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Re: Real Time Steady Gate Which camera to use.
Rob Lingelbach wrote:
> 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
> FWC Dallas
I worked for a number of years at CIS on their "Electronic Optical Printer"
and I understand that two of them are still in use today in Hollywood at
The EOP is an extensively modified MKIII Rank that can only do pin
registered transfer. It is supported by standard disk recorders and noise
reducers that have been systematized with proprietary control software to
allow incredible flexibility in compositing images directly off the
telecine. The Henry and Flame systems have rendered most of this obsolete,
at least in the eyes of most customers. (Who do you know that composites in
the telecine suite today?)
The EOP telecines still are the best pin registered machines going for
steadiness in that they use an Acme type movement. They can pin just about
any Bell and Howell perf 35mm film in just about any condition. They are
also blindingly quick compared to the Steadifilm gates. They can also do
Whether the image quality of the EOP can compete with an URSA Diamond is
open to question, but if you are doing multiple layers that have to be rock
steady, the EOP is great.
I don't get anything from CIS for saying this- if this seems to be an
advertisement. They just built some cool hardware and I had a good time
working on it.
Thanks to Time Logic's Jim Lindelien for support in 1998.
No product marketing allowed on the main TIG. Contact rob at alegria.com
1008 subscribers in 38 countries on Mon Nov 2 00:22:04 CST 1998
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