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| Preface | |
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| Acknowledgments | |
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| Film and Video: A Brief History | |
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| Assets of Film and Video | |
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| The Film-Video Interface | |
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| Summary | |
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| Film Technology | |
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| The Physics of the Film Medium | |
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| Film Stock Construction | |
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| Image Formation | |
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| Film Parameters | |
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| Grain and Sensitivity | |
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| Sensitometry and Contrast Ratio | |
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| Resolution | |
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| Additional Characteristics of Film Systems | |
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| Film Formats | |
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| 35mm Film | |
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| 16mm Film | |
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| 8mm Film | |
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| Summary | |
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| Video Technology | |
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| General Video Parameters | |
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| Luminance | |
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| Chrominance | |
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| Hue | |
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| Scanning Systems | |
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| Resolution | |
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| Bandwidth | |
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| Synchronization | |
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| Measurement of Video Parameters | |
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| Video Configurations | |
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| Component Video | |
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| Composite Video | |
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| Analog Video | |
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| Digital Video | |
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| International Technical Standards | |
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| 525/60 NTSC | |
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| 625/50 PAL | |
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| Other Systems | |
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| HDTV | |
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| Summary | |
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| Film into Video | |
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| The Film-Video "Fit" | |
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| Frame-Rate Conversion | |
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| 525/60 Video Systems | |
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| 625/50 Video Systems | |
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| Nonstandard Film Speeds | |
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| Image Size Conversion | |
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| Academy Film Format (1.33:1) | |
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| Wide-Screen Formats | |
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| Contrast | |
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| Gamma Differences | |
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| Resolution | |
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| Comparison of Film and Video Resolution | |
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| Summary | |
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| Telecine Devices | |
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| History and Overview | |
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| Vidicon Camera Telecines | |
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| Flying Spot Scanners | |
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| Charge-Coupled Array Telecines | |
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| Current Telecine Systems | |
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| Flying Spot Scanner Telecines | |
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| General Features | |
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| Disadvantages | |
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| The Cintel Mark III Telecine | |
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| Film Formats | |
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| Video Formats | |
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| Transport | |
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| Specific Limitations | |
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| The Ursa | |
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| The Ursa Gold | |
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| The Ursa Diamond | |
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| The Ursa Electrum | |
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| The C-Reality | |
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| Flying Spot Telecine: A Detailed Theory of Operation | |
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| Transport | |
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| Video System | |
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| Charge-Coupled Device Telecines | |
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| General Features | |
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| The Philips FDL 90 CCD Telecine | |
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| Film Formats | |
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| Video Formats | |
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| Transport | |
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| Specific Limitations | |
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| Philips FDL 90 Detailed Theory of Operation | |
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| Transport | |
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| Video System | |
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| The Philips Spirit DataCine | |
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| Film Formats | |
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| The Sony FVS-1000 Vialta | |
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| Film Formats | |
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| Video Formats | |
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| Transport | |
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| Image Manipulation | |
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| Camera-Type Telecines | |
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| Sondor OMA-S Telecine | |
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| Summary | |
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| Video Recorder Formats | |
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| Digital Tape Recorder Formats | |
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| D-1 (4:2:2) Format | |
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| D-2 (4 Fsc) Format | |
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| D-3 (4 Fsc) Format | |
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| D-5 (4:2:2) Format | |
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| D-6 Format | |
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| Digital Betacam (4:2:2) Format | |
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| HDCam | |
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| DCT (4:2:2) Format | |
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| Digital Magnetic Disk Recorders | |
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| Analog Recorder Formats | |
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| 1-Inch Type C | |
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| 1-Inch Type B | |
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| U-Matic | |
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| Betacam | |
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| Betacam SP | |
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| VHS and Super VHS | |
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| Optical Discs | |
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| Optical Disc Formats | |
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| Laser Disc Applications | |
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| Sound Formats | |
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| Sound Fidelity | |
