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#1 Steve Kemp

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Posted 01 November 2006 - 05:21 PM

I've had a colour correction problem with Kodak 7279 500T. I was shooting an Int.Night sequence in a bar. The director wanted a rather sleazy, red light effect, so, as this was my first time shooting a bar scene, I put red gels over the Key & Fill Lamps. However, on the rushes the "red" light showed up as green! A few colour-corrected prints were struck, but the final priny (on 7384) was still way-too green.

I also have a VHS copy of a 16mm film shot by one of our greatest DoPs (No names, No Pack Drill) in the Mid-1970s. I notice that too has very bad red & green colouration. All suggestions & advice for overcoming this gratefully received!
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#2 Dominic Case

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Posted 01 November 2006 - 09:17 PM

Were the rushes colour corrected? If so, was the colorist (and the film grader too) advised what look was required? This sounds like one of those cases where your lab or telecine house is being "too" helpful with not enough information. If you put strong filtering in, it would be impossible to correct it back to "normal" so you could have ended up with that greenish look.
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#3 Steve Kemp

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Posted 15 November 2006 - 08:45 PM

Were the rushes colour corrected? If so, was the colorist (and the film grader too) advised what look was required? This sounds like one of those cases where your lab or telecine house is being "too" helpful with not enough information. If you put strong filtering in, it would be impossible to correct it back to "normal" so you could have ended up with that greenish look.




Hi, Dominic. Sorry about the delay in replying to you. To answer your question, the rushes were colour corrected in the processing, but then, of course, the scene looked too red! As the director didn't have enough money to keep on experimenting with the film to get the desired colour, the final showprint eneded up containing that scene with an ugly green cast to it.

Re: the red & green tinting on the VHS copy of a 16mm TV film made in 1976: I contacted a Mr Antony Breakspear who is head of Technical Specialism at Kodak in Hertfordshire. He came down to London recently where we met and viewed the tape at a professional facilities house in Soho. He suggested that the fault was due to poor colour correction in the transfer process. I've actually viewed the original 16mm print myself which, of course, was beautifully shot. So now it's just a case of making another, correctly colour-graded, print.
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