WO2000010054A1 - Procede de transfert video-film - Google Patents

Procede de transfert video-film Download PDF

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Publication number
WO2000010054A1
WO2000010054A1 PCT/US1999/018145 US9918145W WO0010054A1 WO 2000010054 A1 WO2000010054 A1 WO 2000010054A1 US 9918145 W US9918145 W US 9918145W WO 0010054 A1 WO0010054 A1 WO 0010054A1
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Prior art keywords
film
video
frame
frames
camera
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PCT/US1999/018145
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English (en)
Inventor
Mark S. Shepherd
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Shepherd Mark S
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Publication date
Application filed by Shepherd Mark S filed Critical Shepherd Mark S
Priority to AU54754/99A priority Critical patent/AU5475499A/en
Publication of WO2000010054A1 publication Critical patent/WO2000010054A1/fr

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    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
    • H04N7/00—Television systems
    • H04N7/01—Conversion of standards, e.g. involving analogue television standards or digital television standards processed at pixel level
    • H04N7/0112—Conversion of standards, e.g. involving analogue television standards or digital television standards processed at pixel level one of the standards corresponding to a cinematograph film standard
    • H—ELECTRICITY
    • H04—ELECTRIC COMMUNICATION TECHNIQUE
    • H04N—PICTORIAL COMMUNICATION, e.g. TELEVISION
    • H04N5/00—Details of television systems
    • H04N5/76—Television signal recording
    • H04N5/84—Television signal recording using optical recording
    • H04N5/87—Producing a motion picture film from a television signal

