[tig] Re: UCLA Students Need Colorist in London
Sun Aug 8 11:43:02 BST 2004
On 8/7/04 11:14 PM, "Chip Bartlett" <chipbartlett at cox.net> wrote on the TIG
> This is a fairly ground-breaking project, it is a IMAX short film, a
> recreation of Abraham Lincoln's Assassination, shot at Ford's Theater in
> Washington, D.C.. We are using a new process for IMAX film (15/70) where all
> of the shot design, camera moves, composition and coverage for the movie are
> all being created in telecine by the colorist by zooming into the negative,
> later the final version will be transferred back to 35mm. So the telecine
> is our primary editing process, and a good colorist is key.
Why do this in telecine at all? It seems to me that what you're describing
is an animation project. You'd be a lot better off doing all this work on a
high-res compositing workstation, using something like Shake or Cineon or a
related computer program to make all the moves with super-critical accuracy.
I've done many projects where I've had to do complex moves on slides and
still-frames -- the Emmy-nominated 1987 special I worked on, W.C. FIELDS:
STRAIGHT UP had about 1400 slides I personally color-corrected and did zooms
and moves with a Rank Mark IIIC -- but it's a laborious and inexact process
at best. In my opinion, you'd be far, far better off doing a project like
this with a computer effects/animator rather than on a telecine. It will
also give you far greater resolution than even HD on a Rank or Spirit,
assuming you do the work at 2K or 4K (or higher).
Talk to me in Email if you want some recommendations on who to use in LA. I
know of somebody who just finished a fairly-complex 70mm restoration
project, and he'd definitely know how to scan your material and then do
repositions and moves on a workstation, and bounce it back to film.
More information about the Tig