Fvs-1000 System Resolution

FVS-1000 FVSYSTEMS-1000 MULTI

FVS-1000 SYSTEM RESOLUTION

A A B B SYSTEMTELECINE

REMOTE INPUT CHECK SOURCE SELECT 1 POSI MASTER RED GREEN BLUE FILM SIZE PAN TILT ZOOM ROTATION SYSTEM ERROR MEMORY ADDR. PRESET 35mm 16mm 2 SOURCE ALARM FILM RATE READY DESTINATION RESET Features and specifications are subject to change without notice. 3 DF WARNING 24 EXECUTE HOUR MIN SEC FRAME 25 /1.001 4 + 30 KEY INHIBIT OFF ON SHUTTLE JOG VAR REFERECE MENU 1080 30 VARI/LOCKED PLAY

525 24 SET UP REVERSE FORWARD 625 25 All non-metric weights and measures are approximate. FIELD OUTPUT MODE MODE 1080 60I/ 30F SEARCHSTOP REV READY STEP FWD MARK IN 48I 24F

50I 25F 525 60I Sony is a registered trademark of Sony Corporation. REW REVSTOP PLAY FF 625 50I 48I All other trademarks are the property of their respective owners.

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he FVS-1000 Multi Resolution Telecine system is based on a unique engineering concept, Twhere the latest advances in light control, solid state imaging, digital image processing and the traditional skills of photography are harmonized within the same piece of equipment. The system is modular so that a wide range of film transfer work - HDTV transfer and 525/625 SDTV transfer - can be managed on the same platform.

The future of content distribution requires material to be simultaneously played out at different levels of resolution. It also relies heavily on modern data compression schemes, such as the MPEG2 standard. So for both DTV and DVD, image stability is a crucial factor because of the use of inter-frame compression schemes to efficiently compress and reproduce the original picture. These schemes demand a new level of performance from the telecine, requiring high resolution, real-time, pin-registered picture quality.

THE EVOLUTION IS HERE. — TELECINE FROM SONY.

The FVS-1000 System is based on an RGB independent frame-based high resolution image capturing system. In order to faithfully reproduce the rich tonality of negative film stock, the film frame image is captured by state-of-the-art two million pixel Area CCDs, with primary color correction performed in the optical domain. This helps to reduce signal processing noise to the absolute minimum while also providing sufficient headroom to compensate for film exposure errors.

A truly innovative film transport provides intermittent film motion which precisely and safely halts the film for exposure. The S.O.P.S. (Sony Optical Picture Stabilizer) provides opto-electronic pin- registered image quality by fine adjustments of the light path. Registration pins are not used in the film transport.

A progressively scanned frame-based digital signal processor provides simultaneous outputs of HDTV and SDTV signals. A combination of digital and optical picture manipulation systems allows flexible picture trimming, pan-scan, rotation and anamorphic conversion.

The FVS-1000 System interfaces with industry-standard color correctors, noise reducers and controllers.

The mature NTSC/PAL film transfer industry faces increased demands in picture quality as a consequence of the arrival of digital video transmission and distribution. The FVS-1000 System redefines the standards of performance, productivity and reliability in film to digital transfer. Higher resolution images will be delivered to the home and the utilization of MPEG2 compression for program delivery calls for vigilance in image stability and signal to noise. Sony mobilizes a number of innovative new technologies in the FVS-1000 telecine to squarely address this new performance demand. Frame-based Image Capturing

The FVS-1000 Multi Resolution Telecine applies the same principle as a professional motion film camera to ensure the highest image quality. Each frame is exposed when the film is stationary, and its position is registered in the film gate.

The advantage of imaging the film when it is stationary is that errors due to film transportation are removed, hence the geometric accuracy of the captured image is improved. Positional registration is crucial to secure frame-to-frame image stability. In case of a film camera, perforations are used as the index to align each film frame position, and a mechanical registration process is applied. Registration pins are physically inserted into the perforation, and shifts the film frame to the desired position. Unlike a film camera that runs new film rolls all the time, a telecine system is expected to handle various sorts of film, including those which were not kept in the ideal condition. The registration pin could possibly damage the film if the perforation is not properly aligned due to splicing errors or physical decay of the film base. The FVS-1000 uses a different technique that provides frame-to-frame image stability without risking the film. Further details are explained in a separate sheet of this brochure.

