[Tig] SHADOW

George Carlston gcarlston
Thu Nov 15 15:41:03 GMT 2001


I worked at Modern Videofilm on what I think was one 
of the first Shadows delivered in the U.S. Thomson, 
(Philips at the time) were very helpful during the 
setup and testing phase, and have been ever since. 
Modern ended up getting a second Shadow as well. (In 
addition to many Spirits, which I also worked on) 

I ended up doing a variety of film and video formats 
on the Shadow, including dual sync dailies in 35MM 3 
perf. That was where the "Jitter" problem came up. 
Carl Van Kamp, from Thomson, spent many a night with 
us waiting to see that Jitter happen on its own, 
because Philips couldn't duplicate it in Germany... He 
and everyone else from Philips/Thomson were great. 
Because of their diligence, the jitter problem seems 
to have been solved.

I also had the perf jump occur in 3 perf fairly 
regularly. I only had it very rarely in 4 perf. In 4, 
if you're sure to line up your framing on the sprocket 
marks. you should be o.k. I don't have an answer on 
the 3 perf jump, but I didn't find it to be too large 
a problem. (Just a mild annoyance.)

Most of my work at Modern was in T.V. dailies. Between 
the Spirit and Shadow, I found the Shadow to react a 
tiny bit like the Quadra, as far as feel. (As opposed 
to the Spirit.) That's rather esoteric, but I found 
others at Modern who'd worked on both came to the same 
conclusion. This isn't a dig on the Shadow at all. I 
think it's a great telecine for what it was designed 
to do. The sharpness wasn't an issue, once it was 
dialed in. A lot of people have made an issue of the 
sharpness issue, when compared to the Spirit. It's 
true that the optics are different on the Shadow, but 
after well over two thousand hours logged on a Shadow, 
(in addition to those spent on the Spirit) I didn't 
see that as an issue at all. As long as you check 
focus at the start of your session, you should be 
fine.

My experience with both telecines left me with the 
impression that the Shadow is more than worth the 
price. I can't speak for any other facility, but 
between Thomson and an excellent telecine engineering 
department at Modern, Our Shadows had relatively 
little down time, (almost none once they were dialed 
in) performed beautifully, and made for some very 
happy clients. (Including some who were NOT happy at 
first when they found they weren't booked in a Spirit 
bay, but who became quick converts when shown what 
results could be acheived.) I wouldn't hesitate to 
recommend the Shadow to anyone who inquired.


George Carlston
colorist
(formerly of Modern Videofilm in Burbank, CA, looking
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