| Preface | p. xv |
| Acknowledgments | p. xvii |
| Film and Video: A Brief History | p. 1 |
| Assets of Film and Video | p. 1 |
| The Film-Video Interface | p. 2 |
| Summary | p. 4 |
| Film Technology | p. 5 |
| The Physics of the Film Medium | p. 5 |
| Film Stock Construction | p. 5 |
| Image Formation | p. 8 |
| Film Parameters | p. 8 |
| Grain and Sensitivity | p. 9 |
| Sensitometry and Contrast Ratio | p. 10 |
| Resolution | p. 10 |
| Additional Characteristics of Film Systems | p. 11 |
| Film Formats | p. 13 |
| 35mm Film | p. 14 |
| 16mm Film | p. 17 |
| 8mm Film | p. 20 |
| Summary | p. 22 |
| Video Technology | p. 23 |
| General Video Parameters | p. 23 |
| Luminance | p. 24 |
| Chrominance | p. 25 |
| Hue | p. 25 |
| Scanning Systems | p. 25 |
| Resolution | p. 26 |
| Bandwidth | p. 27 |
| Synchronization | p. 27 |
| Measurement of Video Parameters | p. 28 |
| Video Configurations | p. 29 |
| Component Video | p. 29 |
| Composite Video | p. 30 |
| Analog Video | p. 31 |
| Digital Video | p. 32 |
| International Technical Standards | p. 33 |
| 525/60 NTSC | p. 34 |
| 625/50 PAL | p. 35 |
| Other Systems | p. 36 |
| HDTV | p. 36 |
| Summary | p. 38 |
| Film into Video | p. 39 |
| The Film-Video "Fit" | p. 39 |
| Frame-Rate Conversion | p. 40 |
| 525/60 Video Systems | p. 40 |
| 625/50 Video Systems | p. 42 |
| Nonstandard Film Speeds | p. 42 |
| Image Size Conversion | p. 42 |
| Academy Film Format (1.33:1) | p. 42 |
| Wide-Screen Formats | p. 43 |
| Contrast | p. 45 |
| Gamma Differences | p. 46 |
| Resolution | p. 47 |
| Comparison of Film and Video Resolution | p. 48 |
| Summary | p. 49 |
| Telecine Devices | p. 51 |
| History and Overview | p. 51 |
| Vidicon Camera Telecines | p. 51 |
| Flying Spot Scanners | p. 53 |
| Charge-Coupled Array Telecines | p. 54 |
| Current Telecine Systems | p. 55 |
| Flying Spot Scanner Telecines | p. 55 |
| General Features | p. 55 |
| Disadvantages | p. 57 |
| The Cintel Mark III Telecine | p. 58 |
| Film Formats | p. 58 |
| Video Formats | p. 59 |
| Transport | p. 60 |
| Specific Limitations | p. 60 |
| The Ursa | p. 60 |
| The Ursa Gold | p. 61 |
| The Ursa Diamond | p. 61 |
| The Ursa Electrum | p. 62 |
| The C-Reality | p. 62 |
| Flying Spot Telecine: A Detailed Theory of Operation | p. 64 |
| Transport | p. 64 |
| Video System | p. 68 |
| Charge-Coupled Device Telecines | p. 75 |
| General Features | p. 75 |
| The Philips FDL 90 CCD Telecine | p. 76 |
| Film Formats | p. 76 |
| Video Formats | p. 76 |
| Transport | p. 77 |
| Specific Limitations | p. 78 |
| Philips FDL 90 Detailed Theory of Operation | p. 78 |
| Transport | p. 79 |
| Video System | p. 80 |
| The Philips Spirit DataCine | p. 83 |
| Film Formats | p. 84 |
| The Sony FVS-1000 Vialta | p. 87 |
| Film Formats | p. 87 |
| Video Formats | p. 87 |
| Transport | p. 87 |
| Image Manipulation | p. 87 |
| Camera-Type Telecines | p. 88 |
| Sondor OMA-S Telecine | p. 88 |
| Summary | p. 89 |
| Video Recorder Formats | p. 91 |
| Digital Tape Recorder Formats | p. 92 |