Area Array CCD for Telecine Systems: A Perfect Match As the film frame is kept stationary during exposure, the FVS-1000 captures the image by area array CCDs. This unique approach provides the following key operational benefits.

1. Maximized Image Quality The performance of electronic imaging is largely determined by the signal-to-noise ratio. Any electronic circuitry is prone to processing noise, but the signal-to-noise ratio can be improved by increasing the signal level. In the case of a telecine system or film scanner, this can be achieved by exposing the film to the light source for a longer time to gather the rich tonality of the film frame.

A very simple calculation shows that, per picture element, an area array CCD can secure more than 500 times the exposure time of a line scanning system, or 1,000,000 times that of a spot scanning system. Let us assume that a film shot at 24 Fps is passing through a continuous motion film transport to be converted into a 1920 x 1080 HDTV image. Each film frame has to be scanned within 1/24 second, during which more than 2,000,000 pixels, or over 1,000 lines, have to be scanned depending on the image capturing mechanism. The area array CCD may seem to be disadvantaged because of the idling time required to move and correctly position the film, but this is not significant. An assumption would be that half of the 1/24 second is used for the intermittent film movement. The area array CCD is therefore left with 1/48 second to capture one film frame. This means every single pixel has a maximum exposure time of 1/48 seconds on an area array CCD. The other systems have to share the 1/24 second ‘window’ with 1,000 lines or 2,000,000 spots. In reality, actual signal-to-noise ratio performance depends on additional factors such as the power of the light source, the sensitivity of the image pick-up device, and the electronic circuitry. However, this example clearly shows that the area array CCD approach accumulates vastly more ‘signals’ than other methods.

Preliminary Frame-based Image Capturing

Area Array CCD Image Capturing System

Such a fundamental advantage significantly contributes to the excellent ■ Every pixel continues to be exposed up to approximately 1/24 X 1/2 seconds. signal-to-noise performance of the Conventional Line Scanning System FVS-1000. The relatively long exposure time allows the use of a digitally controlled lamphouse to

■ 1,000 lines are scanned within 1/24 seconds. achieve primary color ■ Exposure time per pixel is maximum 1/24 X 1/1,000 seconds or less. correction in the optical domain. Conventional Spot Scanning System

■ 2,000,000 spots are scanned within 1/24 seconds. ■ Exposure time per pixel is maximum 1/24 X 1/2,000,000 seconds or less.

2. RGB Independent Image Capturing and Processing The FVS-1000 is equipped with three area array CCDs, one each for the R, G, and B channels. The three primary color components are individually handled throughout the primary color correction process, all the way down to the final output stage when they are assembled to produce component video. Each CCD has a picture element count of 1920 (H) x 1080 (V).

3. Image Quality As the film is kept completely stationary during the image capturing process, the FVS-1000 film motion can not cause image deformation. There is virtually no risk of after-image lag or image burn.

4. Consistent Performance and Low Cost-of-ownership As already proven with various professional applications such as broadcast television cameras, CCDs can retain stable performance over a very long period of time. This remarkable stability, repeatability, and longevity allows the CCD to achieve constant transfer results over a period of time or between different machines, and helps to reduce maintenance costs.

5. Made by Sony As one of the leading suppliers of professional and consumer imaging equipment, Sony has accumulated enormous expertise in CCD engineering and manufacturing. The 1920 x 1080 area array CCD of the FVS-1000 is utilized across our range of HDTV acquisition equipment – we therefore manufacture in volume, thus ensuring high product quality and securing product availability.

© 1998 Sony Corporation. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice. All non-metric weights and measures are approximate. Sony is a registered trademark of Sony Corporation. All other trademarks are the property of their respective owners. Primary Color Correction

Area array CCD technology allows the Sony FVS-1000 to integrate a powerful primary color correction system comprising digital light control, logarithmic signal processing, and linear signal processing. As shown in Fig. 2, high resolution, RGB-independent, frame-based signal processing is maintained throughout, until the output video processing stage. More importantly, the entire color grading process can be performed using the industry standard telecine controllers.

Digital Light Control The lamphouse assembly of the FVS-1000 is similar to that employed in the film laboratory for color timing, or grading of film. Light valves are employed to control the quantity of red, green and blue light which exposes the film. Due to the relatively long exposure time, a very narrow band of RGB light components can be selected to achieve optimum colorimetry in film-to-digital transfer.

