stopp.se
> To: tig at colorist.org
> Date: Tue, 25 Aug 2009 11:23:51 +0200
> Subject: [Tig] 3D mivie with subtitles
> 
> Sohonet http://www.sohonet.co.uk sponsors the TIG.
> 2030 subscribers in August 2009
> FilmLight, da Vinci, Digital Vision at IBC
> http://tig.colorist.org/wiki3/index.php/TIGIBCFS09
>  ====
> 
> 

_________________________________________________________________
Windows Live: Make it easier for your friends to see what you’re up to on Facebook.
http://windowslive.com/Campaign/SocialNetworking?ocid=PID23285::T:WLMTAGL:ON:WL:en-US:SI_SB_facebook:082009

From carl at stopp.se  Wed Aug 26 09:15:23 2009
From: carl at stopp.se (Carl Skaff)
Date: Wed, 26 Aug 2009 10:15:23 +0200
Subject: [Tig] Tig Digest, Vol 144, Issue 1
In-Reply-To: <mailman.206.1251258392.25896.tig@colorist.org>
References: <mailman.206.1251258392.25896.tig@colorist.org>
Message-ID: <C67BBBCA6F40ED408E4F8154EFDA4725931D693C0B@exchange.stopp.se>


-- the best things in archives are the undiscovered
gems, the mystery cans, the films no one has ever heard of.  They
need to be preserved too.

Jeff "a bit obsessed, clearly" Kreines
Kinetta


As you say, the best thing are the undiscovered cans... 
Can the scanner archive the CANS aswell :) ?
Sometimes the physical cans can tell more of a story then the film inside would. Writing of where it has been, who has signed it in/out of storage.
Imagine a can old soft-porn that has the signature of an old president :) Now thats worth archiving. Aswell as fingerprints.
In the end we need a 3D-holographic scanner that can capture even a fingerprint in 100year old dust :)

/carl




Carl Skaff
_____________________
Head of Telecine
Stockholm Postproduction
www.stopp.se
phone: +46 8 50 70 35 00
fax:     +46 8 32 77 22


From trovak at comcast.net  Wed Aug 26 20:58:59 2009
From: trovak at comcast.net (Tom Rovak)
Date: Wed, 26 Aug 2009 14:58:59 -0500
Subject: [Tig] hey everyone
Message-ID: <A4A1E5B0E4C64AAE9613CA9052179F36@tomblrxvrqve89>

Hey everyone, it's been a while since I've been on here.  I just wanted to say hi to everyone.

Tom Rovak

From screenwarmer at cox.net  Thu Aug 27 03:36:03 2009
From: screenwarmer at cox.net (Rich Montez)
Date: Wed, 26 Aug 2009 22:36:03 -0400
Subject: [Tig] 3D mivie with subtitles
In-Reply-To: <C67BBBCA6F40ED408E4F8154EFDA4725931D693C00@exchange.stopp.se>
Message-ID: <20090826223603.LVN6K.113114.imail@fed1rmwml37>

Hi Carl,

Perhaps this is a stupid question but why make the subtitles 3D?
Wouldn't one channel avoid this issue?

Rich
---- Carl Skaff <carl at stopp.se> wrote: 
> Sohonet http://www.sohonet.co.uk sponsors the TIG.
2030 subscribers in August 2009
FilmLight, da Vinci, Digital Vision at IBC
http://tig.colorist.org/wiki3/index.php/TIGIBCFS09
 ====


When wathcing a 3D movie that haw subtitles, the text apear to float in the middle of the focus depth...
Aperently that can be very anoying for the audience to have to shift their focus to look at the text and then shift it back to look at the movie.


From jeff.olm at gmail.com  Thu Aug 27 05:28:08 2009
From: jeff.olm at gmail.com (Jeff Olm)
Date: Wed, 26 Aug 2009 21:28:08 -0700
Subject: [Tig] 3D mivie with subtitles
In-Reply-To: <20090826223603.LVN6K.113114.imail@fed1rmwml37>
References: <C67BBBCA6F40ED408E4F8154EFDA4725931D693C00@exchange.stopp.se>
	<20090826223603.LVN6K.113114.imail@fed1rmwml37>
Message-ID: <43298eae0908262128w39c8e448rd37495b26b7ba98e@mail.gmail.com>

Rich,
I thought this at first also last year.
But after some headaches and testing.
A single channel subtitles place the titles at the screen plane.
If the stereo content has image forward of the screen plane the titles
would be  embedding in the stereo image.
 It appears subtitles work best forward, of the nearest stereo image.
Vendor improvements in this area would be appreciated by the stereo
post community.
A global default stereo setting and a single knob to adjust shot by
shot would suffice.
best,
Jeff Olm
Stereo FX and Colorist
LA, CA



From rob at colorist.org  Thu Aug 27 17:10:02 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Thu, 27 Aug 2009 13:10:02 -0300
Subject: [Tig] IBC highlights
Message-ID: <7D935E63-A9E4-41BC-A3AE-84004D323FA3@colorist.org>

Cintel, XDT, Cine-tal, FilmLight, da Vinci, Digital Vision are  
featured with new products on the IBC Focus Sheet for 2009 at

http://tig.colorist.org/wiki3/index.php/TIGIBCFS09


--                                       sent from my DEC VT100 terminal
Rob Lingelbach    TIG admin
rob at colorist.org








From Steve at veralith.com  Fri Aug 28 05:32:24 2009
From: Steve at veralith.com (Steve Hullfish)
Date: Thu, 27 Aug 2009 23:32:24 -0500
Subject: [Tig] color photos from FSA and OWI in early 1940s
Message-ID: <0E8AF5B3-2720-4B1C-9EDC-EC33EC1D28A6@veralith.com>

Some of these have very cool looks. Just a little something for  
inspiration

I have no relation to the website or the Office of War Information.

http://www.pdnphotooftheday.com/2009/03/628

Steve Hullfish



From rob at colorist.org  Fri Aug 28 18:38:54 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Fri, 28 Aug 2009 14:38:54 -0300
Subject: [Tig] parties at IBC
Message-ID: <8C5C56B8-D135-4DA5-BC80-5A7595AB4FFD@colorist.org>

There's one party we know about at IBC, on Sept. 12 at the FilmLight  
stand F.731 as listed in the TIG calendar at
http://tig.colorist.org/wiki3/index.php/Calendars:TIG_main

are there any others?

Rob

--  sent from my DEC VT100 terminal
Rob Lingelbach
rob at colorist.org









From rob at colorist.org  Sat Aug 29 00:52:39 2009
From: rob at colorist.org (Rob Lingelbach)
Date: Fri, 28 Aug 2009 20:52:39 -0300
Subject: [Tig] Complete SD Telecine system
Message-ID: <7DF3CB48-E639-46A6-9681-A5FB1FCDD3D2@colorist.org>

Appearing on the TIG Classifieds at
http://tig.colorist.org/wiki3/index.php/Classifieds

Bosch 444 Quadra in perfect working condition, just taken out of service
DaVinci 8:8:8 Color Corrector with DUI, just taken out of service
Bosch MNR 11 Noise reducer (needs work)
Leitch Still Store
TLC 2

The telecine makes great 535/635 pictures. Asking $50,000 for the  
package.
Don Jensen
Alpha Cine Labs
Seattle, Wa.

206 260 1621


--  sent from my DEC© VT100© terminal
Rob Lingelbach
rob at colorist.org