DOCSLIB.ORG

ARRILASER Manual, May 2005

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ARRILASER Manual, May 2005 ® ARRILASER Instruction Manual As of: May 2005 ALL ARTWORK, PICTURES AND TEXTS ARE COVERED BY OUR COPY-RIGHT. THEY MUST NOT BE COPIED FOR REPRODUCTION (E.G. ON CD-ROM DISKS OR INTERNET-SITES) OR USED IN THEIR ENTIRE FORM OR IN EXCERPTS WITHOUT OUR PREVIOUS WRITTEN AGREEMENT. IF YOU ARE DOWNLOADING PDF-FILES FROM OUR INTERNET HOME-PAGE FOR YOUR PERSONAL USE, MAKE SURE TO CHECK FOR UPDATED VERSIONS. WE CANNOT TAKE ANY LIABILITY WHATSOEVER FOR DOWNLOADED FILES, AS TECHNICAL DATA ARE SUBJECT TO CHANGE WITHOUT NOTICE. 1 Contents 2 Safety Instructions and Legal Disclaimer ..11 3 Introduction ....................................................23 2.1 Disclaimer ........................................................11 3.1 Key Features .....................................................23 Contents 2.2 General Safety Instructions .................................13 3.2 Models .............................................................24 Warning Signs ...................................................13 3.2.1 ARRILASER Speed Performance ..................24 Safety Instructions ...............................................13 3.2.2 ARRILASER Speed twoK .............................24 3.2.3 ARRILASER HD ..........................................24 2.3 Laser Safety ......................................................15 3.3 Options ............................................................25 2.4 General Safety ..................................................16 3.4 System Components ..........................................27 2.5 Compliance with Regulations .............................17 Host Computer ...............................................27 Film Recorder .................................................27 2.6 Labels ...............................................................18 3.5 ARRILASER HD System Components ...................27 2.7 About this Manual .............................................22 3.6 Status on Delivery .............................................27 3 4 Hardware Operation ....................................29 5 Software Operation ......................................47 4.1 Start-up, Stand-by and Power-Down ...................29 5.1 Execution Levels ................................................47 4.1.1 Start-Up ...................................................29 Graphical User Interface (GUI) ........................47 4.1.2 Start-Up on ARRILASER HD ........................32 ALICE (ARRILASER Interactive Configuration Editor) ...47 4.1.3 Standby ....................................................32 Command Line Level (CLIF) ..............................48 4.1.4 Power-Down .............................................33 Application Programming Interface (API) ..........49 Contents 4.1.5 Power-Down on ARRILASER HD .................33 4.2 Camera Operation ............................................35 Notes about the magazines: ............................35 4.2.1 Loading the Feed Magazine .......................35 4.2.2 Manual Film Threading ..............................37 4.2.3 Threading with Auto-Feed ..........................40 4.2.4 Unloading the Take-up Magazine ...................41 4.2.5 Loading the Take-up Magazine with Auto-Feed ....42 4.2.6 Cleaning the Gate .....................................43 4.2.7 Control Buttons ..........................................45 4 5.2 ARRILASER Graphical User Interface (ALGUI) ......51 5.3 ARRILASER Interactive Configuration Editor (ALICE) .97 5.2.1 Getting Started ..........................................51 5.3.1 Operation .................................................99 5.2.2 Overview: The ALGUI Main Window .........53 5.3.2 Viewer area ..............................................99 The ALGUI Menu Bar ......................................53 Timeline .......................................................100 The ALGUI Tool Bar .......................................55 Projectable Area ..........................................100 The ALGUI Queue Manager Section ................56 Pixel Info ......................................................100 5.2.3 Overview: The Job Edit Window ................59 Display Settings ............................................101 The Job Edit Menu ..........................................59 5.3.3 Configuration Area .................................103 Contents The Input Tab Page .........................................60 Input Format ................................................103 The Shoot Tab Page ........................................65 Output Format ..............................................104 The Slate Tab Page .........................................69 Calibration ..................................................104 The Notify Tab Page .......................................71 Crop Area ...................................................105 5.2.4 Overview: The Setup Windows ...................73 Deinterlace ..................................................108 The Recorder Calibration Setup Window ..........73 Sharpen ......................................................108 The Recorder Geometry Setup Window ............77 Saturation ....................................................109 The Control Job Setup Window .......................80 CMS .........................................................110 The Image Processing Setup Window ...............83 5.3.4 The File Menu .........................................111 The Quickstart Dialog .....................................88 5.3.5 Configuration ..........................................113 5.2.5 Step by step: Starting a recording job .........89 5.3.6 Input Format File Specification ..................115 Creating a job using the Quickstart dialog .......89 5.3.7 Fine-tuning ALICE ....................................117 Create or edit jobs using the Job Edit window ...92 5.3.8 Accessing DVS Disk Recorders .................118 Performing a shoot queue: ..............................95 Browsing Disc Recorders ...............................118 Network Timeouts .........................................119 Partition Change Policy .................................119 Command Line Interface Syntax .....................120 5 6 System Integration ......................................123 6.5 ARRI Digital Lab Control (DLC) .........................151 6.5.1 Controlling the Recorder Calibration 6.1 Summary ........................................................123 and the Lab Processing Services ..............151 6.5.2 Using the ARRI DLC Excel Sheet ................152 6.2 Recorder Calibration .......................................125 How to install the Engineering Plug-in ............153 6.2.1 Recorder Calibration Basics .....................125 Data Input Chart ..........................................155 6.2.2 Recorder Calibration Practices ..................126 Recorder Calibration Chart ...........................157 Contents Calibrating the ARRILASER using ALGUI: .......126 Lab Process Chart .........................................159 6.2.3 B&W Recording ......................................130 6.5.3 Using DLC and CMS ................................163 6.2.4 Recording on 5245 Camera Negative .....132 Checking Print to LAD ..................................164 6.2.5 Recording on Interpositive ........................133 6.2.6 ARRILASER HD Calibration ......................135 6.6 Verifying CMS results .......................................165 6.6.1 Tools Needed ..........................................165 6.3 Format Conversion ..........................................137 6.6.2 Verifying Workflow Setups .......................165 Calibrating the Monitors: .............................165 6.4 The ARRI Color Management System (CMS) ......139 Verifying the Disk Recorder Setup: ................166 6.4.1 Understanding Color Management ...........139 Verifying the Film- and Digital-Projection Setup: ...166 6.4.2 Application Strategies ..............................139 Verifying the Densitometer Setup: ..................166 Logarithmic workflow ....................................141 Verifying the Print Process Setup: ..................167 Linear workflow ...........................................143 Control Results: ............................................168 6.4.3 Using CMS (linear workflow) ....................144 Customized Service: .....................................168 6.4.4 Using CMS on Low Key and Low Saturation Images .....................149 6.7 Setup a CMS job with the ARRILASER HD .........169 6 7 System Administration ...............................171 7.1.4 CLIF Configuration Settings ......................194 7.1.4.1 System Environment .........................194 7.1 Command Line Interface (CLIF) .........................171 7.1.4.2 Configuration Files ..........................198 7.1.1 Basic Concepts ........................................171 7.1.5 Using Shell Scripts ...................................202 7.1.1.1 Tasks ..............................................171 7.1.5.1 Runtime Levels .................................202 7.1.1.2 Control and Image Data Flow ...........172 7.1.5.2 Standard Scripts ...............................202 7.1.1.3 Process Synchronization ...................172 7.1.6 Application Programming Interface ...........205 7.1.2 Calling CLIF Commands ...........................174 7.1.6.1 Shared Memory Loader ...................205 Contents 7.1.2.1 Recording Images ............................175 7.1.6.2 API .................................................205 7.1.2.2 Recording
Load more

Recommended publications
  • Ulllted States Patent [19] [11] Patent Number: 5,771,109 Difrancesco [45] Date 0F Patent: Jun
    US005771109A Ulllted States Patent [19] [11] Patent Number: 5,771,109 DiFrancesco [45] Date 0f Patent: Jun. 23, 1998 [54] METHOD AND APPARATUS FOR 5,537,203 7/1996 Carr ...................................... .. 356/236 [)IGITIZING FILMS USING A 5,548,120 8/1996 Parker et al. ...................... .. 250/341.7 STROBOSCOPIC SCANNING SYSTEM FOREIGN PATENT DOCUMENTS [75] Inventor: David DiFrancesco, EngleWood, Calif. 498945 1/1939 United Kingdom . 2011756 7/1979 United Kingdom H04N 3/36 [73] Assignee: PiXar, Richmond, Calif. 2025731 1/1980 United Kingdom ........... .. H04N 3/36 OTHER PUBLICATIONS [21] Appl. No.: 651,164 [22] Filed: May 17’ 1996 gilciggriA High Resolution Digital Film Scann IDS4000 [51] Int. Cl.6 ..................................................... .. H04N 1/46 Laser Based Color Film Recorder System With GaAs [52] US. Cl. ......................... .. 358/507; 358/506; 205/228 Microlaser, D- Difrancesco, 17—20, Jan- 1989 [58] Field of Search ........................... .. 382/132; 358/474, High Resolution CCD Film Scanner For Special Effects 358/475, 480, 481, 486, 487, 491, 500, Applications, Mike Davis et al., unpublished. 506, 509, 510, 512, 501, 527; 355/32, 33, _ _ 37, Primary Examzner—ThoInas Lee Assistant Exammer—Jerome Grant, II [56] References Cited- Attorney , A 8 em, or Firm—Hecker & Harriman US. PATENT DOCUMENTS [57] ABSTRACT 3,584,147 6/1971 The present invention is a method and apparatus for digi 3,584,148 6/1971 Flory et al. .. tiZing ?lm frames. The invention utilizes different colored 3,637,937 1/1972 DCVCSOII et al. ...................... .. 340/680 Strobe housed in an integrating Sphere, instead of the 3,679,827 7/1972 BoltZ ....................................... .. 348/97 prior art ?lter and Shutter mechanism_ The invention’s 2/ {$305 egal' ' control system ?ashes each strobe light in sequence for a 4’255’764 32981 Héw‘zar 3443/98 predetermined time to expose a ?lm frame to various color 4’309’746 1/1982 362/259 components.
    [Show full text]
  • Film Printing