Definitions

  • the present invention relates to systems and processes for the transformation of electronic images with synchronized sound, such as recorded television (videotaped) and digital computer generated images (CGI) , to motion picture cine film that can be projected in movie theaters.
  • synchronized sound such as recorded television (videotaped) and digital computer generated images (CGI)
  • Film recorders reproduce the highest quality digital image on film, at vertical resolutions of 2,000 to 4,000 video lines (2K and 4K) . Designed for applications like computer-generated graphics special effects, these systems are far too slow and costly for feature-length video-to-film transfers.
  • Film recorder systems use two types of technologies: a) film cameras that shoot high resolution cathode ray tubes (CRTs) through red, green, and blue filters and b) red, green, and blue microlasers that literally scan an image on the film's surface without the use of lenses.
  • CTRs cathode ray tubes
  • red, green, and blue microlasers that literally scan an image on the film's surface without the use of lenses.
  • Systems using the CRT process cost between $150,000 and $300,000 and are manufactured by only two companies. To get 4K output, they run at speeds of 15 to 40 seconds per frame (very slow) and cost dollars-per- frame to the end-user.
  • Laser systems also manufactured by just two companies, cost between $500,000 and $1,000,000, record at 6 seconds per frame and are faster and brighter than CRT-type systems, but still cost several dollars per frame to the end- user. At around $270,000 for a 90-minute feature film, the cost is still prohibitive.
  • the kinescope was originally conceived as a small, sharp, monochrome video monitor photographed by a special film camera electronically synchronized to match the NTSC video frame rate, while dropping selected fields to produce 24 frames per second (really 23.976 fps), which eliminates the appearance of roll bars.
  • kinescope-based systems Two types are currently in use.
  • the cost to the end-user is $75 per minute, which includes both the negative and a color-corrected composite print complete with sound track.
  • the 16mm print In order to make a 35mm print the 16mm print must be enlarged, at a cost of $4 per foot (9,000 feet for a 90-minute film), or $36,000. This price includes an optical sound track and check print.
  • Triniscope Another company offers a variation of the kinescope called the Triniscope, which uses the Teledyne CTR III.
  • the system features three small monochrome cathode ray tubes, each covered with a red, green, or blue filter. The images from these monitors are superimposed by a prism and aimed at a synchronized film camera with fast pull -down. Both 16mm and 35 mm prints can be made by switching cameras.
  • the image is interlaced, so only part of the information can be seen at a given time; and 5.
  • the output does not look like film in that it contains visible scan lines, pixels, moire patterns and other artifacts .
  • Electron beam recorders were made by 3M Corporation briefly in the early 1970s and are no longer manufactured. EBRs fire a stream of electrons directly at unexposed film in a vacuum. Because electrons don't have color, black and white film is used, which necessitates that three exposures be made for each frame of film, one each for the red, green, and blue part of the image. The color-separated frames are subsequently reprinted through red, green, and blue filters on an optical printer to yield a color negative. EBRs have to run three separate passes at 24 fps to accommodate the three color separations. In order to reduce the appearance of scan lines, a "spot wobble" technique is used in which the electron beam is wobbled up and down to fatten scan lines until they fuse.
  • EBR technology attempts to eliminate artifacts of digital signal processing such as "interlace tearing," which resembles a comet-tailing of bright areas of horizontally darting objects.
  • One method used to reduce such artifacts is to digitize a series of adjacent frames at 29.97 fps, compare them for areas of common detail, and then digitally recompose a new series at 24 f s.
  • Noise reduction is accomplished via a similar strategy. Nonetheless, the resulting images can contain blurred frames, fleeting raster lines, or even "blink-of-an-eye” artifacts at cuts. There is not much that these technologies can do about such artifacts, despite the expenditure of considerable effort in corrective measures.
  • a video to film transfer system for exposing cine film from a video source includes a raster display unit having a light source, a frame register for periodically storing pixel data in response to luminance signals from the video source, a rectangular array of light modulators optically coupled to the light source, and a circuit for progressively sequentially updating electrical signals driving the modulators in response to the frame register; a film transport unit for repetitively advancing and registering sequential frames of photographic film relative to a camera aperture; and means for projecting an image of the light modulator array onto the film within the aperture.
  • the projection means can include a projection screen, a projection lens for focusing an intermediate image of the array onto the screen, and a camera lens for focusing the intermediate image onto the film.
  • the projection lens can be assembled with the raster display unit to form a video/data projector.
  • the camera lens can be assembled with the film transport unit to form a cine camera.
  • the camera further includes a shutter interposed between the camera lens and the aperture.
  • the film transport unit completes registration of successive frames within an interval of time being less than half of a frame-to-frame interval, the shutter blocking light transmission from the camera lens to the film for approximately half of the frame-to-frame interval, the advancement and registration of the film frames occurring during the blockage of the light by the shutter.
  • system further includes means for purtubating a nominal position of the screen for obscuring pixel boundaries of the intermediate image.
