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re: Green Light
- To: TIG <telecine at xyzoom.alegria.com>
- Subject: re: Green Light
- From: "Randy K. Reck" <rreck at encorevideo.com>
- Date: Thu, 12 Mar 1998 11:07:46 -0800
- Resent-Date: Thu, 12 Mar 1998 11:12:29 -0800
- Resent-From: telecine at alegria.com
- Resent-Message-ID: <"W3FYeC.A.dKB.GNDC1" at sun>
- Resent-Sender: telecine-request at alegria.com
- Resent-To: multiple recipients of <telecine at alegria.com>
Paul Sutton wrote:
...What is important in film scanning is not the color of the light, or
indeed its intensity at any single point in the optical path....
WHAT? I disagree. If you are interested in maximizing the signal/noise
ratio (looking at quiet pictures) on any imaging system, the first place
to start is to maximize the SIGNAL. If the light detector on a given
telecine (or scanner) is a photomultiplier tube, as in many night-vision
scopes, then it seems that the light levels being detected (and noise)
must also be in the night-vision ballpark. Even in the green CRT
telecine world: brighter is better.
I concur on some CRT-over-Xenon bulb arguments. However, it seems
intuitive that more is better when it comes to pumping light through
film during scanning. I think the film-damage threshold is higher than
you imply, if you filter the IR and UV out of the source. Has anyone
found the melt-down level for different 35mm stocks?
-- I'm compensated only by West-End post houses.
Chief Telecine Engineer
Encore Santa Monica
Thanks to Casablanca Finish for support in 1998..
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