American Cinematographer - September 1990 - 61

markers.

They're red and blue and

Magic Film & Video Works

very

obvious, but I'm going to use that take

is pleased to announce its acquisition of the
Bosch FDL-60 CCD LINE SCANNER

anyway. I know I can just go in and paint
them out on the Harry or the Paintbox."
That's clearly a degree of control neither
editor nor director of photography ever
had before.
From Weissman's point of view
as well as Gladden's, the director of

photography has as much or more control
the look of his images on the small
screen as he does on the large one. The
key words seem to be communication and
the willingness to work with the system,
not against it. As Weissman sagely con¬
cluded, "Electronic post production is, in
a sense, a new medium. People need to
adapt to it. It's beyond the question of
whether or not it's good. It's here and
there's going to more of it because it's
faster and cheaper and the results are
good. Maybe it's going to become an
argument of money against aesthetics.
Our decision to finish this show using the
intermediate step of the low-con print
does mean a great deal more money.

Now, the film professionals at Magic Film & Video
can provide you with affordable, broadcast
quality transfers from 35/16 mm to 3/4" U-Matic
and VHS formats for your video dailies.

Works

MAGIC FILM & VIDEO WORKS

over

That's

a

decision that the director of

photography needs to be actively involved
in and fighting for-one way or the other
if he wants to get a certain look."

-

Where film
2406 W. Olive

Once Weissman finishes the
CMX6000 edit on Son of the Morning

Star, the show has to be assembled.
According to Gladden, "Once the picture
is locked, the show is auto assembled

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using the edit decision list from the offline
system or the CMX6000. The computer
will put all the scenes together in the
order in which they have been cut, frame-

accurately. This information comes off the
D2 tape - we've gone back to D2 from
the laser disc
and we are conforming
much like we were cutting negative. The
D2 is the master we made during telecine.
We will then go from those source ele¬
-

ments to a new D2 master of the cut
show. Dissolves and fades - anything
that you put in during editing will be put
in during the on-line session.

"Most of this work is auto¬
matic. It's all in the list and the computer
does it. The assistant sits out there and
swaps tapes when the system needs
another tape. An hour show will take

ales, Service,
Spare Parts,

about 6 or 7 hours to assemble. A twohour movie of the week will be scheduled
for about 18 hours. It really varies. Action
shows with a lot of cuts take longer be¬
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there

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59
American Cinematographer - September 1990

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