  • the luminance signals can be received at a first frame rate, the film transport unit operating at a second frame rate that is different than the first frame rate, counterparts of an entire stream of the luminance signals being recorded on successive film frames with uniform time and exposure correspondence over each film frame.
  • the video input can be at 30 frames per second, the film transport unit operating at 24 frames per second.
  • the video input can be at 25 frames per second, the film transport unit operating at 24 frames per second.
  • the display unit can receive the video luminance signals on three separate color channels.
  • the color channels are respectively red, green, and blue channels for signaling corresponding color luminances.
  • the system further includes a video transcoder connected between the video source and the display unit if necessary for converting video input from R, R-Y and B-Y components to the three separate red, green, and blue color channels.
  • the film can be color film, the image preferably including color counterparts of the color channels. Thus the system provides color output without requiring color separation processing.
  • the luminance signals can be interlaced in alternate fields, the display unit preferably including means for converting pairs of the fields to non-interlaced frames for avoiding time parallax distortion.
  • the luminance signals may include fewer than 700 lines per frame, the display unit preferably including a line doubler and a signal interpolator for feeding the modulators with enhanced pixel data at greater than 1000 horizontal scan lines per frame.
  • the signals can be input at 525 lines per frame, the enhanced pixel data output being between 1080 and 2000 lines per frame, depending upon the raster display unit employed.
  • the video input can include an audio signal, the system including means for recording the audio signal in synchronism with the cine film without requiring the film transport unit to be synchronized with the raster display unit .
  • a method for transferring pictorial data from a video source to cine-film includes the steps of :
  • the pictorial data can be in frames of interlaced pairs of fields, the step of repetitively storing preferably including storing the data as non-interlaced frames.
  • the driving step preferably includes the further steps of line- doubling and interpolating the data to feed the raster display at enhanced pixel density.
  • the imaging step can include the further steps of projecting an intermediate image of the raster display onto a screen, and focusing the intermediate image through a camera lens onto the film.
  • the imaging step preferably includes the further steps of measuring light intensity of the intermediate image, and exposure adjusting the camera in response to the light intensity measurement for facilitating proper film exposure.
  • the imaging step preferably includes the further step of purtubating a nominal position of the screen for obscuring pixel boundaries of the intermediate image .
  • the video input can be associated with an audio signal, the method including recording the audio signal in synchronism with the cine film and comprising the further steps of: (a) providing a time-correlated pair of audio and visual references, respectively, in the audio and visual signals;
  • Figure 1 is a pictorial block diagram of a video- to-cine film transfer system according to the present invention
  • Figure 2 is a pictorial block diagram of a video projector portion of the system of Fig. 1 ;
  • Figure 3 is a pictorial block diagram of a cinecamera portion of Fig. 1;
  • Figure 4 is a flow chart for a process utilizing the system of Fig. 1.
  • a transfer system 10 includes a video source 12 which can be a video tape recorder or player having three channels of video color component signals, a video projector 14 having separate red, green, and blue input signals (RGB) , a color transcoder 16 being connected, if necessary, between the source and the projector for converting color component signals from the source 10 from Y, R-Y, and B-Y format to separate red, green, and blue signals (RGB) .
  • a video source 12 which can be a video tape recorder or player having three channels of video color component signals
  • a video projector 14 having separate red, green, and blue input signals (RGB)
  • RGB red, green, and blue input signals
  • the source videotape should preferably be high band component videotape such as digital BetaCam or BetaCam SP, or high definition TV (HDTV) videotape.
  • Composite videotape such as VHS tape or 3/4" Umatic tape, provides lower resolution output.
  • Digital Beta Cam provides higher resolution output.
  • High definition TV (HDTV) provides even higher resolution output because it has a much larger number of scanning lines to begin with (over 1000 lines) .
  • the video source can also be a computer, current technology conventionally providing RGB outputs directly.
  • the video projector 14 has a projection lens 18 for projecting an intermediate image of the RGB signal onto a screen 20 as further described below in connection with
  • the screen 20 can be of the front-projection or rear-projection type, rear-projection being depicted in Fig. 1.
  • the system also includes a cine-camera 22, the camera typically having a camera lens 24 for periodically relaying the intermediate screen images onto unexposed film as further described below in connection with Fig. 3.
  • Video Projector
  • the video projector 14 is a progressive scan non-interlaced line-doubling video/data projector that includes a raster display unit 26 to which the projection lens 18 is assembled, the unit 26 having a light source 28, an a rectangular array of light modulators forming an optical transducer 30 being illuminated by the source 28 and being progressively scanned or driven by a driver circuit 32.
  • Video input signals to the display unit 26 feed a field switch 34 that directs lines of alternate interlaced fields, if present, to odd and even line addresses of a frame memory 36.
  • the signal path in Fig. 2 represents separate data paths for the RGB input components. Thus two interlaced fields of information from the input RGB signal are digitized and held in memory simultaneously as one noninterlaced frame of information. The result is greater resolution.