As shown in Fig. 1, the light source is an easily replaced, long-life 300 W Xenon lamp. Down-time is significantly reduced, as no re-alignment is needed when a lamp is replaced.

The light source enters a series of dichroic filters where it is split into the RGB light elements. Each of the three light paths is equipped with a digitally controlled light valve that varies the intensity of the light component by means of time modulation. Unlike a classical mechanical barn-type shutter, the digital light valve is highly responsive and precisely turns the light path on or off on a frame-by-frame basis. The digital light control system alone provides a contrast ratio of more than 1:10,000 (or 0 to 4.0 film density) and can compensate for film exposure errors. Since the correction is performed in the optical domain, this process is virtually free from noise.

An integrating sphere is located at the end of the lamphouse, which provides even and diffused light to the film plane. The effects of film dirt and scratches can be significantly reduced without using a wet gate, and shading problems caused by the light source are negligible.

Light Source Digital Light Valves

Integrating Sphere

Preliminary Primary Color Correction

Film (Density) Domain

Light CCD Log A/D Masking FilmΓ valve Matrix Lamp Red Red Red Red Red Red Green Green Green Green Green Green Blue Blue Blue Blue Blue Blue Optical Process 12-bit Logarithm Signal Process

Video Domain

Linear TruEye VideoΓ Matrix Video Signal Red Red Red Processing Green Green Green Blue Blue Blue 16-10-bit Linear Signal Process

RGB Independent Logarithmic Signal Processing Analog signals from the CCDs travel through logarithmic amplifiers and are converted to 12-bit log digits at a sampling frequency of 74 MHz. In order to handle the diverse characteristics of the different film emulsions, the masking matrix and the film gamma correction takes place in the logarithmic, or film density, domain. The FVS-1000 includes a total of 16 coarse film gamma tables at a time, which can be modified as required (16 each for negatives, inter-positives, and printed films).

RGB Independent Linear Signal Processing After the film gamma is adjusted, the logarithmic data is converted into linear data to allow image manipulation in the video domain. The 12-bit log data is first converted to 16-bit linear, and then converted to 12-bit linear through the Sony TruEye™ process which retains the collation between the RGB color components. Video gamma correction is performed at 12-bit resolution by modifying the gamma curve with 10 adjustable points per picture frame. In order to match the bit depth resolution of monitors, the signal is reformed to 10 bits after video gamma correction, passed through the linear matrix, and is then sent to the video processing stage.

© 1998 Sony Corporation. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice. All non-metric weights and measures are approximate. Sony and TruEye are trademarks of Sony Corporation. All other trademarks are the property of their respective owners. Multi-resolution Output

The Sony FVS-1000 can handle a maximum of four independent video signal processing channels at a time, two SDTV and two HDTV channels. The FVS-1000 is supplied with one SDTV video processing channel. The second SDTV channel and/or the HDTV (4:2:2 or 4:4:4 output) channel(s) can be configured as required. Each video processing channel is equipped with a newly developed Sony proprietary Video Digital Signal Processor (DSP) for flexible image manipulation.

SD Video Signal Processing

Primary Color Correction Format- Image OUTPUT Processing conversion Enhancer Pull-down Digital Zoom Skin Detail OUTPUT 525/625 D-1 SDI Wipe (8:8:8 – 4:2:2) Frame Store

INPUT

INPUT 525/625 D-1 SDI (8:8:8 – 4:2:2)

HD Video Signal Processing

Image Digital Enhancer Pull-down OUTPUT Zoom Skin Detail OUTPUT HD SDI (4:2:2 or 4:4:4) Wipe Frame Store

INPUT

HD SDI (4:2:2 or 4:4:4)

Option

The SDTV video processing channel includes the following features.

Format Conversion and Picture Framing The FVS-1000 has a powerful RGB-independent, frame-based primary color correction system. Each of the RGB image data is handled at a resolution of 1920 x 1080, and converted to the required video signal.

Coupled with the 525 or 625 SDTV resolution, the 1920 x 1080 picture samples allow enough headroom for image manipulation without compromising the quality. Line conversion, color space conversion, pan-scan, zoom, and even anamorphic conversion are performed in the digital domain, achieving superb image quality.

