American Cinematographer - February 2008 - (Page 45) used a cable Internet connection to download the files. The system was placed in the editing room, and SD files were transmitted to Avids for the editing. We watched dailies in HDMPEG-2 file format. First, we tried to play them on a 52" plasma monitor, but the monitor wouldn’t accept proper calibration, so we switched to a Samsung SP-H700AE projector provided by Technicolor. Jonathan Spafford of Technicolor calibrated the projector using a color spectrometer so it would accurately reproduce REC709 color space, the same color space used in telecine. Some of our crew watched dailies in a trailer during lunch. Our editor, Brian Kates, was amazed by the simplicity of the system and the quality of the projection, and said he might use it to inspect shots. I would love to see other editors have access to theatrical images at a better resolu- “I would love to see film editors have access to theatrical images at a better resolution and a bigger size than current computer-editing programs can facilitate.” tion and a bigger size than current computer-editing programs can facilitate. This text was primarily inspired by “A Call for Digital Printer Lights,” an article by an ASC colleague, Richard Crudo, that appeared in the Sept. ’06 issue of American Cinematographer. Although the approach I have outlined was based on practical procedures that gave qualitative information about my creative intent to the lab, I wish I could have had more precise quantitative values from the images coming from the dailies transfer, as Richard proposed. I believe there are some telecine models that would give us shot-by-shot RGB references from their outputs, and I wonder whether gain, lift and gamma values could also be stated on meta files and shown in some kind of subtitle (without interfering with our frames) in our dailies. A dream would be if our original film-camera setups could be recorded on the negative edges and then read and recorded on the dailies metafiles, so we could transmit better, more precise information about our intentions to DI colorists remotely. I believe this dream is becoming reality with the advent of the ASC Color Decision List. I www.panther.tv Twister Dolly Twist closer to the action By the three selectable steering modes FRONT, REAR and ROUND-A-ROUND the Doorway Dolly Twister twists in all directions and navigates exactly around the motive. Combined pneumatic tire and track wheels allow for camera movements on track or on ground without the need for time consuming conversion. PANTHER GmbH Raiffeisenallee 3 | 82041 Oberhaching–Munich | Germany T +49.89.613 900–01 | F +49.89.61 31 00 0 contact@panther.tv | www.panther.tv PANTHER Dollies & Cranes 801 S. Main St. | Burbank, CA 91506 | USA T +1.818.84 13 110 | F +1.818.84 13 220 contact@panther.us | www.panther.us 45 http://www.panther.tv http://www.panther.tv http://www.panther.tv http://www.panther.us
For optimal viewing of this digital publication, please enable JavaScript and then refresh the page. If you would like to try to load the digital publication without using Flash Player detection, please click here.