[Tig] RE: Compressed Grade Transfers
Sun Nov 4 23:33:02 GMT 2001
There's a couple of ways to do this easier than an external processing box.
One is to use the TBC controls on the VTR to crush blacks and lift gains for
the viewing dub pass. This isn't exactly accurate, but gives a better
indication of how the final grade may look.
A better way is to record 2 signals, one from the telecine primary where the
basic balance of the picture is set with no crushed blacks or clipped whites
(this is recorded as the digital dailies master) and a second recording
which is the secondary output of the colour corrector. This can go to SP or
Umatic and be used for the editing and dubbing copy.
You can grade this secondary however the DOP/Producer wishes and still have
the digital copy at the correct settings for a tape to tape grade.
Cutting Edge Post
From: tig-admin at tig.alegria.com [mailto:tig-admin at tig.alegria.com]On
Behalf Of Grant Petty
Sent: Monday, November 05, 2001 9:17 AM
Subject: Re: [Tig] RE: Compressed Grade Transfers
This is a topic I thought about a few years ago. I was considering
building up an SDI device to add a specific gain to the video signal so
it would "enhance" the grade.
So the idea was we could put these in the telecine monitor SDI video
line, and you would see an enhanced version of what you were really
grading, but in reality, the grade would be flatter down on tape.
We could then put the same devices in the edit suites, to make the
images look the same as the telecine suite, but the edited video would
The idea is the clients and the editors would see a fairly normal
looking grade, but there would be a lot more detail in the video signal.
Then when a tape to tape grade was done, there would be a lot more
detail in the blacks and whites available to grade with.
I think basicly the SDI video interconnect was specified to transport
images for viewing, but this product was to try and redefine the levels
for a basic form of film data transport via 10 bit video.
The device would be digital and connected via SDI, so the gain amount
could be standard throughout the building, and the box's would not drift.
I never really got around to it though, as I was to busy building
uncompressed video cards at the time!
Perhaps someone else might want to make a product like this.
On Monday, November 5, 2001, at 10:51 AM, Dominic Case wrote:
>> who may lack
>> the funds to pay for full color correction during the
>> telecine process.
> The only problem is that the first transfer looks dull and lifeless
> not meant to look good), and you often get producers upset that they
> have to
> "pay again to have the colour grade fixed up - why didn't they get it
> the first time?".
Thank you Stan Chayka of ColorVision,
and Dwaine Maggart of daVinci, for contributions.
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