4k telecine for D.I

Paul Bruening · April 7, 2005

Hey Phil,

The Kodak DCS runs 12 bits per channel. It can output straight to the computer (bypassing the memory cards) via firewire as seperate RAW files. Kodak and Adobe both make plug-ins that handle that proprietary file type. By seperating the channels, bad pixels will be much easier to average in. They both have controller software that controls the SLR through firewire including batch capture. All I have to do is work out the macro and path for the intervalometer. This may be the easiest solution yet.

Thanks,

Paul

Joe Owens · April 8, 2005

:blink:

Well, this little thread lost its way there for a moment, didn't it?

I can recall a discussion like this happening on the CML a couple of years ago.

Colourists have a couple of knobs to play with... its just RGB... how hard could it be?

The games began... the flames rose... it wasn't worth inventing the internet for.

The last three decades as a professional have been fun, though.

And that does mean getting paid for it, thank you very much.

Read Kageyama's "Lessons in the Fundamentals of Go" for a really sweetly contrasted view of the amateur/professional relationship. Page 10.

So, getting to simple machines. Lets see. A guitar only has six or so strings, right?

So, I guess Daniel will be wiping up the floor with Eric Clapton this weekend, right? Or would that be an age thing?

How about a Grand Prix race car... steering wheel, gearshift, brakes, "loud" pedal.

I'm sure we'll be hearing a new name in Formula One soon, and he'll be the guy handing Michael Schumacher his head on a plate. Yup. A star is born.

Funny thing about colour correction. Absolutely everyone is prepared to accept their own work. The difference is when everybody else does.

Now, 4K for telecine...

Kodak says about 8K is probably max for 35mm. Moore's Law has some catching up to do, plus pipelining will be like trying to accept a flow of data like Niagara Falls through a garden hose.

But, you know.... when I started in this business... (like Marconi was a kid....)

JPO

Paul Bruening · April 9, 2005

Hey Joe,

It's nice when a pro joins in. Through experience, Daniel will learn just how hard color timing can be. It's not even about mastering the software, which provides more and more complex solutions, it is about training the brain to really SEE the image critically. I've spent the last five years getting a BFA in Art. It has taken that long to train my brain to see critically. Just matching shot to shot is a trial. I found on my previous DV color feature that merely changing camera angles under exactly the same sun and reflector use that gamma, contrasts and colors changed radically. Reflected light changes frequencies based upon angle of reflection. Matching those intercuts took many passes with cool down time inbetween. It took me a month to color time it and it was only a 72 minute run time. So many people don't realize that a color timer's real power is in his well trained eyes and brain.

Thanks,

Paul

Edited April 9, 2005 by Paul Bruening

Phil Rhodes · April 9, 2005

Hi,

> Absolutely everyone is prepared to accept their own work. The difference is when

> everybody else does.

It's very easy to legitimise someone's work by paying them a lot of money.

Anyway, this is a self-fulfilling prophecy. If I criticise the work of a colourist, you'll probably tell me I'm wrong and that his experience positions him to make a better judgement. Overlooking the fact that this is irrelevant concerning matters of opinion, it's too easy to say "he's never wrong because nobody is allowed to disagree with him."

Phil