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Topic: How fast are reels printed on high speed printers?
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Stephen Furley
Film God
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Posts: 3059
From: Coulsdon, Croydon, England
Registered: May 2002
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posted 03-23-2006 05:33 AM
quote: Carl Martin one thing that i understand can't be done in a high-speed print job is color timing changes. so (presumably) the interpos or interneg is timed and the print is made one-light. that is sub-optimal, isn't it? (which is not to say that it would be done optimally even at a slower speed.)
If the interneg is correctly timed (graded), either when it was made, or by doing it at a previous film element or digital stage, then there is no need for any light changes when making the release prints. There's nothing wrong with doing it that way, it makes far more sense to make the changes once, or a rew times, rather than hundreds, or thousands of times. Do high-speed continuous contact release printers even have the means to make scene by scene light changes? I've never seen one, but I would doubt it, because it wouldn't be necessaty, and because it would be difficult to do it at the high speed.
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Carl Martin
Phenomenal Film Handler
Posts: 1424
From: Oakland, CA, USA
Registered: Feb 2002
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posted 03-23-2006 06:13 AM
it works, in the sense that the colors are correct overall, but my understanding that this comes at a certain expense, but i don't know exactly what to call it. maybe to do with detail, contrast, and grain?
let's say a scene was shot with normal exposure, but intended to be printed dark. if the interpositive is timed, then the range of densities in that shot will be compressed into the densest portion of the density "spectrum". then this is printed into the least dense portion on the internegative, then dense again onto the final print. whereas if the final print is timed then this tonal compression won't happen until the final step and will retain its detail, etc, better.
now, i grant you that i don't really know what i'm talking about and certainly don't have the correct terminology for what i'm trying to say. also, my source for this explanation is a guy who doesn't always have his facts straight, but has spoken with great cinematographers about these things (many of you probably know who i'm talking about). it seems plausible to me.
anyways, if i've got this all wrong, someone correct me. i'd also like to know the right terms for things. actually, my uncle used to be a color timer so i'd like to be able to pick his brain about this stuff.
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