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Res correction



Hey All-
Thanks to those that have responded already to yesterdays computer to
film query.
An error on my part with writing too many numbers too late at night.
Digibeta and yes the 601 world is 720 not 768 vertical res.  Don't want
to start yet another standard by rumor.
Just a note.  The first film to go through this process combined true
16mm, film recorded titles at 1024x768, titles and effected live motion
shot at 640x480.  Even at 640x480 there were no obvious digtial
artifacts aside from a contrast shift projected on a 40' horizontal
screen.  Big and it passed the audience test.  The idea is to develop a
film recording technique for the unbudgeted 16mm  filmmaker(like
myself).  So far so good.  Any suggestions on a screen contrast pattern
to best match what will end up on film.  i.e. how to dial in the gamma
of the monitor and image shot so that it appears that way on film.
Color rendition,  white to black exposure and time have been ironed out
but the contrast issues have eluded consistancy.  I noticed that what
ended up looking alright on film also ended up being too contrasty when
telecine'd.  Kind of like the properties of transferring print. (we're
still talking 7245 here though).  I'm looking for the ideal shooting
surface.  Anybody with a product reco can respond to me personally,
basically a true flat screen 20" or thereabouts computer monitor running
vert res cababilities up to 1200, millions of colors, with tight PPI
characteristics.  This becomes basically a composite version of the
CRT's three pass method of conventional film recorders only now at about
4 secs a frame run from a G3.  The first generation scans were just
telecined from a Quadra and seemed to hold up allright for 16mm.  How
about building a device like a slide scanner with a transport mechanism
on it to move the film through and scan at higher res's? Any thoughts?
Is there a need for this whole process to even exist?  I know this
diverges from telecine but we're going to be seeing more of this kind of
stuff coming back into the rooms.  The filmaker is no longer constrained
by the laws of physics or mattes.

thanks
skot kuiper
n.y. bound


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