| D-1 (4:2:2) Format | p. 94 |
| D-2 (4 Fsc) Format | p. 95 |
| D-3 (4 Fsc) Format | p. 97 |
| D-5 (4:2:2) Format | p. 98 |
| D-6 Format | p. 98 |
| Digital Betacam (4:2:2) Format | p. 99 |
| HDCam | p. 100 |
| DCT (4:2:2) Format | p. 101 |
| Digital Magnetic Disk Recorders | p. 101 |
| Analog Recorder Formats | p. 103 |
| 1-Inch Type C | p. 104 |
| 1-Inch Type B | p. 106 |
| U-Matic | p. 107 |
| Betacam | p. 109 |
| Betacam SP | p. 110 |
| VHS and Super VHS | p. 111 |
| Optical Discs | p. 113 |
| Optical Disc Formats | p. 115 |
| Laser Disc Applications | p. 116 |
| Sound Formats | p. 119 |
| Sound Fidelity | p. 119 |
| Frequency Response | p. 120 |
| Distortion | p. 120 |
| Noise | p. 121 |
| Synchronization | p. 122 |
| Professional Magnetic Tape Formats for Telecine | p. 124 |
| Resolving Systems for Magnetic Tape | p. 126 |
| Wired Sync Systems | p. 126 |
| Crystal Reference Systems | p. 126 |
| Time Code Reference Systems | p. 127 |
| Magnetic Film Formats | p. 128 |
| Professional Magnetic Film Formats | p. 128 |
| Fidelity of Magnetic Film Recordings | p. 133 |
| Optical Sound | p. 134 |
| Optical Sound Systems | p. 134 |
| Dolby Systems | p. 135 |
| Dolby A | p. 136 |
| Dolby SR | p. 137 |
| Dolby Stereo | p. 137 |
| Dolby Optical | p. 138 |
| Recent Changes in Sound Formats for Film | p. 139 |
| Digital Audio Recorders for Production Recording | p. 139 |
| Increased Use of Magnetic Tape for Film Post-Production | p. 139 |
| Digital Optical Sound for Release Prints | p. 140 |
| Summary | p. 142 |
| Sound Transfer Devices and Applications | p. 143 |
| Magnetic Tape Devices | p. 145 |
| Typical Magnetic Audiotape Transport for Telecine | p. 145 |
| Other Magnetic Tape Systems | p. 146 |
| The DAT or Digital Audiotape Recorder | p. 147 |
| Synchronizing and Resolving with Audiotape Transports | p. 150 |
| Synchronizing | p. 151 |
| Resolving | p. 155 |
| Magnetic Film Devices | p. 161 |
| Operational Adjustments and Use of Magnetic Film Tracks | p. 163 |
| Dolby Playback for Magnetic Film Tracks | p. 167 |
| Mixing Levels at the Console | p. 168 |
| Synchronizing and Resolving of Magnetic Film | p. 169 |
| Optical Sound Devices | p. 172 |
| Optical Sound Pickups | p. 172 |
| The Optical Track Follower | p. 174 |
| Video Frame Delay | p. 174 |
| Audio Control and Processing Devices in the Telecine | p. 175 |
| Audio Processors | p. 175 |
| Consoles and Mixers | p. 177 |
| Audio Monitoring Systems | p. 177 |
| Summary | p. 179 |
| Supporting Devices | p. 181 |
| Computer-Based Color Correctors | p. 181 |
| What Do Color-Correction Computers Do? | p. 182 |
| Current Devices | p. 183 |
| Specific Functions of Color-Correction Computers | p. 184 |
| Correction List Management | p. 186 |
| Still Stores | p. 187 |
| In-line Processors | p. 188 |
| Image Enhancers | p. 189 |
| Noise and Film Grain Reducers | p. 190 |
| Encoders | p. 192 |
| Video Switchers | p. 193 |
| Video Key and Matte Systems | p. 193 |
| Video Title Generators | p. 195 |