    1 2 3 4 5 6 7 8 9 10 1 2 3 Film Technology in Post Production 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 This Page Intentionally Left Blank 1 2 3 Film Technology 4 5 6 in Post Production 7 8 9 10 1 2 Second edition 3 4 5 6 7 8 9 20 1 Dominic Case 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 7 8 9 40 1 2 3111 4 5 6 7 8 Focal Press 9 OXFORD AUCKLAND BOSTON JOHANNESBURG MELBOURNE NEW DELHI 1 Focal Press An imprint of Butterworth-Heinemann Linacre House, Jordan Hill, Oxford OX2 8DP 225 Wildwood Avenue, Woburn, MA 01801-2041 A division of Reed Educational and Professional Publishing Ltd A member of the Reed Elsevier plc group First published 1997 Reprinted 1998, 1999 Second edition 2001 © Dominic Case 2001 All rights reserved. No part of this publication may be reproduced in any material form (including photocopying or storing in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright holder except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency Ltd, 90 Tottenham Court Road, London, England W1P 0LP. Applications for the copyright holder’s written permission to reproduce any part of this publication should be addressed to the publishers British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data A catalogue record
    [Show full text]
  • FOR SALE 1X Used Philips Spirit HD SDC 2000 Data Cine Film Scanner
    FOR SALE 1x used Philips Spirit HD SDC 2000 Data Cine Film Scanner HD Option for 1080i and 1080p included Wetgate Option included Colour Correction Davinci 2K Plus included Dry Gates: 1x Kodak Full Aperture 35mm Lens Gate 1x Kodak Super 16mm Lens Gate STVMD Wet Gates: 1x Kodak Aperture 35mm Lens Gate 1x Kodak Super 16mm Lens Gate Colour correction: Davinci 2K Plus (Mainframe, IBM-GUI-PC, Gallery-PC and 3x 2K Plus Panel) Aaton Keycode Reader included Many more spare parts available – description below! One TV Store Board does not work at the moment – it is possible to repair it on request For sale: 1x used Philips Spirit HD SDC 2000 Data Cine Film Scanner Price on request: Excl. VAT Excl. shipping & insurance costs Excl. custom fees Workflow Spirit Data Cine: Spirit DataCine is a telecine and/or a motion picture film scanner. This device is able to transfer 16mm and 35mm motion picture film to NTSC or PAL television standards or one of many High-definition television standards. With the data transfer option a Spirit DataCine can STVMDoutput DPX data files. The image pick up device is a solid state charge-coupled device. This eliminated the need for glass vacuum tube CRTs used on older telecines. The units can transfer negative film, primetime, intermediate film and print film, stock. With a sound pick up option, optical 16mm and 35mm sound can be reproduced, also 16mm magnetic strip sound. The unit can operate stand alone or be controlled by a scene by scene colour corrector. The operator of the unit is called a Colourist or Colourist Assistant.
    [Show full text]
  • LFR M3 Specsheet
    LFR Mark III Digital Film Recorder If you operate a graphic arts department, a professional or corporate service bureau, the affordable LFR Mark III™ is the right choice in price and performance for a high quality Digital Film Recorder. The LFR Mark III™ comes with an impressive array of features specifically designed to produce high quality images in 4 x 5, 120/220, and 35mm positive film. Enhanced Image Quality Custom-Designed Camera Backs ■ High quality imaging of positive film. ■ Lasergraphics’ camera backs are highly optimized to ■ 8K resolution. operate with the LFR Mark III Digital Film Recorder. ■ ■ High resolution 6-inch CRT. SmartBack™ 35mm camera back included. ■ Refined CRT pixel spot size for clearly defined small Other options include: text and fine detail. ■ SmartPro™ 4x5 camera back. ■ Dynamic Focusing: image corners as sharp as center. ■ SmartPro™ 120/220 fully automatic camera back. ■ Accurate computer-adjusted geometry and linearity ■ SmartLoader™ automated, high volume, multi-canister guarantee images that are distortion free and precisely 35mm film loader. positioned. ■ Full 36 bits of color per pixel for smooth color sweeps. Multiple-Platform Compatibility ■ Self calibrating, consistent quality output. ■ The Mark II and Mark III Digital Film Recorder is fully compatible with Macintosh, Power Macintosh, Fast, Real-World Imaging Speed Windows NT, Windows 95/98, and Windows 3.1. ■ ■ 60 typical 35mm business slides can be produced in just Set-up: Connects directly to standard Macintosh SCSI one hour. connector or to a PC using Lasergraphics’ RascolPort ■ or the standard parallel port. 85K file at 4,000-line resolution in 40 seconds.* ■ ■ Easy to install and operate.
