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The Color of Light



In a message dated 98-02-10 22:40:09 EST, Stuart Monksfield writes:

<< I would just like to clarify one point.   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. >>

Hi Stuart,

The two prototype Sony telecines operating at Sony Pictures, California were
described at NAB last year.  They do indeed have Mitchell-style pulldowns with
registration pins.  The newest version, with intermittent motion sprockets and
OPS, was shown last year at IBC and so far as I know only made a brief
appearance in the U.S. at ITS.  Consequently, few people here have seen a Sony
telecine, and there is a lot of confusion as to exactly what the machine is
all about, what Sony's intentions are for it, and whether or not it should
even be taken seriously.  It would be great if a working sample could be shown
at NAB 98 in a couple of months, but until then, any light you could shed on
it (pun intentional) would be most appreciated.

N.B.: Unless you restrict yourself to transfering original camera negative
only, pin registration is highly overrated.  The majority of interpositives,
internegatives, and prints are made on contact printers in which the sprockets
register only the vertical dimension of the sprocket holes, the horizontal
control being provided by edge guides.  In fact, pin registering such films
"after the fact" won't reduce horizontal weave and can make it worse in some
cases.  If you'd like a specific question from me, I'd be interested to know
how OPS deals with these situations!

Best regards, 
Christopher Bacon


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