  • the frame memory 36 feeds a line doubler 38 that converts the RGB signal from standard 525-line (interfaced) format to High Definition (1080 lines, non-interlaced format) .
  • the line-doubled data is then processed by a signal interpolator 40 for producing spatially and dynamically smoothed multiplicities of RGB pixel data signals.
  • the result is an enhanced image. If, however, a High Definition (1080 interlaced) input is used, it is simply converted to a non-interlaced signal.
  • the data of the enhanced image is progressively utilized by the driver circuit 32.
  • one frame of information contains all the information needed to represent the entire image.
  • This complete frame of information can be filmed by the cine-camera 22 with the aid of the pixel storage function of the semi-conductor display technology.
  • the frequency at which pixels of light information cycle to the "on" configuration is referred to as the vertical refresh rate. It is not appropriate to speak in terms of a vertical refresh rate for the video projector 14 since, with its advanced progressive scan technology, all the photons of light needed to project all the information in the image are always "turned on.” In other words, the display unit 26 can store and display an entire non-interlaced frame of information as a unit. As a result, there is no blank time, all of the picture is seen at once, and all the information contained in the original image is available to be filmed all the time.
  • the cine- camera 22 can run at the standard speed of 24 frames per second. All of these transformations make the projected image highly suitable for rephotography and yield a filmed image that is relatively free of artifacts and distortions of the image that were not originally in the RGB signal.
  • the video/data projector 14 not only enhance resolution and eliminate scan lines but also project a very bright image onto a relatively small area.
  • Suitable examples of the projector 14 are known in the art of video projectors, one such being available as BarcoData 9200LC from Barco, Inc. of Kennesaw, GA. That projector includes the line doubler 38 that converts the RGB signal from standard 525- line (interlaced) format to High Definition (1080 lines) noninterlaced format and is characterized by a relatively large reflective liquid crystal display having three 5.8 inch diagonal LCD panels (with an overall resolution of almost 2.4 million pixels), a 1.5 KW light source, and a light output of 5,000 ANSI lumens. It has been used in the system 10 of the present invention to transfer video to film with astonishing success.
  • the projector 14 can include an ultra high resolution line-doubling raster unit (such being available as the BarcoReality 9200 DLC) , whereby input at 1080 lines can yield an output of 2000 lines of horizontal resolution.
  • an ultra high resolution line-doubling raster unit such being available as the BarcoReality 9200 DLC
  • the system 10 can incorporate the projector 14 configured for PAL video input (25 frames per second) .
  • the video source 12 can be a PAL format VCR or player.
  • the video/data projectors used as described herein were designed for such applications as large-screen multi-media displays, classroom education, simulation, CAD-CAM, process control, and virtual reality.
  • the output of the projector 14 is not projected to fill a huge screen (up to 50 feet by 37.5 feet) , which it was designed to do. Instead, the screen 20 of the system 10 need only be sufficiently large to receive an image that is on the order of 4 feet wide, because the video output is preferably projected onto a small area so there is enough light to expose 100 ASA film stock properly. In other words, 100 foot-candles of reflected or transmitted light is concentrated in an area on the screen representative of an 18% gray value.
  • the projected image can also be focused on a small portion of a large white professional movie screen. It is also imperative to converge the RGB outputs to insure proper color and maximum resolution.
  • the screen 20 is coupled to a shaker 21 for slightly purtubating a nominal position, whereby pixel boundaries of the intermediate image are at least partially obscured. It is believed that slight movements of screen elements in a plane perpendicular to the light path act to variably diffuse and/or reposition pixel boundary images, thereby effecting the obscuration.
  • the shaker 21 can be implemented by supporting the screen 20 in a compliant manner, and variably directing gentle air currents thereon.
  • the screen 20 can be provided in the form of a Fresnel lens, which acts as a field lens to redirect divergent rays from the projector lens 18 as rays converging into the camera lens 24. Circular discontinuities of the Fresnel lens, when agitated as described above, are also believed to produce obscuration of pixel boundaries .
  • the cine-camera 22 is preferably of studio quality, being schematically represented in Fig. 3, and includes a film transport mechanism 42 for repetitively advancing and registering sequential frames of cine-film 44 for exposure of images projected by the camera lens 24, one such registered frame being designated 45 in Fig. 3.
  • the boundaries of the frame 45 being defined by a corresponding camera aperture.
  • the mechanism 42 is driven by a motor 46 and includes a rotary shutter 48 for interrupting the light path to the film 44 during movement thereof, the shutter being coupled to the motor 36 for making one revolution per frame advanced, the light path being alternately open and blocked during successive intervals being preferably 180° half-revolutions as discussed further below.
  • the mechanism 42 also includes a feed sprocket 50, a take-up sprocket 52, a register pin carrier 54, and an intermittent device 56, the sprockets 50 and 52 being driven through respective gear trains 58.
  • the intermittent device 56 is shown coupled to an intermittent sprocket 60
  • the register pin carrier 54 is shown being driven by a registration cam 62 and follower 64. It will be understood that entry and exit of registration pins relative to sprocket holes of the film 44 must be while the film is substantially motionless, so that the total interval for retracting the pins, advancing the film, and engaging the pins should be within the closed half-revolution of the shutter 48.
