American Cinematographer - June 1999 - 120

From Film

to

Tape

Unfortunately, they still haven't been
implemented, so we have to incor¬
porate additional 'tools' from the
rubber-band and paper-clip bin."

Safeguarding the Image
It is also highly recommended
to finish postproduction of a project
within one post house, thereby
avoiding any pitfalls encountered
with different internal signal-stan¬
dards practices. Indeed, the hard¬
ware

itself also contributes

to

processing
can use

the

philosophers, I
equipment that
doesn't have presets, and, in my
opinion, limitations. The C-Reality
to use

all of the tools in the

big part of this. I

other

perfectly. There's

noise,

no weave,

and

no more

artifacts

no

when the desired gamma curve

some
have fun with

525/625/HD/2K machine allows

a

secondaries and aperture correc¬
tion, and they all interact with each

"Contrary to
to

is

primaries, individual color-curve

way an image can be manipulated.
For
example, Lamaire states,

like

-

pre-gamma or post-gamma

me

bay

applied to the film,
down

a

so

I

can

is

lay

shot 10 times with different

stretch and bend the color

any more.

We also work within

our

legal color limits, which allows me
to guarantee perfect broadcast qual¬
ity. As colorists, we see the picture in
its best [possible viewing condi¬
tion], But most of our work, with a
few exceptions, ends up on 3A"
[tape] or Betacam SP for broadcast,

Vector
-

presentations. [Needless to say,] I
can't wait for digital television."
"On every job we do, espe¬

signal

-

imagery between these various
boxes,

we

have to be cautious about

work with

to

[CVIP]

Vinci

Flenry

support. When we're passing

have

Color

da

can

settings and it will always line up
perfectly. With the C-Reality, I don't

and W

conventional

Fire and, to some extent,

the type of signal we pass coming
from the telecine. As a result, we

without the usual restrictions. Its

Image Processor
which comes before the

cially if the job will be finished inwe work within a safety net,
which is the legal-color limiting,"
agrees Festa. "We have to work
within a legal color space that the
other systems - such as the Flame,
house,

or

VHS for demo reels and

pretty restrained

some

colorimetry that

be limiting at
times, but at least in the final
can

output, I know that the composite
NTSC

signal

look like what

we

end

we saw

up with will
in the telecine

transfer."
Other elements that affect the

coloring process include the
vagaries of current consumer-grade
televisions. "They are one of the
biggest problems we face," says
Pethel. "They aren't made to repli-

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American Cinematographer - June 1999

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