Preliminary Multi-resolution Output

Image Enhancement and Skin Detail Control The difference between film and video definitions causes loss of detail in the converted video signal. In order to restore picture crispness, the FVS-1000 has an image enhancer in each video processing channel. This advanced enhancer allows the FVS-1000 to control the detail of the skin tone area without affecting other picture zones. This process occurs without complex windowing on a secondary color corrector.

Pull-down Pull-down sequence can be performed at any combination (m:n pull-down).

Frame Store and Built-in Wipe To enable color comparisons between different scenes, there is an internal wipe generator for simple split screen monitoring. The SDTV video processing channel is also equipped with an internal frame store that handles a maximum of 16 stills. Additional stills can be recalled from an external device through the video input port.

Multi-resolution Output The SDTV channels can be switched between 525 and 625 TV line standards. By adding a second SDTV channel, simultaneous transfer to 525 and 625 standards is achieved. Picture resolution can be selected as 4:2:2, 4:4:4, 8:4:4, or 8:8:8 via single, double, or triple SDI (Serial Digital Interface) connections.

The HDTV processing channels are similar to the SDTV processing channels in terms of functionality, although 1920 x 1080 picture resolution is retained until the final video output. The FVS-1000 provides a maximum of two channels of HDTV outputs with the addition of optional Sony BKFV-100 (4:2:2) or BKFV-110 (4:4:4) HDTV processing boards. 4:4:4 RGB HDTV output is realized by dual-link HD SDI.

Provisions are made to handle high resolution image data files in future.

Image stability has always been an important parameter for film transfer work. For example, many of the high resolution film scanners used for cinema special effects adopt a mechanical pin-registration system to feed stable images to the workstations. The film is captured as a series of discrete frames, while the pull-down claw provides the intermittent film motion. When the film frame is stationary, it is registered by driving pins through the film perforations. This process is called pin-registration and it produces images with the highest level of frame-to-frame stability that a mechanical system can produce. This type of film scanner mainly transfers newly processed camera negatives of relatively short duration, and there is little requirement for a real time transfer due to limitations in data transfer speed.

By contrast, a telecine system is expected to handle a variety of film stock of varying age and condition, and perform a real-time transfer. One solution is to move the film in a continuous motion using a capstan, while guiding the film by reference to the film edge. The system allows the film to travel through the telecine system with a minimal amount of physical stress, however, at the cost of image stability.

The increased use of film-based material for digital broadcasting and DVD presents a new challenge to a modern telecine system. It is well known that both DTV and DVD deliver superb image quality at very low data rates, by adopting inter-frame data compression schemes using long Groups Of Pictures (GOPs). An example of this would be the MPEG2 standard. The schemes rely on the fact that, within the GOP, the majority of the image sequence being compressed is static and the data being transmitted merely details the frame-to-frame changes. Using these encoding schemes, changes to the total picture content caused by positional shifts of the film frame impair the performance of the system, and at worst cause visible picture artifacts. The challenge that the designers of a new telecine face is to provide very stable pictures at real-time, without risking damage to the film.

Intermittent Sprocket Wheel Drive The FVS-1000 employs a frame-based image capturing system, which calls for intermittent film motion during the transfer process. Film motion is provided by four sprocket wheels. In order to compensate for the mechanical tolerance of the perforation size and position, the sprockets are elaborately designed to loosely fit in the perforation.

Two outer sprocket wheels continually move the film, while two inner sprocket wheels provide the intermittent motion during playback. All four sprocket wheels move continually during

S Reel Intermittent T Reel fast-forward and rewind. The combination of intermittent and Drive Sprocket continuous sprocket wheel drives offers a broad range of operating speeds and quick response. The VTR-like transport control helps the colorist to quickly locate a desired picture frame in a range of P/T Roller P/T Roller Continuous Drive Sprocket up to 200 Fps by effectively flashing the light source through Film Code Reader Audio Drum digital light valves.

Gentle Film Handling The sprocket wheels are carefully designed to accommodate both 35 mm and 16 mm film, and in both cases the film image area is never touched during the transport process. The sprocket wheel securely advances the film with relatively low film tension. In contrast, most of the capstan drive mechanism is in contact with the entire film area, and generates a certain level of stress to the

Preliminary The Film Transport

film to make it move. Once the film is kept stationary for exposure, there is no attempt to re-position the film. Instead of trying to mechanically control the physical position of the film to achieve frame-to-frame image stability, the FVS-1000 intelligently controls the light path through the innovative Sony Optical Picture Stabilizer (S.O.P.S.) System.

