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RE: Eclair Cameras: question follow up-video tap, s16 conversion, monitor/record
Far be it from me to assume the role of resident expert in this matter,
since there are far more knowledgeable and qualified members of this
list who could answer your questions with far more accuracy, but...
Yes, it's possible in theory to pull a video image from a video tap that
one could use for color correction etc. In practice, this would involve
calibrating your tap system to the end result (i.e. your final
telecine'd film master) and then using only that set of equipment (tap,
tap camera, monitors, etc) every time you shot.
The image quality would depend on the nature of the tap itself and the
quality of the video tap camera. There are various anti-flicker devices
available to counter the 24/25fps shutter flicker and basically
duplicate electronically the each-image-scanned-twice effect that a
butterfly shutter has in a projector. Telecine machines do this as well.
Of course, you're taking an image that has gone through not only the
taking lens itself but also the prism system, so it's kind of like
shooting through a mirror - the entire tap system has to be kept
Mostly what you'll get is an approximation. Most of us who work taps are
only after the approximation anyway, because we know from experience
what the film should look like, more or less, just by viewing the scene
through a contrast or gaffer's glass. On the production side, the
directors/producers are mainly checking for content (i.e. performance,
or similar) so they know the shot's in the bag and they can strike the
set and move on.
I've actually digitised off a tap into a laptop running Avid XPressDV,
cut the scene together (it was a TV commercial) and handed the producer
a DVD-R of it before he left the set. Very impressive if he's a client,
and very expensive if he's not.
However, I for one believe in the discipline of film - i.e. preparation,
pre-visualisation, design, close observation, taste, judgement honed by
experience. I don't much like the generation of "choosers" that most of
our industry now contains ("I don't know what I want - give me something
I can choose from").
So if one knows what one is after, then a Polaroid or a digital still
shot can tell you what your lighting's going to be like before the
event. If one shoots sufficient coverage (i.e. at least one safety shot)
then the rest is, to my mind, padding. The splurging of film from all
angles is for documentaries, Kubricks and video trained people, IMHO.
And yes, I'm a dinosaur in this respect, and probably well on my way to
eric jarvies wrote:
one more thing i forgot to ask any of the other members ... as stated in
my last post, i am going to have an azspectrum acl color video tap
installed so i can accomplish the following:
1. have the ability to view framed image/scene on a monitor
2. record said image/scene so i can study scenes, and even assembly then
in fcp prior to having the film processed and digitized/transferred.
i would like to break two bottles with one stone(i stopped killing birds
along time ago :) regarding the equipment i purchase. now then, if i
hooked up a monitor like the SONY PVM-8041Q, would i be able to, in real
time, check my colors as it relates to my lighting and filters i am
using for filming any given scene? if so, then i could use a monitor
like this for both the video tap and for the nle suite(video out from
fcp). or is what i am saying not viable or not required? i do
understand i will have to do some color correction of the
transferred/digitized film footage using nle tools. but does it help
when actually filming a scene to use a color check monitor like this to
help make certian my lighting and filter use is correct from the start?
i have neither the experience or knowledge in this area, but when i
actually do purchase the monitor and recording device, i would like to
be able to get the most milage out of these units if they are able ot
serve multiple purposes. any advise would be greatly apreciated.
eric m jarvies
cabo san lucas, baja california sur. mexico
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