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Re: CBS high def test

In a message dated 97-01-17 00:42:34 EST, Jeff Kreines wrote:

<< My feeling is that 16mm will have a bigger presence in TV, and that those
 who'd rather spend money on stuff like HDTV cameras will push to have less
 stuff shot on film and more on video. >>

People have been predicting the demise of 16mm film since the first open reel
monochrome "home" VTR appeared, ca. 1966.  But 16mm is incredibly versatile
and and every time it gets killed off in one place, it just pops up somewhere
else.  Since Super-16 has practically the same resolution as the new high def
TV standard, and exactly the same aspect ratio, I am willing to predict that
it will actually enjoy a great revival as a primary means of recording hi-def
TV programming.

Why?  Artistic considerations aside, it is readily available, quite
inexpensive (compared to HDTV cameras, tapes, and recorders), and requires
nobody to change their existing editorial equipment or traditions.  Yes,
transfer houses will have to invest in new or upgraded telecines and VTRs for
the final transfer to high def, but many of them are preparing to invest in
the technology when it becomes available, which will keep the direct burden
off the producers.

I'd be most interested to know more about the Sony telecine that was used to
do the CBS test transfers.  How, exactly, does a field array telecine work?
 What provisions have to be made to handle various film formats and speeds?
 What other gear (color corrector, noise reducer, etc., etc.) is necessary?

Christopher Bacon
DuArt Video