American Cinematographer - September 1990 - 62

C23 TELECINE 16/35

Introducing Rangertone's HP1635; A Cost Effective,
In-house Film to Video Transfer System.
The HP 1635 Combination 16/35

mm

Telecine film to

video transfer system incorporates a rotating prism
driven by the film. This allows the film to move in one

smooth, continuous flow, eliminating pull-down and
shutter bars regardless of the films' condition.
16 and 35 mm format changes are made
in

a matter

of minutes.

*

Film to Video Transfer

*

Film

*

Frame

By Frame Picture Analysis

Video

Projection

Editing, Dubbing and Mixing

High Speed Screening

*

*

Post color correction is the final

opportunity for finessing the electronic
image. The colorist for Son of the Morn¬
ing StarmW likely be Steve Schwartz. This
is a step that is skipped if the production
wishes only to edit the project on tape
and finish in film. The Post Group is very
clearly proud of their post color correction
system, called DaVinci. Gladden asserted,
"We can actually do almost anything
here. If someone has a pale face and the
person that she is talking to is very tan,
make her look less tan and the
first person more tan. We can color cer¬
tain portions of the picture without touch¬

ing the rest of the picture. It's another way
photography can get
exactly what they want. They can go in
and take what they have shot and paint
it in such a way that it enhances the work.
It's important that whenever possible,
directors of photography remain involved
through post color correction. At least
they should be in contact with the color¬
ist. This gives them the control they want
the directors of

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Every little sound is put in just the way it
cut," explained Gladden.
"Generally on an episodic there
will be two trips to this room - once so
you can assemble the show and turn it
over to music and special effects, and
then again at the end to do the final cred¬
its, main titles or special effects. From
that point it goes to post color correction,"
was

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the material.
"I think they should be as con¬
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over

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they

are about the telecine transfer, be¬
that is where it all comes together.

cause

Generally an hour show will take about 12
hours to color correct. We like to sit down
with the director or the director of photog¬

installation.

raphy, whoever is going to be setting

Now you can surpass

the dynamic range of digital with the
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color. We review the show with them;
they go away; we color correct it and they
come back in the late afternoon or early

From

tweak it,

now.

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audio is laid and it becomes the final tape
for distribution.
"One of the options available
with electronic post production is the use
of graphic devices. Let's say the director
of photography has covered a building

blowing

up

with three

running through
tem like the

We look
big scratch

cameras.

at the dailies and there is a

studio consultants, inc.
321 West 44th Street, New York, NY 10036 (212) 586

evening. We go through the show and
making whatever changes are
required. Then it's laid off to a separate
piece of tape which is called a color cor¬
rected master. That is the tape on which

one scene.

Using

a sys¬

Harry (see American Cinema-
American Cinematographer - September 1990

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