American Cinematographer - December 1992 - 90

RFX also manufactures the mod¬
els 652 and 654 film scanners, for use with
65mm film.
For information: RFX Inc., 910 N.

Clockwise from

top: The RFX
Film Scanner;
Denecke's EC-2
RM footage/

Sycamore Ave., Hollywood, CA 90038,
Phone (213)851-2100,Fax(213)851 -2122.

frame counter;
Cinema

Products'

Keycode
Workprint
Logger; a look at
Cinemania,

PTZ Motion Control
Aerial Image Video Services now
offers Pan Tilt Zoom (PTZ) Motion Control,

a

PC-based movie

system of animation stands that choreo¬
graph any transparency 35mm or larger, flat
art including a postage stamp, storyboards,
and newspapers or objects up to 36", pro¬
viding real-time video motion control for still
images.
The system allows the operator
to direct the camera move any way desired
a

guide.

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and to program

action from one view to the
using the same techniques available
live-action shooting and editing: pans,

next

in

The two models

digitize all
including motion picture
negatives, interpositives, or prints, from
either 4-perf or 8-perf (VistaVision). Unlike
most scanners that move the film while digi¬
tizing, the RFX scanners hold the film still
so there are no motion artifacts. Every pixel
is gain- and offset-corrected and any bad or
marginal pixels in the CCD imager are au¬
tomatically mapped out.
The CCD camera digitizes at the
rate of two million pixels per second at 12bit resolution. The camera is electronically
cooled to -30 degrees Celsius to stabilize
the temperature and lower the noise and
dark current. This cooling also eliminates
image variations and flickers produced by
an unregulated camera. The custom-de¬
signed lamphouse filters and regulates the
light prior to reaching the film plane. The
RFX scanners' stability avoids the slow
variations not visible during the scanning
process that become objectionable when
projected.
The models use a full Oxberry
printer base and Oxberry film transports,
providing the functionality and flexibility of
an optical printer, including the ability to

rotates, zooms, rack focus and so on. The

35mm film stocks

capability is precise enough to close
the size of a 35mm sprocket
hole with good resolution.

zoom

in

on an area

Desired movements are entered
into

a

computer, and the move is then vid¬

eotaped and can be fine tuned and timed
right down to the video frame or field.
For information: Aerial Image
Video Services, 137 W. 19th St., New York,
NY 10011, Phone (212) 229-1930, Fax (212)
229-1929.
RFX
are

projectors are enclosed. The scanners
equipped with Nikkor printer lenses and

Footage/Frame Counter

SGI workstation via a VME
bus interface board.
The user can save the image
data into 8,12, or 16-bit-per-pixel film for¬
mats and write the image as Kodak, Pixar,

Denecke, Inc. has introduced its
third footage/frame counter, the EC-2 RM
Studio Rack Mount Counter. New features
include two bi-phase inputs for automatic

Wavefront, SGI

drive the TC Maxi

are run

from

an

or

TIFF. The software pro¬

vides both
user

a command line and graphical
interface. For establishing proper color

projector change-over, time code output to
large display time code
reader, time code feed-through to allow the
external TC Maxi display to work both as a

lights to directly see the results of an expo¬

counter and time code reader, remote inter¬
face to control reset and changeover func¬
tions, dimmer control for the TC Maxi, and

change. For scanning in an unattended
user can create job files. These

selectable, total footage count or auto re¬
set on each reel. It is designed for 16mm,

balance, the graphical user interface allows
the interactive
sure

adjustment of the printing

mode, the

crop, zoom and resize. To control the dust
that becomes a problem with the long scan

files control all the

scanning parameters,
including frames-per-scan and exposure

35mm, 70mm, frames and time formats.
For information: Denecke, Inc.,

times

settings.

5417 Cahuenga

required of digital film scanners, the

American

Cinematographer

December 1992

Blvd., #B, North Hollywood,
American Cinematographer - December 1992

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