[Tig] Digital Negatives [was HIGH DEFINITION]

Chuck Harrison cfharr
Thu Jul 18 03:14:23 BST 2002

Peter, Marc, Chris,

Don't get me wrong, I think DI grading is the best thing since
sliced bread. Truly, it's GREAT STUFF!

The thing I toss my wet towel on is the "one grading session, and
you're onto film and video."
(more below)

Peter Webb wrote:
> > [Marc Weilage] What I think could eventually happen
> > is that the director will only have to color-time the film ONCE, and then
> > that material will yield the film prints, D-cinema projection, and home
> > video masters.
> yes Marc - I also think that will happen / is happening.
> It does make a lot of sense to master at the highest
> required resolution and use that data for all purposes.
> The thing
> that has impressed me most in recent months was sitting
> in E-Film's digital grading theatre and watching the
> colourist demo grading a feature. The psychological and
> emotional impact of images projected at near movie theatre
> scale is a whole different experience to watching a monitor.

I contend you can't grade properly for video while watching
the big screen. It's different constraints: different color
space, different contrast range, different viewing distance,
different surround brightness, etc.

In principle, doing the DI film grade doesn't get you any
farther along towards video than having a properly timed
IP. In practice, it *is* a big timesaver because
all the edls are set up, the data's already on your disks
in a usable format, etc. etc. And we're able to do a
credible "first cut" using various proprietary color-
management tools to re-render to video. But if you've got
tough "film noir" shadow detail that looks great on the
filmout I daresay you'll still be spending a lot of time on
the color corrector. That is, if you care about the quality
of the video, and if your client does.

An iQ is great but it isn't magic fairy dust; video is
*still* different from film and you *still* gotta have
the chops to make it dance.



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