    [Show full text]
  • The Essential Reference Guide for Filmmakers
    THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS IDEAS AND TECHNOLOGY IDEAS AND TECHNOLOGY AN INTRODUCTION TO THE ESSENTIAL REFERENCE GUIDE FOR FILMMAKERS Good films—those that e1ectively communicate the desired message—are the result of an almost magical blend of ideas and technological ingredients. And with an understanding of the tools and techniques available to the filmmaker, you can truly realize your vision. The “idea” ingredient is well documented, for beginner and professional alike. Books covering virtually all aspects of the aesthetics and mechanics of filmmaking abound—how to choose an appropriate film style, the importance of sound, how to write an e1ective film script, the basic elements of visual continuity, etc. Although equally important, becoming fluent with the technological aspects of filmmaking can be intimidating. With that in mind, we have produced this book, The Essential Reference Guide for Filmmakers. In it you will find technical information—about light meters, cameras, light, film selection, postproduction, and workflows—in an easy-to-read- and-apply format. Ours is a business that’s more than 100 years old, and from the beginning, Kodak has recognized that cinema is a form of artistic expression. Today’s cinematographers have at their disposal a variety of tools to assist them in manipulating and fine-tuning their images. And with all the changes taking place in film, digital, and hybrid technologies, you are involved with the entertainment industry at one of its most dynamic times. As you enter the exciting world of cinematography, remember that Kodak is an absolute treasure trove of information, and we are here to assist you in your journey.
    [Show full text]
  • Panasonic HPX-2700 P2 Brochure
    AJ-HPX3700 AJ-HPX2700Memory Card Camera-Recorder VariCam Creativity and P2 HD Workflow 1 The P2 HD VariCam Series Transforms the Moviemaking Workflow The Panasonic VariCam is well known in the movie industry as a video camera that captures images with an appealing warm, film-like tone and texture. Now the superior image quality and creativity that characterize this ground-breaking camera have been passed on to two advanced new P2 HD camera-recorders. The AJ-HPX3700 outputs RGB 4:4:4 images with full-pixel resolution and P-10Log gamma, and the AJ-HPX2700 features a full-rate (1 to 60 fps) variable frame function. Adding P2's advanced file-based and tapeless recording to VariCam's world-recognized image quality and expressiveness, these powerful new camera-recorders facilitate the workflow while cutting costs. AJ-HPX3700 AJ-HPX2700 High-Quality P2 HD VariCam for Multifunctional P2 HD VariCam with a High-End Production, with RGB 4:4:4 Variable Frame Rate from 1 to 60 fps: Output in Full 1920 x 1080-Pixel Superior Creativity and Outstanding Resolution and P-10Log Gamma Cost-Performance • 2.2-megapixel 2/3" CCD for full 1920 x • Variable frame rate of 1 fps to 60 fps in 1080 HD images. 720p, for creative over-cranked or • Dual-link HD SDI output for camera- under-cranked shooting. through RGB4:4:4/10-bit log gamma • Progressive CCD for multi-format signals. Compatible with uncompressed, recording*1 in 1080/24p, 1080/30p, high-end cinema workflows. 1080/60i, and 720/60p. • Recording formats: AVC-Intra 100/50 • Recording formats: AVC-Intra 100/50 and DVCPRO HD.
    [Show full text]
  • 1 Introduction to Light-Emitting Diode Optics for Motion Picture Film
    1 Introduction to Light-Emitting Diode Optics for Motion Picture Film Scanners Jeffrey Lauber Introduction As cinema makes its fated way towards an all-digital world, manufacturers of motion picture film scanners find themselves increasingly motivated by a desire to accurately render film’s images in digital form. Whether for archival digitization, digital film restoration, or digital intermediate production workflows, ultra-high resolution, far-reaching dynamic range, and natural color representation have come to be regarded as the ideal standards of both industry and audience. From the telecine in its earliest forms to top-of-the-line contemporary film scanners, these motivations have been at the forefront of digitization operations. The introduction of light- emitting diodes into film scanning technology is arguably one of the most important innovations in this regard. Since first arriving on the market in the early 2000s, LED-based optical systems have come to be a widely-sought feature of film scanners for their versatility, efficiency, and consistency. This paper will trace a brief history of film scanners from telecine to present to illustrate the ways in which innovations and limitations of the film scanner’s predecessors ultimately led to the inception of LED-based optical systems in its technologies. It will then outline the numerous implications of LED-based optical systems for digitizing motion picture film, especially as they pertain to archival film. Finally, it will address the ways in which LEDs function within the film scanner’s optical process at large, drawing on contemporary products for practical examples. 2 From Telecine to LED-Illumination Film Scanners Long before the film scanner made its debut in the film world, its two most immediate predecessors had been in wide use in archives, film production, and the home entertainment industry.
