FAQs
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Quick Sheets
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- Q: I don't know anything about telecines.
A: No problem you don't have to, that's what your colorist is for. The
Picscan system set to standard set-up will give the colorist
the 'foot print' of the negative and with the test shots in display
he or she will be able to guide you to your preference in the gamma value.
That selected gamma value will be the one transferred to the D.I. for the
duration of the production. The System comes with full 'Use Guide' pdf file
on purchase.
- Q: Can the Picscan set-up be altered later?
A: Absolutely yes, in fact Picscan enables the transfer of the entire
negative dynamic to the D.I. without loss of shadow detail or
coloration and so remains for final color timing to your intended
look.
- Q: How do I balance for flouros with green bias?
A: Tricking’ Telecine.
In a situation on a location which is totally lit with fluorescent tubes with too great a number to change, because of time, budget or both, match any additional lighting to the color temperature of the lighting conditions and shoot the Density chart. The chart should be masked as described in the chart shooting instructions. Notify telecine to balance to this chart for the scenes following the chart. No other color temperatures can be present unless by design. Give the chart a scene number and circle it for print. Telecine will treat these scenes as neutral and therefore will achieve color balance. Keep in mind that the color balance exists only in the Digital Intermediate and not in the negative.
- Q: Digital Post Production and Projection.
A: production’s format specifications are dictated by the end use of that material. The camera’s ground glasses are formulated to comply with the ACAD or anamorphic gates of 4 perforation mechanical projection. Any production that may be projected must conform to these specifications. A production that will be finished exclusively in the digital domain, post production and projection (this includes current TV practices), has the option of moving away from the ACAD configuration and using the Super 35 formats taking advantage of the increased negative area, or for economy, 3 perforation pull down (Super 35). This procedure may also be used if a projection print is conformed from the digital master.
- Q: Picscan Control.
A: With the pressure of digital post-production and digital projection it will
be essential for cinematographers to have a system that gives control and dailies
that reproduce the photography that is on the negative. Picscan Leader System
is designed for this purpose. Whether the production is post produced and finishing
digitally or prints struck for distribution, it is vital that the pre-production
tests be printed and projected. This will mean there will be no bad surprises
when a print is finally struck as to the quality of processing, negative density
or grain structure.
- Q: ADVANCED CONCEPTS. Creative Exposure.
A: With Picscan stabilizing your digital intermediates and dailies you can
start exploring the dynamic control which the system enables. For instance:
Having set your exposure index and produced your Picscan Leaders to render
the face tones as you require, it is then possible to raise or lower
your exposure values for certain segments, with the inclusion of different
filter packs to create a different look for those scenes. As telecine is still
setting up on your original leaders the change of photographic style will be
rendered automatically. Total comprehension of the Picscan System is required
when employing this maneuver. Always test, and consult with your colorist.
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