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| Frequency Response | |
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| Distortion | |
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| Noise | |
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| Synchronization | |
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| Professional Magnetic Tape Formats for Telecine | |
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| Resolving Systems for Magnetic Tape | |
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| Wired Sync Systems | |
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| Crystal Reference Systems | |
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| Time Code Reference Systems | |
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| Magnetic Film Formats | |
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| Professional Magnetic Film Formats | |
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| Fidelity of Magnetic Film Recordings | |
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| Optical Sound | |
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| Optical Sound Systems | |
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| Dolby Systems | |
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| Dolby A | |
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| Dolby SR | |
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| Dolby Stereo | |
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| Dolby Optical | |
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| Recent Changes in Sound Formats for Film | |
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| Digital Audio Recorders for Production Recording | |
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| Increased Use of Magnetic Tape for Film Post-Production | |
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| Digital Optical Sound for Release Prints | |
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| Summary | |
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| Sound Transfer Devices and Applications | |
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| Magnetic Tape Devices | |
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| Typical Magnetic Audiotape Transport for Telecine | |
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| Other Magnetic Tape Systems | |
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| The DAT or Digital Audiotape Recorder | |
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| Synchronizing and Resolving with Audiotape Transports | |
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| Synchronizing | |
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| Resolving | |
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| Magnetic Film Devices | |
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| Operational Adjustments and Use of Magnetic Film Tracks | |
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| Dolby Playback for Magnetic Film Tracks | |
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| Mixing Levels at the Console | |
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| Synchronizing and Resolving of Magnetic Film | |
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| Optical Sound Devices | |
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| Optical Sound Pickups | |
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| The Optical Track Follower | |
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| Video Frame Delay | |
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| Audio Control and Processing Devices in the Telecine | |
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| Audio Processors | |
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| Consoles and Mixers | |
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| Audio Monitoring Systems | |
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| Summary | |
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| Supporting Devices | |
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| Computer-Based Color Correctors | |
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| What Do Color-Correction Computers Do? | |
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| Current Devices | |
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| Specific Functions of Color-Correction Computers | |
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| Correction List Management | |
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| Still Stores | |
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| In-line Processors | |
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| Image Enhancers | |
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| Noise and Film Grain Reducers | |
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| Encoders | |
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| Video Switchers | |
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| Video Key and Matte Systems | |
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| Video Title Generators | |
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| Reticle Generators | |
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| Telecine Transport Controllers | |
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| Objectives of Telecine Transport Controllers | |
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| Commonly Used Functions of Telecine Transport Controllers | |
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| Time Code Generators | |
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| Film Code Readers | |
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| Keykode | |
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| AatonCode | |
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| Arri Fis | |
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| Time Code Character Generators | |
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| Logging Systems | |
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| Video Printers | |
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| Wet Gates | |
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| Pin Registration Image-stabilization Systems | |
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| Mechanical Systems | |
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| Electronic Systems | |
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| Film Cleaners | |
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| Off-transport Cleaners | |
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| On-transport Cleaners | |
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| Planning for Film-to-Video Transfers | |
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| Planning and Preparation for Transferring the Negative | |
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| First Step: Getting the Film Safely to the Lab | |
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| What the Lab Does with the Negative | |
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| Telecine Prep | |
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| Planning Considerations for the Telecine | |
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| Sample Terminology for Roll Identification | |
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| Transfer from Intermediate and Print Elements | |
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| Intermediate and Print Elements for the Telecine | |
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| Print Flaws Relative to Telecine Transfer | |
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| Quality Control in Video Finishing | |
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| Relationship with the Lab | |
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| Business Practices | |
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| Video Facilities and Costs | |
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| Evaluating and Selecting a Transfer Facility | |
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| Level of Service | |
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| Personnel | |
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| Equipment | |
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| Track Record | |
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| Referral | |
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| Price | |
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| Availability | |
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| Technical Requirements | |
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| Specialization | |
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| Security | |
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| Budgeting and Costs | |
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| Determining Requirements | |
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| Estimating Time | |
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| Budget Limits | |
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| Bids | |
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| Facility Rate Structures | |
