Re: Technicolor color projection balanced prints


"Scott Dorsey" <kludge@xxxxxxxxx> wrote in message
news:dess8k$7pe$1@xxxxxxxxxxxxxxxxxxx
> Scotsguy <sante@xxxxxxxxxxx> wrote:
>>(JSMPTE.Dec1938.PG.585).
>>"Most theares are equipped with high intensity arcs which produce a screen
>>image that is slightly bluish. Technicolor prints are balanced to yield a
>>neutral result on such a screen. Small projection units equipped with a
>>Mazda light produce a screen image that is slightly orange. When a print
>>balanced for high intensity arc is projected by a Mazda light, the screen
>>result will be slightly orange"
>>
>>I can't see this being any clearer as far as explanations are concerned.
>
> Okay. The high intensity arc is indeed comparable to the xenon lamps
> that are used today.
>
> A "mazda light" is an incandescent light bulb, which is much more yellow
> than any projection arc. Incandescent lamps were used only on small
> portable projectors like the DeVrys, which didn't need to be very
> bright.
>
> If you show a Technicolor print on a projector with an incandescent lamp,
> it will be orange. If you show a modern print on a projector with an
> incandescent lamp, it will also be orange.
>
> If you come to Arisia in Boston this January, you can watch a wide range
> of modern films being shown on 35mm Alan Gordon projectors with
> incandescent
> lamps. They look orange. I kind of like it. Scott Norwood says we
> should
> gel them up to 5500'K. My feeling is that after the first few seconds
> your
> eyes adjust to it.
>
> But this is really a non-issue for most applications. Most prints that
> are timed to look right on white-flame arc will also look right on modern
> xenon. And they will look yellow on a small projector with a Mazda lamp
> like the ones used to project rushes.
>
>>The acticle specifically mentions slightly orange light on the screen from
>>Mazda.
>
> Which has nothing to do with any theatre projectors.
>
>>> What is re-correction? First you need to know what is correct. And
>>> only
>>> the original color consultant can tell you that.
>>
>>If you add a color mask or dye bias to an existing film, you can also
>>negate
>>the effects by applying a complimentary color (or colors) to balance the
>>image. This can be easily ascertained if you can determine the bias, which
>>would have been determined by Technicolor and applied consistently to
>>release prints. That has nothing to do with the color values of the
>>original
>>scene. You don't need to know about these, unless you do not know the
>>exact
>>bias on the print.
>
> You never know the exact bias on the print, because you don't know how the
> prints have faded over the years. And you never know what the original
> intention of the director was. Maybe he _wanted_ the film to have a
> slight
> cast to it. If you watch Soylent Green, you'll find the entire film is
> somewhat low contrast and timed to the green/grey side. It's supposed to
> be
> that way. If someone were to "re-correct" the film and remove that, it
> would
> be making a grave error. If you were to desaturate the Wizard of Oz, it
> would look more realistic, but it would be wrong.
> --scott
> --
> "C'est un Nagra. C'est suisse, et tres, tres precis."

Not to make things messier in this argument, but what about 16mm prints that
were timed for Mazda (incandescent) lamps shown on Xenon 16mm projectors.
I've been to a few festivals and venues where occasional 16mm prints are
shown (The Stanford Theatre, The Kabuki and Opera Plaza Cinemas in San
Francisco and the Cinema 21 in Portland). I'm assuming the 16mm release
prints are NOT timed for Xenon, or do certain distributors make sure their
16mm product gets time for these locales to match the projector lamping?

Morgan


.

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