American Cinematographer - March 1984 - 11

ECPX
CINEPRO EXPENDABLES

LITTLE THINGS
MEAN A LOT.
Supplies, gaffer's tape, lights
and more, much more.
And since this industry
doesn't always work from
nine to five, we don't either.
That's why we're on call at
CPX 24 hours a day. We
stock all of the essential

-

Higher Speed
I

excited about
Douglas Trumbull's Showscan. Can we
please have an article about it. His
process is so simple: increase the speed
and you get rid of strobing and undesir¬
able blue in action sequences. I have
seen Imax and it is impressive but the
strobing problem is amplified and can
cause

am

very

headaches.
I have observed that 8mm

at

high speeds of 62 fps gives the impres¬
sion of "looking out a window." Techniscope at 48 fps could be a vast
improvement using the same amount of
film stock. Only the movement in the
projectors would need to be replaced.
At higher speeds grain drops out, so 48
fps 2 perf would be no grainier than 4
perf full frame projections.
New standards of quality are
needed in the film industry. Let's resur¬
rect Techniscope and soup it up to 48
fps!

An article

on

ing the type of camera used with the
Videola, Dave Schnvelle is quoted in the
article as saying that "the Videola has,
basically, an ENG camera buried inside
it." It is important to understand that
Videola does not come with any specific
camera as standard equipment.
However, in better than 50%
of all Videola sales in California where
also supplied the camera, we fur¬
nished a CEI310N positive/negative
camera from Panavision Electronics.
This camera is not an ENG camera.
Some few Videolas are currently in use
we

Showscan is in the

One of the major benefits of Vid¬
eola is that the user may select the
camera related directly to the quality of
the work required.

sound, film, lenses, etc. Does anyone

projection manual of

any

sort?

-Carlos Hernandez
The Society of Motion Picture and
Television Engineers publishes a

book entitled Motion Picture Projec¬
tion and Theatre Presentation Man¬
ual. They can be contacted at 862
Scarsda/e Avenue, Scarsdate, NY
10583 (914) 472-6606.

products of the profession,
including raw stock. We
know it's hard to run a pro¬
duction without these people
on

Finally, the article stated that
the f-stop used with Videola was proba¬
bly f/4 or f/5, and that there can be
problems with dirt on the prism. The fstop used depends on camera sen¬
sitivity as well as optics used. With
normal camera sensitivity and nominal
optics, f/16 to f/22 is usually used for
normal print density. All optical surfaces
other than the film are not in the prime
image focus, therefore such minimal dirt
as may exist will not be focused upon.
Since we also utilize a highly diffused
light source, film imperfections are mini¬
nonexistent.

your side:

*

A & S Case

*

Angenieux

*

Arriflex
Bardwell & McAlister
Cinema Products
Cine 60
Cool Light
Desisti Lighting
Eastman Kodak
Excalibur Case
6 & M Power Products
Great American Market
Harrison & Harrison
Lee Lighting
Lowell Light
LTM
Matthews Studio

*

*

*

*

*

*

*

*

*

*

*

*

*

*

Equipment
*

*

eras.

mum, or

Videola
I would like
inaccuracies regarding
article

cameras, and of
others utilize $7,000 cam¬

course some

Projection
I am a projection apprentice
and I am struggling to obtain informa¬
tion about projection subjects such as
a

of course, the additional cost of the
camera used with the Videola. Regard¬

Petersburg, FL

works.

publish

(August
Produc¬
tion Techniques). The article states
that a typical rotating compensator de¬
vice is priced at about half the cost of a
flying spot telecine. In fact the most
expensive Videola is about one-third the
cost of a flying spot telecine. There is,

utilizing $70,000

-Grant Vuille
St.

and Rotating Compensators"
1983 & reprinted in Electronic

Minolta
Mitchell Camera

*

Modulight Systems

*

Motorola
Nikon
O'Connor Engineering
Osram
Panchro Mirrors
Photosonics
Preston Cinema System
Rosco
Sachtler
Strand Century
Tiffen
Ultra Light

*

*

*

*

*

*

*

*

*

*

*

We have them all, and more.
If you don't see who you're

looking for in this list, just call
(213) 464-3800. Ask for CPX.
CINEPRO EXPENDABLES

-Kenneth J.

Stephens
Magnasync/Moviola Corp.

to correct some

Videola in your
"Film-to-Tape, Part II: Projection

ECPX
P O Box 38976

*

939 N. Mansfield Ave.

Hollywood, CA 90038 * (213) 464-3800
March 1984

9
American Cinematographer - March 1984

Table of Contents for the Digital Edition of American Cinematographer - March 1984