  • An intermittent device known as a "Geneva mechanism” rotates an output shaft a fraction of a revolution for each complete revolution of an input shaft, a common configuration used in the film industry (typically in theater projectors) indexing every quarter-revolution of the output shaft.
  • Geneva intermittent 56 as the intermittent device 56 would complete the advancement of one frame in 90° of rotation of the shutter 48; accordingly, the register cam 62 is shown as having 180° of dwell in the engaged position of the register pins, 90° of dwell in the retracted position, and smoothly curved ramp portions therebetween.
  • the cine-camera 22 records the output of the video projector 14 at the standard 24 frames per second, notwithstanding the 30 frames per second of the RGB input signals, without requiring special frame rate conversion techniques.
  • a studio quality 35mm motion picture camera should be used with a Mitchell (claw linkage intermittent) movement incorporating four registration pins for the utmost image steadiness, with BNC mount prime lenses with a maximum F-stop of F2.
  • This camera has an adjustable shutter, but the maximum shutter of 180 degrees should be used for full and uniform exposure.
  • This camera is "through the lens reflex" and the viewfinder of the camera is equipped with ground glass markings corresponding to the exact aspect ratio of the frame image. Selection of the camera, the film speed (ASA), the lens, and the lens F-stop are all important in determining the characteristics of the film record (rephotographed image) of the projected video output.
  • the film 44 has an ASA exposure rating of at least 100 for sufficient exposure.
  • the use of 100 ASA film and a 35mm motion picture camera yields almost no grain; the use of 200 ASA film and a 35mm motion picture camera yields some grain or texture; and the use of 500 ASA film and a 16mm motion picture camera yields the most grain.
  • Videotape as a medium has no grain. Film always has some grain; in fact, it is the texture of the film that gives it some of its emotional quality. Since the objective is to transfer videotape to film so that it looks like film, some grain is therefore desirable.
  • the color temperature of the video projector 14 should be adjusted to match the color temperature of the film being used; i.e., 3200 degrees Kelvin (tungsten), or 5600 degrees Kelvin (daylight) .
  • the output of the projector can be adjusted and measured with a color temperature meter.
  • Black and white film can also be used for artistic effect. Black and white film is not required for color separation, or course, since this process does not require color separation.
  • a reflective spot light meter should be used to determine the number of reflected foot-candles of light taken from an area of the picture (on the screen 20) that approaches that of the photographic standard used to calibrate a light meter, which is 18% gray.
  • the correct F-stop for the camera lens may be determined as follows:
  • the intensity of reflected or transmitted light of the screen image is in inverse proportion to the square of the distance of the projector to the screen, meaning that the closer the projector is to the screen, the smaller the picture and the brighter the image .
  • the cine-camera 22 should be set up perpendicular to the screen 20, and equipped so that it can film the projected image from a head-on position. In the case of the screen 20 being reflective (front-projection) the camera 22 would be set up behind the video projector 14. Because a fixed focal length prime lens rather than a variable focal length (zoom) lens is preferably used, the entire camera 22 is moved toward or away from the screen until the camera frames the desired amount of video projected, based on the final aspect ratio needed.
  • An image ratio of 1.33 (4 wide and 3 high) is the standard for U.S. TV, but non standard for projection. 2.
  • An image ratio of 1.66 (5 wide and 3 high) is the standard for projected motion pictures in Europe and many American theaters .
  • a 1.33 standard video transferred to 1.85 film will require the most cropping off the top and bottom of the image. If a 1.78 (16 to 9) is projected, which can be a High Definition Image, and a final aspect ratio of 1:85 is desired, only a very small amount of the video image will need to be cropped (eliminated) in the transfer. It will be understood that greater flexibility in aspect is available by using anamorphic lenses for one or both of the lenses 18 and 24, with possible compromises in the quality of the film picture quality.
  • the motion picture camera should be framed, choosing the proper lens with its field of view, to film the entire projected video image, or "crop" the projected video image to fill the desired aspect ratio of the transformed film image as discussed above. Further steps in setting up the process are fine-focusing the motion picture camera lens 24; reading an exposure value; and setting the proper F-stop of the camera lens 24. (The light meter reading should be taken in a blacked out room having no ambient light. An F2.8 exposure at ASA 100 requires 100 foot -candles of reflected or transmitted light, whereas an F4 exposure requires 200 foot-candles .
  • the cine-camera 22 is run at an absolute 24 frames per second that is typically controlled by an internal crystal in the camera, 24 fps being the standard frame rate for projected film in the U.S.
  • the frame rate does not have to be adjusted to prevent the appearance of a roll bar (as discussed above) ; thus the film can be exposed at the same rate as it will be projected in a theater.
  • the video-to-film transfer process of the present invention can proceed in real time, i.e., one minute (90 feet) of 35mm film is exposed per one minute of playback time of video images.
  • a standard 1, 000-foot camera magazine yields a maximum of 11 minutes of transfer time.
  • This video-to-film transfer process can be used to transfer video segments either without sound (MOS) or with sound if the proper procedures are followed.