    [Show full text]
  • For Immediate Release Contact: John Constantine CELCO +1.909.481.4648 [email protected]
    For Immediate Release Contact: John Constantine CELCO +1.909.481.4648 [email protected] Media Contact: Sharon Adcock +1.310.545.9731 [email protected] CELCO Introduces FilmOut Pro V 2.0 Advanced Film Recording Software Rancho Cucamonga, CA, August 10, 2004…CELCO (www.celco.com), the leader in Digital Film Recording systems, introduced today their new FilmOut Pro V 2.0 Advanced Digital Film Recording Software. FilmOut Pro V 2.0 is CELCO’s new Film Recorder and Image Control Software for their latest generation FURY and Firestorm High Performance Digital Motion Picture Film Recorders. The new intuitive Graphical User Interface (GUI) controls the film recorder and includes a variety of image processing and viewing tools in a user friendly, easy to understand environment. FilmOut Pro will allow the operator to define aspect ratios and formats, and provide image cropping, offset, and resizing tools. It will display image histograms by color channel and have selectable image sharpening algorithms and degrain functions. The new software also includes an automated color management tool to give Filmmakers on film what they see in the digital color-timing suite. A unique feature of FilmOut Pro is an interactive A/B image comparison slider that allows the user to view images before and after different image processing tools have been applied. Bundled within the FilmOut Pro software is FinalView, an image viewing tool that displays the final image and its exact size and position on film. This gives the operator a final view of the image on film to verify everything is correct before the image is sent to the recorder "We are constantly improving our products and pushing the envelope of Digital Film Recording technology.
    [Show full text]
  • ARRILASER the Industry Standard in Film Recording ARRILASER
    ARRILASER The Industry Standard in Film Recording ARRILASER The ARRILASER is the only film recorder to use laser technology. With this tech- nology it has set industry standards in image quality, productivity and reliability, and has significantly reduced the cost of recording digital images onto film. It has even been recognized and honored by the Academy of Motion Picture Arts and Sciences (A.M.P.A.S) with a Technical Achievement Award in 2002. From the time of its first introduction, the ARRILASER has had the ability to record in true 4K resolution and has continually adhered to the latest standards, such as DCI (Digital Cinema Initiative) specifications. The original Standard ARRILASER is now just one in a range of five different versions that meets the requirements of various postproduction business models. The ARRILASER HD/DI represents an entry level system for emerging markets and start-up companies, while the ARRILASER Speed Performance and Speed twoK are mid-range options. At the top of the range are the ARRILASER High- Speed twoK and HighSpeed Performance models - the ultimate choice for clients who cannot compromise on speed of operation or image resolution. 2002 THE INDUSTRY STANDARD STANDARD INDUSTRY THE RECORDING FILM IN Scientific and Engineering Award (Academy of Motion Picture Arts and Sciences) for the design and development of the ARRILASER Film Recorder. © A.M.P.A.S. ® 2 ARRI DIGITAL INTERMEDIATE SYSTEMS | | ARRILASER ARRILASER Models Speed Speed HighSpeed HighSpeed HD/DI twoK Performance twoK Performance Speed specification Sec/frame Sec/frame Sec/frame Sec/frame Sec/frame HD 3.4 1,9 1,9 2K 1:1.85 3.2 1,7 1,7 approx.
