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better displays, line doublers

I left HI-FI 95 wondering why we did not have line doublers and line
quadruplers and 20" non-interlaced RGB monitors to view our Ranks. I
knew the answer, another can of worms no doubt would be opened. Would
it replace the main program monitor or would it be supplemental? Would
it show everybody,(including the clients) the weak points of the
bay. Would it further confuse the "view in composite or component"
question? Would it increase our ability to see the difference between
gamut/colorspaces?  Monitoring has calmed down to a dull roar in most
facilities, why look for trouble? There's plenty of other areas that
have need.  BUT since Dave brought it up, I will make up for lost
time, since this is my first posting!  IT LOOKS INCREDIBLE!  For those
who have not seen doubled or quadrupled video, the scan lines
dissapear and the result is a 3D quality that is mind boggling.  Up to
now, there were only two doublers that were usable and they are not
inexpensive. I think line doublers built into TVsets got off to a bad
start due to cost vs. performance. There is a $3,500 consumer line
doubler available from Dwin Electronics, Glendale, Ca. that is a
knockout.  It is loaded with features and can adjust the grayscale of
your monitor through the remote control. Ihave viewed the Faroudja
quadrupler with the Vidikron VPF 50 HD projector (64kHz). The source
was laserdisc clips of "Mask",etc. The Faroudja quadrupler has noise
reduction, so there was no offdisc noise to contend with. It is my
intention to provide some background for those who have not had first
hand experience, not to review or promote. It's easy to go overboard,
it really is something.  In audio control rooms, a major factor in
chosing monitor speakers is their ability to reproduce high SPLs
without breakup. Practical designs prevail over the exotic. A monitor
speaker should reveal the flaws in a mix or recording. This is not
what you want at home. the point is there are many speaker systems
with superior resolving ability than the ones commonly found in studio
control rooms. At the HI-FI 95 show (April, L.A.) I heard a Nagra D 20
bit recording played back through Soundlab full range electrostatic
speakers. There was nothing to complain about, it was staggering, it
was very real. I hope the Nagra D makes more of an impact on film
sound. I doubt very much anybody will replace their Westlakes, KRKs,
etc with full range electrostatics even if they do sound more
transparent. The day to day repeatabilty of our monitoring is a tool
we use. Otherwords, we know what we are used to seeing. We can already
see the artifacts caused by our processing devices, especially in RGB
or digital monitoring. We tend to put money into areas that offer a
marketing advantage or we can charge extra for. I love DAV's digital
deflection but it's hard to justify the cost as a technical
upgrade. Still, at least the precision and repeatability of the raster
translates into something the client might see (no doubt about it in
70mm) and actually gets the benefit of it on tape. Spending money on
monitoring does not add to the quality of the image on tape. Of
course, some facilities have removed most of the problems in the
Ranks, either by a lot of hard work (mods and upgrades) or a lot of
money (Ursas) and have the luxury of moving on to "fun" things like
monitoring. There are 35" direct view CRTs in the bays at
Crest/National in L. A. The first one went in when they started doing
70mm transfers. They find it useful at times, for diagnostics, but
it's basically a client monitor.  I think clients enjoy seeing their
film on a larger screen. I know I did when at Crest. Many think that
the extra detail available off of 70mm would not come across on a
525/625 line standard and therefore there is no point in 70mm
telecine. A picture is worth a thousand words.  Does anybody have or
know of a line doubler/projector presentation in use with a telecine

--- End of forwarded message from dsp at earthlink.net