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Re: Transformania - the Color of Light
- To: STUARTM at saus.au.sony.com.sg, telecine at alegria.com
- Subject: Re: Transformania - the Color of Light
- From: JSnopes at aol.com
- Date: Wed, 11 Feb 1998 02:47:13 EST
- Resent-Date: Tue, 10 Feb 1998 23:49:42 -0800
- Resent-From: telecine at alegria.com
- Resent-Message-ID: <"euNZnD.A.eKF.DfV40" at sun>
- Resent-Sender: telecine-request at alegria.com
- Resent-To: multiple recipients of <telecine at alegria.com>
STUARTM at saus.au.sony.com.sg writes, from Australia:
>Not wishing to offend Mr Snopes, I would just like to clarify one point.
Don't worry , it is very very difficult to offend Mr. Snopes.
>The Sony telecine does not and will not be using a 'Pin Registration'
>system. It does use a combination of continuous and intermittent motion
>sprocketed drive rollers, but the machine uses a newly developed OPS
>(Optical Picture Stabilisation) system, which as someone later commented
>uses the sprocket holes of the film itself to capacitively detect
>positional errors in both the horizontal AND vertical planes. Weave and
>jitter are then removed optically without stressing the film in any way.
I guess I just assumed that since Seiki made the movement, it would have
pin registration. So, instead, I infer from Stuart's post that it uses
an electronic equivalent of the "geneva movement, like the RCA TP35 and
MagnaTech PR135 electronic projectors.
From what I hear, the OPS is similar to the optical "steadyshot" systems
used in video cameras. While its sound very impressive technically (and
I'm sure it is) it seems perhaps overkill to use all this technology to
accomplish what good gate design could also accomplish (as it seems to in
However, it would be interesting if this same technology could be adapted
so that it tracked a user-selectable object in the frame, and could then
correct for any registration errors that occured not only in the
telecine, but also in the camera (or shooting). It would do what can be
done with motion tracking in a Flame or After Effects, but optically, in
real-time, and without any post-processing work.
(Sony, be sure to send the royalty check to RR2, Muncie, Indiana.)
As far as the three-color lamphouse that Dick Hobbs discussed, that is
hardly new. I believe there were TK29s that were modified for
programmable color correction with B&H (or similar) lamphouses, and I
also hear that Debrie used to make a telecine that had an additive
It would be interesting to hear of other early non-electronic systems for
color correction. Anyone out there wish to share some memories?
As a friend of mine might say, "Tell us about that punched tape and
silver foil tabs and notches, Grandpa/Grandma!!"
Thanks to Craig Nichols of Todd-AO for support in 1998.
No product marketing allowed on the main TIG. Contact rob at alegria.com
TIG subscriber count is 930 on Tue Feb 10 23:48:14 PST 1998
complete information on the TIG website http://www.alegria.com/tig3/