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RE: Real Time Steady Gate Which camera to use.
- To: Kevin Ayres <Kevin_Ayres at prodcolor.com>, multiple recipients of <telecine at alegria.com>
- Subject: RE: Real Time Steady Gate Which camera to use.
- From: rob at alegria.com (Rob Lingelbach)
- Date: Thu, 22 Oct 1998 18:27:22 -0500
- In-Reply-To: Kevin Ayres <Kevin_Ayres at prodcolor.com> "RE: [TIG] Real Time Steady Gate Which camera to use." (Oct 22, 19:01)
- Organization: Altruistic Intentions
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- Reply-To: Rob Lingelbach <rob at alegria.com>
- Resent-Date: Thu, 22 Oct 1998 18:28:14 -0500
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On Oct 22, 19:01, Kevin Ayres wrote:
} Subject: RE: [TIG] Real Time Steady Gate Which camera to use.
> The BH has tolerance designed for a steady image
> during record and the KS have a shape designed for durability.
> Does this cause issue in the project?
> Or with all the steadying gear used,is it not a consideration?
It is a big consideration with the pin registration systems I've used
(I've certainly not used them all however)- they are optimized for BH
I've mostly used the Steadifilm Adam gate on an Ursa, which is
probably the most common type of pin registration system, and when the
gate is finely tuned for best steady transfer, the type of film and
perf tolerance are critical to success. With negative, I've found
generally that the film needs to have very little 'curl', and also
needs to have been recently processed --or at least recently run
through a wet cleaner-- I think this is related to the curl, which is
less pronounced when the film is not desiccated or dry. If the curl
of the film is reversed-- for example, if the film is flopped on the
telecine-- pin registration with a system optimized for the opposite
curl becomes difficult. In this regard, transfer of registered
print-- film printed on a registered optical printer, with BH perf
(print normally has KR perfs)-- must often be done flopped, as
attention is paid to the east-west, or side-to-side, curl of the film.
The setup, use of, and continuing maintenance of pin registration
systems are black arts. I remember the first such system in Los
Angeles, circa 1985, cloaked in a shroud of secrecy, such that mere
visiting mortal colorists and engineers were not to observe its
operation or design. Is this system, at Composite Image Systems,
Hollywood, still in daily use?
Rob Lingelbach | "I would give nothing for that man's religion
rob at alegria.com | whose very dog and cat are not the better for it."
www.alegria.com --Rowland Hill, "Village Dialogues"
Thanks to Biggi Klier of Arri for support in 1998.
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