Film Into Video

A Guide to Merging the Technologies

By: George Cvjetnicanin

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Paperback | 11 April 2000 | Edition Number 2

At a Glance

Paperback
412 Pages

Edition Type
New edition

Dimensions(cm)
26.2 x 18.8 x 2.8

Paperback

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Film Into Video, Second Edition offers comprehensive, practical information on the complex process of converting motion picture film into video. All of the tools of the trade are explained in clear, simple language, as are the operational, business, and creative sides of film to video transfer. This easy-to use guide provides the reader with the necessary foundation to approach any technological advances in this fast-paced field.
Additions to the second edition include: information on the Philips Spirit Data Cine and the new Sony FVS-1000; a new section on the latest in flying spot telecines, including Cintel's C-Reality and Ursa Electrum; an examination of recent changes in color correction computers with da Vinci's 2K and Pandora's Mega-Def systems, and in respect to Philips Spirit DataCine and Cintel's C-Reality, a discussion relating to the area of data transfer and how this has changed the telecine industry.
New information on the Philips Spirit Data Cine and the new Sony FVS-1000
A new section on the latest in flying spot telecines, including Cintel's C-Reality and Ursa Electrum
Covers recent changes in color correction computers with da Vinci's 2K and Pandora's Mega-Def systems

Industry Reviews

"This book contains a wealth of information...The book covers everything from how film is made, what a video signal looks like and the inner workings of high-end film-to-video transfer equipment in an entertaining and educational way." - Don Smith, Videomaker

"If you work with film-to-video transfer equipment, are interested in film-to-video transfer or just enjoy learning about the history and current technology of film and video equipment, you will definitely enjoy Film into Video, Second Edition." - Don Smith, Videomaker

Praise for the previous edition: "An excellent reference book detailing all aspects of how the professional would go about transferring film to video, costing such a job, the time scales involved and the creative sides to post-production." - Amateur Film & Video Maker (IAC)

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You Can Find This Book In

Non-Fiction Arts & Entertainment Photography & Photographs Special Kinds of Photography Cinematography Engineering & Technology Electronics & Communications Engineering Communications Engineering & Telecommunications Television Technology Video Photography Kids & Children's Books Children's Non-Fiction

Drama & Performing for Children & Teenagers Society & Culture Media Studies Film, TV & Radio Television Specific Films General Issues in Art

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.

Film Into Video

A Guide to Merging the Technologies

At a Glance

Paperback

Industry Reviews

Shipping

How to return your order

Defective items

You Can Find This Book In

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