[tig] Re: UCLA Students Need Colorist in London

Marc Wielage mfw
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.

--Marc Wielage
  LA colorist-at-large

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