[tig] OH those fun Telecine debates
Wed Sep 24 05:15:47 BST 2003
Quoting Clark Bierbaum <clark at thefilmfoundry.com>:
> If you have a chance check out DAV's Cineglyph http://www.dav-inc.com
> - an IMPRESSIVE machine at a REALISTIC cost.
Clark, while I agree with you, and I certainly enjoyed your sentiment and
delivery, I disagree with your assumtion there's no money in D.I.'s
On the contrary, I just returned from IBC and there were last I counted, 12
different viable color correction systems on the floor. It was THE year for
color. Everyone has decided there is money to be made off color correction, and
all you need is a way to get images onto a drive or network storage device.
This latest discussion on this hobbled TIG ( colorist anyone? ) should be an
obvious example to all
of us that the color correction market is radically changing ( as it has been
for years ) - and will soon stratisfy into a number of niche areas. Some of us
will work on boxes that are nothing more than an editor with some color
correction built in, and some of us will work on the most sofisticated color
correction apparatus ( tai? ) ever invented. and some of us will stay in
conventional telecine suites with new-ish equipment, or long payed for tube
based machines. Some of us will remain commercial folk, some feature folk, and
some of us will do all of it 24 hours a day like our friend Stefan.
The point is, there's no "right" or "better" way anymore. What will be accepted
by clients all over the world is radically changing. 1K, 2K, 4K, 6K, and 8K in
my opinion will become motis apperendi for the suppliers and NOT specifically a
demand by clients. We all know that clients will accept the highest amount of
quality they can afford for the least amount of cost. And, no matter what
anyone says - I don't know a single art director or DoP for that matter that
can see the difference between 2K and 4K let alone higher res. Now, before you
go and jump me, surely you know that I realise there might be technical reasons
that working in 4K, 8K etc. would be better for the project - but that will
become the call of the effects/finishing house and not the client the way I see
I am not surprised that there has not been any discussion of real worth yet
about what was shown at IBC. It was stunning and overwhelming. Run, do not walk
to a site that involves Siliconcolor.com. They are doing some very interesting
things. Check out Nucoda as well as Baselight. Check out Lustre and Resolve.
Think about Pirhanna and Q-color. Then consider how much your
conventional telecine will be worth in the near future. Clients have proven
over and over again that they have no idea what they want or need. However,
when presented with new technology that solves a problem, they immediately know
how it can be useful to them. Real time color correction with film moving back
and forth on a machine is a dying art form. I realize there are many of us (
myself included ) that have a good number of years to still work this way ( we
still have a one inch machine hanging around for pete's sake ) -- but if any of
you saw what I saw - you know it's only a matter of time before these systems
get put in place and work starts churning out.
According to the manufacturers, all of the systems at IBC have been used on
either a feature (s) or a long form show at the least. Any of you who did not
attend and are interested should start making some phone calls and find out
what your friends around the world are doing.... You'd be surprised how offline
and non-real time much of color enhancement is moving to. Render anyone?
Just my 2 cents as usual. I work for myself in a company I help run. My
opinions are my own. To any of you that would like carry on this discussion off-
line - please write -- I'm getting tired of meeting people at shows and
hearing - Oh, I know you... or you're that guy ( with the big mouth )......
I'm addicted to my keyboard, what can I say?
Senior Colorist / Partner
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