| Reticle Generators | p. 196 |
| Telecine Transport Controllers | p. 196 |
| Objectives of Telecine Transport Controllers | p. 198 |
| Commonly Used Functions of Telecine Transport Controllers | p. 200 |
| Time Code Generators | p. 203 |
| Film Code Readers | p. 205 |
| Keykode | p. 206 |
| AatonCode | p. 206 |
| Arri Fis | p. 209 |
| Time Code Character Generators | p. 209 |
| Logging Systems | p. 210 |
| Video Printers | p. 211 |
| Wet Gates | p. 211 |
| Pin Registration Image-stabilization Systems | p. 211 |
| Mechanical Systems | p. 212 |
| Electronic Systems | p. 213 |
| Film Cleaners | p. 213 |
| Off-transport Cleaners | p. 213 |
| On-transport Cleaners | p. 216 |
| Planning for Film-to-Video Transfers | p. 219 |
| Planning and Preparation for Transferring the Negative | p. 219 |
| First Step: Getting the Film Safely to the Lab | p. 220 |
| What the Lab Does with the Negative | p. 220 |
| Telecine Prep | p. 221 |
| Planning Considerations for the Telecine | p. 222 |
| Sample Terminology for Roll Identification | p. 225 |
| Transfer from Intermediate and Print Elements | p. 227 |
| Intermediate and Print Elements for the Telecine | p. 228 |
| Print Flaws Relative to Telecine Transfer | p. 230 |
| Quality Control in Video Finishing | p. 233 |
| Relationship with the Lab | p. 233 |
| Business Practices | p. 234 |
| Video Facilities and Costs | p. 235 |
| Evaluating and Selecting a Transfer Facility | p. 236 |
| Level of Service | p. 236 |
| Personnel | p. 236 |
| Equipment | p. 236 |
| Track Record | p. 236 |
| Referral | p. 236 |
| Price | p. 237 |
| Availability | p. 237 |
| Technical Requirements | p. 237 |
| Specialization | p. 237 |
| Security | p. 237 |
| Budgeting and Costs | p. 237 |
| Determining Requirements | p. 238 |
| Estimating Time | p. 238 |
| Budget Limits | p. 239 |
| Bids | p. 240 |
| Facility Rate Structures | p. 240 |
| Inclusions and Exclusions | p. 241 |
| Additional Factors Affecting Transfer Costs | p. 242 |
| Scheduling Facility Time | p. 245 |
| Sources of Information About Facilities | p. 245 |
| Staff Roles | p. 246 |
| Making the Booking | p. 247 |
| Confirmation | p. 248 |
| Facility Business Practices | p. 248 |
| Billing Policy | p. 248 |
| Payment | p. 250 |
| Liability and Security | p. 251 |
| Protection of Materials | p. 251 |
| Satisfaction | p. 252 |
| Problems and Solutions | p. 253 |
| Summary | p. 254 |
| The Telecine Environment | p. 255 |
| The Physical Environment | p. 255 |
| The Room | p. 255 |
| The Console | p. 256 |
| Primary Tools | p. 257 |
| The Creative Environment | p. 261 |
| Responsibilities of Individuals | p. 262 |
| Working Relationships | p. 264 |
| Typical Interrelationships During the Transfer Process | p. 268 |
| Telecine Methods and Techniques | p. 273 |
| Technique | p. 273 |
| What Can Be Taught? | p. 274 |
| What Cannot Be Taught? | p. 275 |
| The Essentials of Technique | p. 276 |
| Know the Capabilities of the Equipment | p. 276 |
| Identify the Desired Results | p. 276 |
| Manage the Process | p. 276 |