    [Show full text]
  • An Introduction to Super-16Mm
    An Introduct I o n to A F o r m At t H E S u PE r 1 6 r E n AISSA n c E In recent years the tools for shooting Super 16 film have made r EG u LA r 1 6 revolutionary advances. New Super 16 cameras, lenses, film stocks, telecines, scanners and the emergence of the Digital In its long history, every conceivable subject or genre has Intermediate process have elevated the Super 16 format to been captured on 16 mm film. Developed by Kodak in 1923 unprecedented levels of image quality and production ef- as a format for hobby cinematographers, 16 mm soon domi- ficiency. This new Super 16 is the ideal recording medium nated the market with a huge number of diverse cameras. for high definition television content, independent features, After the Second World War, the 16 mm format became one commercials and documentaries alike. It combines the ad- of the most successful professional formats ever. The 16 mm vantages of film with the creative flexibility of film equip- cameras were the backbone of the quickly growing televi- ment and economic production costs. sion industry as they became the standard tool for capturing sport, news and documentaries. The portability and reliabil- Shooting on film has many inherent advantages, includ- ity of 16 mm assured a steady stream of content that allowed ing the organic film look, its unsurpassed exposure latitude, television to ascend to its current popularity. natural color reproduction, long term archivability and the fact that film is the only globally accepted standard format.
    [Show full text]
  • Product Review
    ,.. _. n/ocrr/n/x/ UIUIIIIL UIKcLliUn f Product Review MANY PHOTO LAB owners stin find this new electronic imaging revolution lewhat confusing due to the explosion of electronic equipment flooding the n Boiiti cou Vineyards ket. The process of sorting out just what lab equipment you need to maintain a profit and still remain competitive can seem like a full time job. If you take two giant steps back from all of this electronic mumbo-jumbo and look at just the basic structure of electronic imaging, the whole system should be easier to comprehend. Electronic imaging is simply a matter of input to the computer and output from the computer. Input is usually in the form of a film scanner or camera digitizer, while the output device is generally a color printer or a film recorder. The number one reason for using a desk- top film recorder is to create high quality slide presentations in-house. The ability to image created visuals using a personal computer allows for fast turnaround, a necessity in our "I need it yesterday" world. To refresh your memory, a film recorder is an electronic box with a high resolution CRT inside and a camera mounted to one end. When a picture is sent from the com- puter to the CRT, the camera shutter opens and the picture is projected through the camera lens and onto the film of your choice. Film recorders can be divided into two major groups: under $20,000 and over Agfa ProColor Premier j COREL SystemsCoporation (613) 728-8200 $20,000.
    [Show full text]
  • COMPUTER ANIMATION at LAWERENCE LIVERMORE LABORATORY S.R. Levine Lawrence Livermore Laboratory Color Print Film Can Be Used Inst
    COMPUTER ANIMATION AT LAWERENCE LIVERMORE LABORATORY S.R. Levine Lawrence Livermore Laboratory In any discipline where the desired results of color print film can expended effort can be used instead of high be pictorial in nature, we speed Ektachrome used in most direct find computer graphics. In those color film particular recorders (described below). There are color cases where the results can be displayed as a print sequence films that have a resolution in excess of pictures so as to give the illusion of 200 line pairs/mm of motion, we find computer in any color. That contrasts animation. The sharply with the 20-50 line pairs/mm obtainable uses of animation made by any discipline are with high as varied speed Ektachrome. This becomes important as the disciplines themselves. when we recognize the At the Lawrence fact that a high quality Livermore Laboratory, we film recorder is capable of imaging have been producing computer animated over 150 films for line pairs/mm on 16mm film. Thus, it is clear well over 10 years. These films have been used both that the indirect approach can potentially as a means to aid researchers with their produce a far work and as a means superior product. to communicate to others A second point is the results of their calculations. that during the optical reduction, it is possible to use the printer Until a few years ago, the only means of for special direct computer effects that are not easily programmed. film output was 35mm black and For example, fades and dissolves white microfilm.
    [Show full text]