1.5

In addition, the color correction equipment available to the telecine colorist has evolved
to match (and is sometimes identical to) the tools available to online video colorists, with
the added advantage that the colorist can work directly on the uncompressed images
provided by the telecine.
After the conclusion of the second color correction pass, the color-corrected selects are
reassembled to match the original edit, and the project is mastered to tape.
Camera
Negative
Offline Media Reconform
Final Master
Inexpensive
One-Light
Telecine Pass
Best-Light
Telecine Pass
Offline Edit
Incidentally, even if you don’t intend to color correct your program in the telecine suite,
you might consider retransferring specific shots to make changes that are easier or of
higher quality to make directly from the original camera negative. For example, after
identifying shots you want to retransfer in your Final Cut Pro sequence, you can use
Cinema Tools to create a selects list just for shots you want to optically enlarge, speeding
the transfer process.
Other Advantages to Telecine Transfers
In addition to color correction, a colorist working with a telecine has many other options
available, depending on what kinds of issues may have come up during the edit.
• Using a telecine to pull the image straight off the film negative, the colorist can
reposition the image to include parts of the film image that fall outside of the action
safe area of video.
• With the telecine, the image can also be enlarged optically, potentially up to 50
percent without visible distortion.
• The ability to reframe shots in the telecine allows the director or producer to make
significant changes to a scene, turning a medium shot into a close-up for dramatic
effect, or moving the entire frame up to crop out a microphone that’s inadvertently
dropped into the shot.
21Chapter 1 Color Correction Basics