| Achievable Goals | p. 277 |
| Reproduce Accurately What Was Shot | p. 277 |
| Compensate for Unavoidable Technical Variations | p. 277 |
| Compensate for Film Errors | p. 278 |
| Optimize Transfer for Use of Special Effects | p. 278 |
| Create a Look or Image | p. 279 |
| Telecine Controls | p. 280 |
| Initializing Controls | p. 280 |
| Image Geometry Controls | p. 282 |
| Video Controls | p. 285 |
| Practical Application | p. 287 |
| Film-Transport Controls | p. 288 |
| Color Correction and Matching | p. 291 |
| Secondary Color Correction | p. 291 |
| Using the Color-Correction Computer | p. 292 |
| Using a Telecine Machine Controller | p. 297 |
| A Simple Transfer | p. 297 |
| A More Complex Transfer | p. 297 |
| Using the Controller for Calculations | p. 298 |
| Macro Functions | p. 501 |
| Five Sample Scenarios | p. 303 |
| Feature Film Transfer on a Limited Budget | p. 303 |
| Monday | p. 303 |
| Tuesday | p. 306 |
| Wednesday | p. 307 |
| Music Video Transfer | p. 308 |
| Friday | p. 308 |
| Saturday | p. 310 |
| Dailies Transfer for a Television Series | p. 311 |
| Wednesday | p. 311 |
| Friday | p. 314 |
| Thursday--Transfer Day 1 | p. 314 |
| Friday--Transfer Day 2 | p. 316 |
| "A" Feature Transfer | p. 317 |
| Wednesday | p. 317 |
| Thursday | p. 318 |
| Friday--Transfer Day 1 | p. 318 |
| Monday--Transfer Day 2 | p. 319 |
| Tuesday--Transfer Day 3 | p. 321 |
| Wednesday--Transfer Day 4 | p. 322 |
| Thursday--Transfer Day 5 | p. 322 |
| Friday--Transfer Day 6 | p. 322 |
| Monday--Transfer Day 7 | p. 323 |
| Tuesday--Transfer Day 8 | p. 323 |
| Wednesday--Holiday | p. 324 |
| Thursday--Transfer Day 9 | p. 324 |
| Friday--Transfer Day 10 | p. 324 |
| Monday--Transfer Day 11 | p. 325 |
| Tuesday--Transfer Day 12 | p. 326 |
| Wednesday--Transfer Day 13 | p. 326 |
| Thursday--Transfer Day 14 | p. 326 |
| Friday--Transfer Day 15 | p. 326 |
| Commercial Video Transfer | p. 327 |
| Monday--Transfer Day 1 | p. 327 |
| Video-to-Film | p. 329 |
| Video-to-Film Equipment and Processes | p. 329 |
| Kinescope | p. 329 |
| Electron Beam Recorder | p. 330 |
| Laser Scanner | p. 331 |
| Proprietary Systems | p. 332 |
| Applications of Video-to-Film Technology | p. 332 |
| Film Prints for Foreign Markets | p. 332 |
| Contractual Requirements | p. 333 |
| Dailies for Sound-Scoring Stages | p. 333 |
| Slides | p. 333 |
| Storyboards, Presentations, and Archives | p. 333 |
| Planning Considerations for Video-to-Film Transfers | p. 334 |
| Video Source Material | p. 334 |
| Film Format and Processing | p. 334 |
| Sound Tracks | p. 335 |
| Tests and Consultation | p. 335 |
| Quality of Video-to-Film Transfers | p. 335 |
| Recent Applications For Video-to-Film Systems | p. 336 |
| Electronic Film Systems Now and Beyond | p. 339 |
| Cintel Ursa Transfer Speeds | p. 341 |
| Philips Spirit DataCine Transfer Speeds | p. 343 |
| Appendix C | p. 345 |
| Appendix D | p. 347 |
| Glossary | p. 349 |
| Index | p. 383 |
| Table of Contents provided by Syndetics. All Rights Reserved. |