  • the edited video source material must be edited in segments not exceeding 10 minutes in length when the film camera uses magazines of 1, 000-foot capacity for 35mm or 400-foot capacity for 16mm. With 35mm film traveling at 90 feet per minute, this gives 11.11 minutes of transfer time per each 1, 000-foot roll of 35mm film. With 16mm film traveling at 36 feet per minute, there are 11 minutes of available transfer time per 400-foot roll of 16mm film.
  • a visible mark is edited into the edited program, this mark being a white circle in the center of a black picture lasting one frame, and placed exactly 2 seconds before the video picture begins, with a corresponding audio tone of 1 Khz lasting one frame.
  • This visual mark and audio tone placed at the beginning of every roll to be transferred is known as a "2 pop.”
  • a "2 pop” is also placed at exactly 2 seconds past the last picture as a way of verifying the synchronization of picture and sound at the completion of each transfer.
  • the "2 pop” is equivalent to the use of a clap board while filming.
  • the sound from the videotape can be transferred by a service company that specializes in making what are called
  • the source videotape is played back on a VCR and the audio output is rerecorded, preferably in a standard digital format for sound, known as DA88 multi-track audio tape or, less preferably, on 35mm magnetic film.
  • the DA88 multi- track audio tape or 35mm magnetic film is played back at the exact speed at which it was recorded. Since the standard reference for video time codes is 59.97 hz, a reference speed of 59.97 hz is also used in this case for the DA88 multi-track audio tape. (35mm magnetic film should be played back at 24 fps.)
  • the audio tape must be played back at the exact speed at which it was recorded, or the sound will immediately start to drift out of synch in the final product.
  • the above- described process of making an optical negative sound track deviates from standard practice and has been experimentally verified; accordingly, variations are not recommended without further tests.
  • the sound track negative and the picture negative are aligned in a film laboratory using a process called "negative assembly,” in which each roll of film is aligned in a sprocketed synchronizer and the 1 Khz "pop" is aligned with its corresponding white circle.
  • the laboratory combines the rolls together into a reel (not to exceed 2,000 feet in 35mm) and strikes a positive print form the original film camera negative with an industry standard optical soundtrack. This positive print can then be projected in a theater with picture and sound in perfect synchronization.
  • a video to cine- film transfer process 100 using the system 10 includes an input step 102 wherein the video source 12 is operated for producing luminance signals at a first frame rate, an analog to digital conversion step 103, and a frame store step 104 wherein interlaced field pairs of the digitized luminance signals are repetitively stored as non-interlaced frames of luminance pixels in the frame register.
  • the pixels are preferably processed in a line doubling step 106 and an interpolating step 108 for producing enhanced data pixels at elevated horizontal and vertical density, the enhanced pixels, being reconverted in a digital to analog step 109, are continuously and progressively applied to elements of the optical transducer 30 in a driving step 110, the steps 102-110 being repeated for each frame of the luminance signals during subsequent steps.
  • the process 100 also includes operating the cine film camera 22 at a second frame rate in a run camera step 112, and focusing images of the raster display onto successive cine film frames 45 through the camera lens 24 in an imaging step 114 to expose the film 44.
  • the imaging step can include the further steps of projecting an intermediate image of the raster display onto the screen 20 in an intermediate image step 116, and focusing the intermediate image through a camera lens onto the film 44 in a focus step 118.
  • the imaging step 114 can further include measuring light intensity of the intermediate image in a light measurement step 120, and exposure adjusting the camera in response to the light intensity measurement in a set exposure step 122.
  • the imaging step 114 can include purtubating a nominal position of the screen in a shake screen step 124 for obscuring pixel boundaries of the intermediate image .
  • the video input can be associated with an audio signal, the method including recording the audio signal in synchronism with the cine film by first providing a time- correlated pair of audio and visual references in the audio and visual signals in a audio-visual pop step 130, Fig. 4 further indicating transfer of the visual pop component in a transfer pop step 132 prior to the input step 102.
  • the visual pop component is recorded on the film 44 along with the other photographic information.
  • the audio signal is processed by forming an optical sound track synchronized with the audio signal and including the audio pop in a make sound track negative step 134.
  • the imaging step 114 is completed with the film 44 including the visual pop (the film 44 normally being processed to form a photographic negative)
  • the optical sound track is registered with the cine-film 44 using counterparts of the audio and visual pop references in a registration step 136.
  • a composite print of the processed film and the optical sound track is prepared in a print A/V composite step 138.
  • the present invention provides a real time, high quality, cost-effective video-to-film transfer process having wide utility, and which is believed to represent a significant improvement over the prior art.
  • the advantages of the invention over the prior are enormous and can be summarized as follows:
  • the video source input can be from a variety of formats such as BetaCam SP, Digital Betacam, High definition TV (HDTV) , or RGB computer;
  • the process can be performed by one person in a one-pass operation that is easier and much less complicated than methods of the prior art;
  • the finished product contains no visible scan lines, pixels, or other artifacts
  • the finished product has excellent color fidelity, sharp definition, and looks like film; and 13.
  • the process is more cost-effective for the same or better quality cine film output.

