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B&W Negative transfers



>The question from me is "how do I minimize the gain problems in telecine?".
>Ken Robinson mentions bad line up and "Be careful of those PEC's!". Could
>someone elaborate?
>
>Don Hayashi      dhayashi at netcom.com

        I have had some experience with two types of stock in 35MM
monochrome negative transfer on URSAs. As Bob Festa mentioned, the debris
shed by the stock is horrible! We have had as much as 50% drop in video
level by the end of a 1000 foot roll. The biggest setup problem is that
negative operation assumes the presence of the orange color neg mask. An
auto align on the URSA (150 or 300uA) will often overload the blue PEC
causing a really odd artifact when the color channel is switched to
monochrome. A trick here is to set the 10 turn pots on the PEC power supply
cards to 4.0, do the auto align and then reset the pots to eliminate
clipping! You aren't interested in color balance, the shading tracks as
long as you stay in a linear reginon of operation and that funny feeling in
monochrome is eliminated.
        I'm fascinated to hear about the effects of color balance on the
look of the end-result B/W video. Can we talk the clients into it?
        Oh, by the way- I have had a lot of trouble reading edge barcode
from B/W stocks with early Evertz pickup heads. Another reason to avoid the
stock.

--- David Tosh  dlt at earthlink.net  (CIS 72167,1376)
--- Video Engineer, Complete Post, Hollywood


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