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| Inclusions and Exclusions | |
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| Additional Factors Affecting Transfer Costs | |
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| Scheduling Facility Time | |
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| Sources of Information About Facilities | |
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| Staff Roles | |
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| Making the Booking | |
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| Confirmation | |
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| Facility Business Practices | |
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| Billing Policy | |
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| Payment | |
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| Liability and Security | |
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| Protection of Materials | |
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| Satisfaction | |
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| Problems and Solutions | |
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| Summary | |
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| The Telecine Environment | |
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| The Physical Environment | |
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| The Room | |
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| The Console | |
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| Primary Tools | |
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| The Creative Environment | |
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| Responsibilities of Individuals | |
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| Working Relationships | |
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| Typical Interrelationships During the Transfer Process | |
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| Telecine Methods and Techniques | |
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| Technique | |
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| What Can Be Taught? | |
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| What Cannot Be Taught? | |
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| The Essentials of Technique | |
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| Know the Capabilities of the Equipment | |
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| Identify the Desired Results | |
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| Manage the Process | |
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| Achievable Goals | |
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| Reproduce Accurately What Was Shot | |
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| Compensate for Unavoidable Technical Variations | |
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| Compensate for Film Errors | |
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| Optimize Transfer for Use of Special Effects | |
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| Create a Look or Image | |
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| Telecine Controls | |
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| Initializing Controls | |
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| Image Geometry Controls | |
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| Video Controls | |
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| Practical Application | |
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| Film-Transport Controls | |
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| Color Correction and Matching | |
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| Secondary Color Correction | |
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| Using the Color-Correction Computer | |
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| Using a Telecine Machine Controller | |
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| A Simple Transfer | |
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| A More Complex Transfer | |
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| Using the Controller for Calculations | |
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| Macro Functions | |
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| Five Sample Scenarios | |
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| Feature Film Transfer on a Limited Budget | |
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| Monday | |
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| Tuesday | |
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| Wednesday | |
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| Music Video Transfer | |
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| Friday | |
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| Saturday | |
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| Dailies Transfer for a Television Series | |
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| Wednesday | |
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| Friday | |
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| Thursday--Transfer Day 1 | |
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| Friday--Transfer Day 2 | |
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| "A" Feature Transfer | |
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| Wednesday | |
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| Thursday | |
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| Friday--Transfer Day 1 | |
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| Monday--Transfer Day 2 | |
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| Tuesday--Transfer Day 3 | |
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| Wednesday--Transfer Day 4 | |
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| Thursday--Transfer Day 5 | |
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| Friday--Transfer Day 6 | |
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| Monday--Transfer Day 7 | |
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| Tuesday--Transfer Day 8 | |
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| Wednesday--Holiday | |
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| Thursday--Transfer Day 9 | |
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| Friday--Transfer Day 10 | |
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| Monday--Transfer Day 11 | |
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| Tuesday--Transfer Day 12 | |
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| Wednesday--Transfer Day 13 | |
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| Thursday--Transfer Day 14 | |
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| Friday--Transfer Day 15 | |
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| Commercial Video Transfer | |
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| Monday--Transfer Day 1 | |
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| Video-to-Film | |
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| Video-to-Film Equipment and Processes | |
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| Kinescope | |
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| Electron Beam Recorder | |
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| Laser Scanner | |
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| Proprietary Systems | |
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| Applications of Video-to-Film Technology | |
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| Film Prints for Foreign Markets | |
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| Contractual Requirements | |
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| Dailies for Sound-Scoring Stages | |
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| Slides | |
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| Storyboards, Presentations, and Archives | |
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| Planning Considerations for Video-to-Film Transfers | |
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| Video Source Material | |
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| Film Format and Processing | |
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| Sound Tracks | |
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| Tests and Consultation | |
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| Quality of Video-to-Film Transfers | |
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| Recent Applications For Video-to-Film Systems | |
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| Electronic Film Systems Now and Beyond | |
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| Cintel Ursa Transfer Speeds | |
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| Philips Spirit DataCine Transfer Speeds | |
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| Appendix C | |
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| Appendix D | |
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| Glossary | |
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| Index | |