[QuadList] Shading tonight--What were the practices in past decades?

[Tim Stoffel]

One station I worked at had the practice of chipping the cameras, and
then painting them with talent on set. I was shocked when I learned
this. I got the video engineers to set up one chart in good light and
chip all the caeras to that chart. if there was any problem with that
tlaent after that, it was lighting or makeup. After some initial
resistance, it resulted in a marked improvement in the lighting.

Tim Stoffel

-- 

-----Original Message-----
From: Charles Park Seward <park at videopark.com>
Reply-to: Quad List <quadlist at quadvideotapegroup.com>
To: Quad List <quadlist at quadvideotapegroup.com>
Subject: Re: [QuadList] Shading tonight--What were the practices in past
decades?
Date: Sun, 29 Sep 2013 10:23:49 -0700

As I am sure Dennis would agree, studio shading is much different from a
football game. In a studio, all the cameras are adjusted and matched and
then left alone. The lighting director takes over and he sets the way
the show looks. 


Imagine if you were adjusting exposure in a sitcom. The background would
never match if you were changing exposure. Some minor tweaks are OK but
easy does it. The producer wants the video to be locked during taping so
no post adjustments are necessary.


If you see an overexposed scene on "American Idol" or the Oscars, that
is the LD's fault, not the V1.


Best,
Park


C. Park Seward
Cell: 818-535-2747
Home: 541-476-6657
2" Quad and 1" "C" transfers
The Transfer Lab at Video Park
Visit us: http://www.videopark.com






On Sep 28, 2013, at 5:17 PM, Dennis Degan <DennyD1 at verizon.net> wrote:

> 
> 
> 
> On Sep 28, 2013, at 3:07 PM, I wrote:
> 
> 
> > Gee, the last time I shaded cameras was in 1984 for Kate & Allie.
>  But that was back in the days when you had to do convergence AND
> adjust color/levels.  Today's shaders got it SO easy!    ;)
> 
> 
> On Sep 28, 2013, at 6:18 PM, Ted Langdell wrote:
> 
> 
> > Do you remember how many cameras were you simultaneously shading
> back then?
> > The complexity may have gone down in a number of regards, but the
> quantity of cameras a video operator has fingers on seems to be more.
> > Park and his #2 split ten evenly.
> 
> 
> I answer:
> 
> 
> Since Kate & Allie was a sitcom shot in the Ed Sullivan Theater, its
> production was very different from a live sports show.  When I worked
> Video Control, I handled it alone (I didn't shade for every show; I
> was also a VTR Operator on the show for 2 years).  There were 4
> TK-44b's in the theater at the time, all on Fulmar peds, but we also
> shot outside with a couple of handheld CEI's recorded on Sony portable
> 1-inch VTR's.  The show was recorded on 5 VPR-2b's in the front
> basement of the theater with window burn-in U-Matics simultaneously
> recording each feed.  As I recall, there was one switched feed with
> all 4 cameras ISO'ed.  At the time, the control room, video control,
> audio booth, and lighting control were in the back right side of the
> orchestra seating.  This was the original location for the tech
> facilities with windows viewing the stage.  Since Letterman has been
> in the theater, the tech facilities are under the performing stage.
>  We shot 2 performances on Fridays with an audience, each followed by
> occasional pickups/fixes (most of the time, pickups/fixes would be
> done immediately after each scene in front of the audience).  After
> the 2nd show taping, 2 of the U-Matic VCR's would be wheeled from the
> basement of the theater to the Sullivan Office Building freight
> elevator destined for the off-line edit room on the 12th floor.  We
> had to do that every taping week.
> 
> Dennis Degan, Video Editor-Consultant-Knowledge Bank
>     NBC Today Show, New York
> 
> 
> 
> 
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