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Re: Transformania - the Color of Light



STUARTM at saus.au.sony.com.sg writes, from Australia:

>Not wishing to offend Mr Snopes, I would just like to clarify one point.

Don't worry , it is very very difficult to offend Mr. Snopes.

>The Sony telecine does not and will not be using a 'Pin Registration'
>system. It does use a combination of continuous and intermittent motion
>sprocketed drive rollers, but the machine uses a newly developed OPS
>(Optical Picture Stabilisation) system, which as someone later commented
>uses the sprocket holes of the film itself to capacitively detect
>positional errors in both the horizontal AND vertical planes. Weave and
>jitter are then removed optically without stressing the film in any way.

I guess I just assumed that since Seiki made the movement, it would have 
pin registration.  So, instead, I infer from Stuart's post that it uses 
an electronic equivalent of the "geneva movement, like the RCA TP35 and 
MagnaTech PR135 electronic projectors.

From what I hear, the OPS is similar to the optical "steadyshot" systems 
used in video cameras.  While its sound very impressive technically (and 
I'm sure it is) it seems perhaps overkill to use all this technology to 
accomplish what good gate design could also accomplish (as it seems to in 
other telecines).  

However, it would be interesting if this same technology could be adapted 
so that it tracked a user-selectable object in the frame, and could then 
correct for any registration errors that occured not only in the 
telecine, but also in the camera (or shooting).  It would do what can be 
done with motion tracking in a Flame or After Effects, but optically, in 
real-time, and without any post-processing work.
(Sony, be sure to send the royalty check to RR2, Muncie, Indiana.)

As far as the three-color lamphouse that Dick Hobbs discussed, that is 
hardly new.  I believe there were TK29s that were modified for 
programmable color correction with B&H (or similar) lamphouses, and I 
also hear that Debrie used to make a telecine that had an additive 
lamphouse.

It would be interesting to hear of other early non-electronic systems for 
color correction.  Anyone out there wish to share some memories?

As a friend of mine might say, "Tell us about that punched tape and 
silver foil tabs and notches, Grandpa/Grandma!!"

John Snopes
Muncie, Indiana

---
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