S.O.P.S. (Sony Optical Picture Stabilizer) S.O.P.S. is an opto-electronic image stabilizer system which offers pin-registered image quality by fine control of the light path. A series of film position detectors are located on the film gate to sense the film frame position in both the horizontal and vertical planes, across a number of film perforations. These detectors measure the difference in capacitance between air (the perforation) and the film. Positioning data is derived by a differential technique, Horizontal Position Drive Amp Detection involving a pair of capacitors, and is not affected by

Vertical Position Drive Amp variations in film base material and film density nor by Detection environmental condition.

This positioning information is processed by a V microprocessor which interprets the data across a range of readings compensating for local errors such as damaged or irregularly pitched perforations. Vc1 Vc2 Electrode

The microprocessor controls an optically flat glass plate which is located between the film plane and X Y the CCD imager. If the film is correctly positioned, Film Film the glass plate remains parallel to the film plane. Perforation If the film frame is slightly off-set, the glass plate tilts, by a carefully calibrated amount, to refract and therefore shift the light path. Unlike a Film pin-registration mechanism that adjusts the Perforation X X

position of the film, with S.O.P.S., the film remains C1 C1

in the off-set position but the illuminated image C2 C2 Y

is adjusted to the correct position by refraction Y ■ ■ through the glass. Two such devices are used to X = Y X < Y independently compensate for horizontal and ■ Vc1 = Vc2 ■ Vc1 > Vc2 vertical movement of the film. Displaced Light Path

Glass Film Frame nominal Film Frame position nominal position Film Plane Film Position Error Light

General Primary Color Correction System Mechanical dimensions 1175 × 1798 × 780 mm Optical gain control: 0 to 4.0 density range (W × H × D): (46 3/8 × 71 1/4 × 30 3/4 inches) (greater than 10000:1) Mass: Approx. 500 kg (1100 lb 37 oz) R, G, B and Master Power consumption: Approx. 2.5 kW Electrical gain control: ±0.15 density range (±3 dB) R, G, B and Master Film Transport System Pedestal range: ±40 % Film format: 35 mm, Super 35 mm White/black shading: Para and Saw ±30 % independent (4&3 perforation), Anamorphic horizontal, vertical and R, G, B Optional 16 mm, Super 16 mm Masking matrix: Choice of preset masking Film type: Negatives, Prints, Inter positives equations and user programmable Film gate: 3&4 perf. 35 mm film gate with masking equations, or user setting perf. position detector of R-G, B-G, G-R, B-R, B-R, B-G 35 mm slide gate Gamma control: Range 0.2 to 2.0 for positive, Optional 16 mm film gate with perforation -0.2 to -1.0 for negative position detector Coarse: 16 internal preset files Film capacity: Max. 3000 ft. (adjustable) Film drive: Sprocket driven by AC servo motors Fine: continuously variable Film frame rate: 23.976, 24, 24.975, 25, 29.97, 30 Fps Linear matrix: Choice of preset masking forward and reverse mode equations and user programmable Varispeed: 5 to 50 Fps in forward and reverse masking equations, or user setting mode R-G, B-G, G-R, B-R, B-R, B-G Step mode: Rapid and precise single step with Sampling rate and quantization: full quality 3 @ 12-bit logarithmic R/G/B Stop mode: Full quality active stop independent @ 74 MHz Visible shuttle mode: Max. 200 Fps Processing sample rate and quantization: Variable mode: ±2 times normal play speed 3 @ 16-bit linear R/G/B Picture stability: Better than ±0.05 % of film frame independent @ 74 MHz height and width with S.O.P.S. (Sony Optical Picture Stabilizer); HDTV Functions The FVS-1000 System Capacitive, two dimensional, accommodates up to two multiple perforation sensing with channels of HD SDI (BKFV-100) dual-axis optical compensation and/or Dual HD SDI (BKFV-110) Vertical framing adjustment: Adjustment of vertical framing by processing boards. at least ±1.0 frame at perforation step in forward and reverse System: 1080/60I 1080/59.94I Film Image Acquisition System 1080/50I Image acquisition device: 3-chip 2 million pixels Frame 1080/49.95I Interline Transfer (FIT) type area 1080/48I array CCD 1080/47.952I Light source: Xenon lamp 300 W 1080/24P Light valve: R, G and B independent digital 1080/23.976P control Electrical zoom: 0.25× to 4× Diffuser: Integrating sphere Independent X and Y sizing X-Y panning and repositioning Anamorphic unsqueeze 2:1 Blanking control: X, Y, size and position Image enhancer: Crispening Level depend Detail gain: Master, R, G and B Skin detail: Level Phase Width Saturation Pull-down: Sequence reset, any film frame to any video frame m : n pull-down possible

