[Tig] CRTS and CCDs, Battle Royale

Martin Southworth martinsouthworth at gmail.com
Thu Sep 13 00:25:15 BST 2012

The film look thin is so subjective as to be almost meaningless - to some
it comes down to frame rate because the is how they saw films on TV on
Sunday morning when they were 7, however I will bite and say that C-Reality
was the best.

It's disadaantage was that it was easy to get a crap image out, with a bit
of work, you could get a stunning image.  With Spirit, it was easy to get a
good image and it was very forgiving of badly shot film.

I worked with people who refused to use C-Reality for 16mm because they
couldn't set up the detectors properly and got noisy images.  I now
freelance and pick up jobs where people decode Red files at half res good
to DPX and get noisy images that need regrading properly.  It's all the
same and I make a decent living doing stuff properly

On 13 September 2012 00:10, Dave Pickett <pickettscharge at hotmail.com> wrote:

> Sohonet www.sohonet.co.uk sponsors the TIG.
> Support from Digital Vision www.digitalvision.tv
> Support from Blackmagic Design www.blackmagic-design.com
> =====
> "what does the telecine community believe produced the best result - tubed
> or ccd tk's?"
> That was the defining question at the outset of the Spirit Datacine era.
> At Digital Magic Company - Santa Monica in 1996 there was a then new, Rank
> Cintel URSA Gold, a Rank Turbo 2 and a Bosch Quadra 4444 in the 3 suites.
>  Randy Starnes was the only colorist who enjoyed the Bosch and could get
> great pictures out of it.  The rest of us were a little shy from the big
> leap between the technologies.
> When Company 3 opened in the same building two years later it featured 3
> URSA Diamonds, the latest tube technology from Cintel.  POP in 1997 had 3
> URSA Golds with Twigi and Scandal and one original URSA that Stefan
> Sonnenfeld used relentlessly prior to CO3.  Encore Santa Monica had 3 URSA
> Golds/Diamonds outfitted with proprietary gates and a secondary grading
> system the "Prism".  They then added a 4th suite with an URSA Diamond to
> accommodate Mark Griffith and myself.
> At that time Encore was a testing ground for the new generation of
> telecines with Bob Festa running the first Spirit and Mark Wilkins getting
> the Cintel C-Reality.  I  can remember Mark quipping about the C-Reality,
> "I saw it".  At that time Jais Lemaire was also at Encore using mainly tube
> machines, URSA Diamond and C-Reality.  Jais used a thick filter that he
> mused could emulate a CCD Spirit if need be.  He held it up to me once and
> said, "this is my Spirit".
> When Jais LeMaire left Encore/Riot to open Bobine he chose a tube but I
> believe quickly segued to a CCD.
> I mention these names and locations only because thats where I was when
> Spirits/CCDs became the gold standard in America.  It seemed several
> companies kept their "legacy" machines running as long as they could for
> dailies etc while featuring the Spirit then Spirit HD, 2K and 4K in their
> higher end rooms.  There was also a lot of penetration by the Shadow and
> Rascal in later years as the URSAs were phased to Asia.
> So it seems that the companies and artists at the higher end at that time
> made their choice in the realtime of business.  There was a lot of talk
> about which had the "film look" but I think history has shown which
> machines became the preferred tech.  The US$1million question.
> I learned on URSAs but eventually used Spirits so much it almost became de
> facto no matter where I journeyed.  However, I enjoyed the Millennium II in
> Sydney at FSM in 2007.  After so many years on a CCD there was a nice
> quality to the tube image.  I look back on some of my archives of 35mm
> transferred on an URSA Diamond or Millennium and really like the image.
>  But I enjoyed the stability, especially the geometry and lack of shading
> in the CCDs.  That is not to say that they were bullet proof.  The only job
> I have ever had to start over completely from scratch after all day
> supervision was on a Spirit 2K that lost an illumination component that had
> to be switched from another machine.  The swap created not only a level pop
> but also an XYZ change that couldnt be rippled.
> But all of this is becoming an historical conversation.  My current
> facility in Atlanta does not have a telecine or a scanner.  If need be we
> pre-scan the neg and ingest into a Resolve.  I havent graded a film
> origination job in over a year.
> Dave
> Dave Pickett
> Colorist
> Jam Edit - Atlanta
> > Date: Wed, 12 Sep 2012 22:48:25 +0100
> > From: new-century at lineone.net
> > To: tig at colorist.org
> > Subject: [Tig] IBC without TK
> >
> > Sohonet www.sohonet.co.uk sponsors the TIG.
> > Support from Digital Vision www.digitalvision.tv
> > Support from Blackmagic Design www.blackmagic-design.com
> > =====
> >
> > Heres a question from a manufacturer of CRTs for telecine machines (now
> > long retired so no commercial axe to grind)
> >
> > Obviously pennies are a significant reason for the swing to digital
> > but, in relation to what I recall was described as the "film look",
> > what does the telecine community believe produced the best result -
> > tubed or ccd tk's?
> >
> >
> >
> > Terry Smith
> >
> > _______________________________________________
> > http://reels.colorist.org
> > http://tig.colorist.org/wiki3
> _______________________________________________
> http://reels.colorist.org
> http://tig.colorist.org/wiki3

Martin Southworth, Colourist

Telephone; 07789 508 758

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