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Abstract

Un système de transfert (10) de vidéo en film destiné à exposer un film cinématographique couleur à partir d'une source vidéo (12) (telle que des images de télévision enregistrées [sur bande vidéo] et des images numériques produites par ordinateur [CGI]) permet d'obtenir un film cinématographique pouvant être projeté dans des cinémas. Le système comprend un projecteur vidéo/données (14), un écran (20) recevant une image intermédiaire, et une caméra cinématographique (22), le projecteur et l'unité de caméra cinématographique fonctionnant indépendamment. L'invention concerne également un procédé (100) de transformation d'images électroniques avec un son synchronisé.
PCT/US1999/018145 1998-08-11 1999-08-10 Procede de transfert video-film WO2000010054A1 (fr)

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AU54754/99A AU5475499A (en) 1998-08-11 1999-08-10 Video-to-film transfer process

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US13298298A 1998-08-11 1998-08-11
US09/132,982 1998-08-11

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Cited By (5)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
WO2003096685A1 (fr) * 2002-05-14 2003-11-20 Rune Bjerkestrand Dispositif et procede de transfert d'images cinematographiques sur un materiau photosensible
WO2005048597A1 (fr) * 2003-11-13 2005-05-26 Rune Bjerkestrand Dispositif d'enregistrement d'images completes sur un materiau photosensible
EP1841224A1 (fr) * 2006-03-17 2007-10-03 Dongyoung Itech Co., Ltd. Traitement des publicités pour cinéma numérique
WO2013137868A1 (fr) * 2012-03-14 2013-09-19 Thomson Licensing Archivage de données sur film
CN105716649A (zh) * 2016-04-25 2016-06-29 广东每通测控科技股份有限公司 一键式检测仪

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Cited By (9)

* Cited by examiner, † Cited by third party
Publication number Priority date Publication date Assignee Title
WO2003096685A1 (fr) * 2002-05-14 2003-11-20 Rune Bjerkestrand Dispositif et procede de transfert d'images cinematographiques sur un materiau photosensible
US8373750B2 (en) 2002-05-14 2013-02-12 Rune Bjerkestrand Device and method for transferring motion pictures to a photosensitive material
WO2005048597A1 (fr) * 2003-11-13 2005-05-26 Rune Bjerkestrand Dispositif d'enregistrement d'images completes sur un materiau photosensible
GB2423433A (en) * 2003-11-13 2006-08-23 Rune Bjerkestrand Device for recording full picture frames onto a photosensitive material
GB2423433B (en) * 2003-11-13 2009-08-05 Rune Bjerkestrand Device for recording full picture frames onto a photosensitive material
US7852455B2 (en) 2003-11-13 2010-12-14 Rune Bjerkestrand Device for recording full picture frames onto a photosensitive material
EP1841224A1 (fr) * 2006-03-17 2007-10-03 Dongyoung Itech Co., Ltd. Traitement des publicités pour cinéma numérique
WO2013137868A1 (fr) * 2012-03-14 2013-09-19 Thomson Licensing Archivage de données sur film
CN105716649A (zh) * 2016-04-25 2016-06-29 广东每通测控科技股份有限公司 一键式检测仪

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