Preliminary Specifications

Frame store: for reference frame Skin detail: Level 4 frame @ HD 4:4:4 Phase Optional Max. 16 frame @ HD 4:4:4 Width Wipe: Horizontal and vertical split Saturation screen with border adjustment Pulldown: Sequence reset, any film frame to Source selection: main, input, any video frame frame store m : n pull-down possible Signal-to-noise ratio: better than 58 dB Frame store: for reference frame Measured at 50 % video level, 16 frame @ SD 8:8:8 gamma=0.4, Wipe: Horizontal and vertical split The ratio being 700 mV divided screen with border adjustment by r.m.s noise voltage Source selection: main, input, Horizontal Resolution: 1,000 TV line frame store Depth of modulation: 45 % at 27.5 MHz Signal-to-noise ratio: Better than 62 dB Video input: with BKFV-100: HD SDI (4:2:2) - Measured at 50 % video level, max. 2 channels gamma=0.4, with BKFV-110: Dual HD SDI The ratio being 700 mV divided (4:4:4) by r.m.s noise voltage Video output: with BKFV-100: HD SDI w/char & Resolution: 1,000 TV line HD SDI (4:2:2) Modulation depth: 70 % at 5 MHz with BKFV-110: Dual HD SDI Video input: D-1 SDI (4:2:2) - max .3 channels (4:4:4) or dual D-1 SDI (4:4:4, 8:4:4) or Sequence output: Pull-down sequence pulse triple D-1 SDI (8:8:8) TC output: SMPTE-12M Video output: D-1 SDI (4:2:2) D-1 SDI w/character SDTV Functions The FVS-1000 System is furnished Triple D-1 SDI (8:8:8) or dual D-1 with one SDI processing channel. SDI (4:4:4, 8:4:4) or D-1 SDI × 3 A second channel can be configured Monitor out (analog composite) by adding the BKFV-200 SDTV Monitor out w/character processing board. Sequence output: Pull-down sequence pulse TC output: SMPTE-12M System: 525/625 switchable 525/59.94I Reference Input / Output 625/50I HD input / output: Trilevel sync 625/49.95I field rate: 60 / 59.94 625/48I 50 / 49.95 625/47.952I 48 / 47.952 Frame-based pixel assignment from 1920 × 1080: SD input / output: Black burst (NTSC / PAL) Crop 525 sync Squeeze 625 sync Letter box field rate: 50 / 49.95 Electrical zoom: 0.25× to 4× 48 / 47.952 Independent X and Y sizing X-Y panning and repositioning Remote Interface Anamorphic unsqueeze 2:1 RS-422: Sony 9-pin serial, D-sub 9-pin Blanking control: X, Y, size and position Telecine controller I/F, D-sub 9-pin Image enhancer: Crispening RS-232C: D-sub 9-pin Level depend Detail gain: Master, R, G and B

FVS-1000 SYSTEM RESOLUTION

A A B B SYSTEMTELECINE

525 24 SET UP REVERSE FORWARD 625 25 All non-metric weights and measures are approximate. FIELD OUTPUT MODE MODE 1080 60I/ 30F SEARCHSTOP REV READY STEP FWD MARK IN 48I 24F

50I 25F 525 60I Sony is a registered trademark of Sony Corporation. REW REVSTOP PLAY FF 625 50I 48I All other trademarks are the property of their respective owners.

Distributed by

FVS-1000 SYSTEM RESOLUTION

A A B B SYSTEMTELECINE

525 24 SET UP REVERSE FORWARD 625 25 All non-metric weights and measures are approximate. FIELD OUTPUT MODE MODE 1080 60I/ 30F SEARCHSTOP REV READY STEP FWD MARK IN 48I 24F

50I 25F 525 60I Sony is a registered trademark of Sony Corporation. REW REVSTOP PLAY FF 625 50I 48I All other trademarks are the property of their respective owners.

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