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Color vignetting in transfered footage...


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#1 Ryan McMackin

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Posted 11 February 2008 - 02:03 PM

I just completed production on my first feature as DP and all is looking good thus far with the exception of a noticeable red vignetting in the transfered footage.

The problem is persistent throughout the 24,000+ feet of film that we shot, though, it varies in severity and, at times, is not apparent. The project was shot on an Aaton LTR54 w/ a set of Optar Illumina lenses. The telecine was done on a Rank Cintel Turbo II.

Originally, I thought this might just be a lens issue as we did not extensively test the lens package prior to production, however, I'm not confident in my own analysis and that this might be a problem that can be remedied. I would certainly appreciate any other advice or opinions.

I've attached a still that illustrates the problem pretty well, and, since attachment space is so limited, here's a link to a Flickr page with many more stills from the transferred material...

More Photos on Flickr

Thanks, ryan

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#2 Adrian Sierkowski

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Posted 11 February 2008 - 03:09 PM

Was it a one light transfer? If so it could just be they timed to the first shot on the roll.
I have a set of the optars which i use on my SR3 and have never seen anything even remotely like this.
Could be the lenses had some film on them, or were otherwise compromised in their coating.

Edited by Adrian Sierkowski, 11 February 2008 - 03:10 PM.

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#3 Andres Pardo aka Gral Treegan

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Posted 12 February 2008 - 12:13 AM

Hi!!

i recomend you to do the following tests:

1- ask the telecine house to show you the footage witn no grading at all

2- ask them to mount the rolls with that deffect in another telecine

3- ask them to scan just few frames

what telecine is the one you use for it? cose it feels like the telecine tube is dying.

bye!!
General Treegan

I just completed production on my first feature as DP and all is looking good thus far with the exception of a noticeable red vignetting in the transfered footage.

The problem is persistent throughout the 24,000+ feet of film that we shot, though, it varies in severity and, at times, is not apparent. The project was shot on an Aaton LTR54 w/ a set of Optar Illumina lenses. The telecine was done on a Rank Cintel Turbo II.

Originally, I thought this might just be a lens issue as we did not extensively test the lens package prior to production, however, I'm not confident in my own analysis and that this might be a problem that can be remedied. I would certainly appreciate any other advice or opinions.

I've attached a still that illustrates the problem pretty well, and, since attachment space is so limited, here's a link to a Flickr page with many more stills from the transferred material...

More Photos on Flickr

Thanks, ryan


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#4 Sam Wells

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Posted 12 February 2008 - 12:01 PM

There are some extreme problems with this transfer, you can't possibly judge your footage from this.

How on earth did you shoot a feature and not catch this ???

-Sam
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#5 Ryan McMackin

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Posted 12 February 2008 - 02:25 PM

There are some extreme problems with this transfer, you can't possibly judge your footage from this.

How on earth did you shoot a feature and not catch this ???

-Sam


No dallies, would be the short answer.

Would you be willing to elaborate on, or, care to speculate what these, "extreme," problems might be?..
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#6 Robert Houllahan

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Posted 12 February 2008 - 07:04 PM

There are some extreme problems with this transfer, you can't possibly judge your footage from this.



Indeed! this is certainly not the camera/lenses but the transfer....

On a rank TurboII it looks to me that one of the following things is happening:


1. The tube is old and is burnt at the edges of the patch.

2. The tube burn correction system is either off or not functional.

3. They have the wrong shading mixer card installed or activated for the super16 gate,


All three indicate a lack of maintenance of the telecine, but maybe they just let it go. These problems will show up no matter how the film is graded as they are a problem with the telecine itself and before the color corrector.

-Rob-
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Willys Widgets

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Rig Wheels Passport

Metropolis Post

Media Blackout - Custom Cables and AKS

The Slider

Gamma Ray Digital Inc

Glidecam

Visual Products

Opal

Paralinx LLC

Broadcast Solutions Inc

Ritter Battery

Wooden Camera

Technodolly

Tai Audio

Abel Cine

rebotnix Technologies