[Tig] Why not use...
Fri Mar 7 19:45:38 GMT 2003
Stan Chayka typed: In Detroit, another suite had the client sofa forward of
the colorist' desk
and the client viewed a video projection screen image. In my opinion, the
projector was not up to the task and this configuration migrated to a more
traditional client seating arrangement. But the idea to take the technology
out of the process was, I think an excellent one.
The projector is still there,but I don't think any of the colorists
including me ever considered the big image useful for any CC calls other
than the occasional compositional adjustment. It did indeed, Stan, have the
art director,director,sometimes producer sit at the elbow of the colorist.
But that was fine and expected. As a matter of fact we would indicate the
more comfortable seating arrangement be the spot for the "busy" part of the
group or entourage. Whilst the other(s) producer, dp,art dir et al sit at
the colorist's desk.
Sometimes the busy people(the ones with the permanent phones attached) would
feel left out and walk over to peer at the real monitor.
We have since added two more "matching" Sony monitors. One at the client
side on the colorist's desk and the other at the comfortable area next to
the screen. This has greatly alleviated the left out of the group feeling
and stopped all the crowding behind the colorist.
There are and always will be, imho, exceptions, where, the only good monitor
or god monitor is the one the colorist uses. Well indeed we assure that one
is tweaked in for accuracy, but so are the others. Why not? If I worked in a
house that had multiple cc suites wouldn't all the colorists monitors in
each one be considered tweaked for accuracy?
Granted nuances are inherent but don't we all have our accurate monitors to
work our art on?
The clients seem to easily accept the fact that they all look the same. And
so they do, to a degree...
The big screen is fun to show their work cut on as a big image or to play
dvd, cable or taped movies etc.
Trying to get a dlp or such.
Telecine Tales. I remember the 80's, well partly, when on night shift the
FDL60 kept shutting completely off when nearing the end of a print I was
trying to layoff. A little bit of head scratching and few attempts later we
had it figured out.
Turns out the metal cue tab at the end would get zapped by the electronic
ionizers and short the system down. DUH!
Disclaimer: Been zapped but otherwise not compensated for the use of
Kevin Ayres Colorist
Producers Color Service
More information about the Tig