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<p><font face="Arial, Helvetica, sans-serif" size="4" color="#330000"><b>Coloring
Video Dailies</b> </font> </p>
<p>Coloring video dailies is a similar concept to timing the workprint. The video
signal passes from the telecine (Rank Cintel film scanner) to the video tape
recorder, by way of a complicated space-age-looking console called the color
corrector. The Rank operator, or colorist, views the picture being recorded
both on a broadcast-quality television monitor (for aesthetic decisions), and
on special color "scopes," which help keep the signal within broadcast
industry specifications.</p>
<p>As with workprints, Colorlab offers several different levels of coloring for
video dailies: <i>one-light, best-light, scene-to-scene unsupervised, </i>and
<i>supervised scene-to-scene.</i> Best-light and one-light video dailies are
similar to best-light and one-light workprints: either a single "best"
setting is determined for each scene, or exactly "one" light (determined
using the first scene, or a chip-chart) is used for the entire roll. If the
video dailies are to be used only for editing, and the final production will
be matched back to a film answer print, then best-light or one-light dailies
are once again a satisfactory and cost-effective solution.</p>
<p>If, however, the final product is to be distributed and viewed entirely on
video, it is normal to perform as much color correction as possible when making
the dailies -- that way there will be no need for expensive re-transfers later
on. Depending on your production and budget, you may choose either an <i>unsupervised</i>
scene-to-scene transfer, in which coloring decisions are left up to our (extremely
qualified and aesthetically refined) colorists, or a <i>supervised</i> transfer,
in which members of your production team actually sit in with the colorist and
provide guidance during the transfer session
<p><br>
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