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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 | |