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>The system which prompted the design of the computer system refered to in my
>earlier message was an earlier custom-built unit.
>An assistant would clip small metal tabs at each color-mix transition frame on
>the film. When doing the transfer, these would trigger a switch which
>sequenced through a number of "stored" mixes as indicated by a series of
>thumbwheel dials (0-9); these selections would in turn kick in any one of ten
>banks of potentiometers containing the desired parameters. Thus, the number of
>thumbwheels would determine the maximum number of transitions (I forget the
>number), involving up to ten different mixes set in preview by the ten sets of
I ran a system very similar to this at Editel LA around 1973. The actual
corrector being controlled was the old CBS color corrector, and there were
twenty sets of  thumbwheels with the ten presets described, so there were
ten sets of individual corrections with a total of twenty corrections
available if correction presets could be reused on subsequent scenes. There
was no reverse available, you could only go forward. 

There was no assistant at the time. I tabbed the print with the foil,
threaded the Singer projector, set up and ran the RCA TK28 chain, and
handled the correction mechanism. I also did maintenance if the stuff

As I recall, Sam Holtz did the design, and I along with a couple of others
did the actual wiring. It worked great for what it was at the time. The
envelope delay in the old CBS unit was horrid, but being able to color
correct individual scenes in prints made clients ecstatic. As an aside, it
was also my first experience realizing just how incompetent many (highly
rated) DPs were.


Bob Kertesz
BlueScreen LLC

The Ultimate in ULTIMATTE compositing.  
For details, visit http://www.bluescreen.com

thanks to Editel L.A. for support in 1999
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