[Tig] Digital Negatives [was HIGH DEFINITION]
Wed Jul 17 22:19:14 BST 2002
I am not sure the comments from contributors about color space / contrast
range and realizing the DP's vision. DP's seem to be appreciative of the
control they can have over their images in a data grading environment. The
interesting point I think is whether we are enhancing the grade from the
lab process in the digital realm. We have been grading film resolution
images in a Telecine grading room for many years now (proprietary system)
and we find that the results when recorded back to film are quite stunning
because of the ability to selectively grade the image rather than being
limited to RGB lights, and the images have been more consistent.
The resolution and color space questions will be of ongoing discussion
because someone will always have a better system and will use it for
promotion and maybe to denigrate a 'lesser' system.
The cost structure will change over time, when that happens will we get
'better' results from DI?
>P.S. I worked for almost 15 years at the "other" Complete Post -- on Sunset
>& Gower in Hollywood. I believe they've been using that name for about 25
Complete Post Australia have been in business for about 22 years now, but
yes they were first.
At 05:01 PM 7/16/02 -0700, you wrote:
>Chris Schwarze <chris.schwarze at completepost.com.au> commented on 7/16/02
> > I find it interesting that a Lab timed interneg/interpos film requires
> > several days in a digital grading room before an acceptable result is
> > obtained for TV or DVD release. Add to that despotting time to repair the
> > inevitable defects, dirt sparkle etc from the film process. Does this mean
> > that transferring to digital from camera neg, grading digitally and
> > despotting will result is a 'better' more consistent grade and a cleaner
> > release print?
>I think the most honest answer is "it depends." Given sufficient resolution
>and enough bits, yes, it should be better -- cleaner, for sure. But there
>are a lot of variables, such as the quality of the original input-scanning
>device, and different methods used to create the final film-out negative.
>In the case of a 16mm -> data correction -> 35mm print, I think the results
>can look better than a straight 16mm optical blow-up to 35mm.
>Also, "several days" is kind of a misnomer. I know of many major films that
>took more than a month to color-correct the IP just for home video release
>-- either due to length reasons (like the recent LORD OF THE RINGS),
>creative/artistic problems, or having many people involved with the
> Hollywood, USA
>[Note: the opinions expressed expressed above are strictly my own, and not
>necessarily that of my employers.]
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