[Tig] D.I and 6500k

Sam Holtz SHOLTZ
Sat Mar 5 19:03:35 GMT 2005

I keep on disagree with you again . Neither October Nor Washington had
anything to do.  CONRAC  Choose the ONLY combination of Phosphors That when
the electronic Beam stroke them was capable of the RGB Ratios of
Illumination needed, and it was set arbitrarily at 6,800 degrees Kelvin.  If
Bill EMMES Is still alive, and if anyone knows how to find him, (he was
product manager of the CYA and CYB, and latter marketing Director for the
RHA and up to the 6000,6100 and finally the 6142 (the first monitor with a
comb flitter decoder from Yves Ferudja.) he will verify the test conducted
at Conrac in their manufacturing and Headquarters in Glendale, California.
Then we used to have the knowledge to design, build and sale the top of the
line totally in California USA, Not Taiwan, Japan, England etc.. Surry no
fairy tale about Color temperature, But technology than was developed slowly
by US Know-how

Sam Holtz
email: samh at ieee.org and sam at ste-ca.org
19174 Doral Place / Porter Ranch, CA 91326-1223
818-366-3659 / FAX 615-658-8742

----- Original Message ----- 
From: "Rob Lingelbach" <robling at ucla.edu>
To: "Telecine Internet Group" <tig at tig.oktobor.com>
Sent: Friday, March 04, 2005 9:17 AM
Subject: Re: [Tig] D.I and 6500k

> Thanks to Thomas Electronics for supporting the TIG.
> Read about BRRE thanks to Dwaine Maggart
> and Peter Swinson at
> --
> On 2005-03-04 at 10:56, Geoff Boyle (geoff at cinematography.net) wrote:
> > MO> Cem, the reason for this is that most movie projectors have a light
> > MO> source that is about 5400 Kelvin. Whites therefore are yellower than
> > MO> they would be at 6500K, and the DI suite has to match these viewing
> > MO> conditions.
> >
> > I guess that it wouldn't have anything to do with the fact that the
> > person originating the images works with 5600 as their base white.
> It could be time to revisit the subject of "what is base white" or
> "what is sunlight."   I heard or read once what may be an apocryphal
> story that the 6500 Kelvin figure comes from a measurement made on a
> certain day in October of a certain year at location Washington, D.C.,
> US.
> Regarding Mike Orton's comment about the clarity of light in New
> Zealand, it's true that as a colorist one notices the differences in
> the quality and temperature spectra of the air and light in various
> locations around the world, and in the case of Los Angeles, even among
> different neighborhoods.  I had a lot of fun through the years guessing
> locations of shoots based on the amount of haze or particulates in the
> air as represented on the film.  I could tell when I saw an LA-based
> film that had realtively clear and blue light (depending on time of
> day) that the shoot was done, for example, in Irvine, where smog is
> less of a problem.  Pasadena was always easy to pick out as a location
> because of the warmer (smoggier) appearance of the air.  This isn't
> always due to industrial smog or pollution because even when only American
> Indians lived in LA the LA basin was called "The Valley of the Smokes"
> because of the trapping and inversion effects of the San Gabriel mountains
> and the prevailing onshore breeze.  Probably there were numerous fires
> for cooking and heat at the time... and BRRE analysis.
> Rob
> Senior Colorist, Compugraf
> Istanbul, Turkey
> participate in the tig wiki pages at http://tig.colorist.org/wiki
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