American Cinematographer - March 1994 - 88

Update to Super 16
■

With OpTex

without

changing your lenses!

optical conversion kits, the well-loved Zeiss 10-100 T2 and

RTH Cooke Varokinetal 9-50 T2.5 16mm

Super 16 format

-

zoom

and you can continue to

16mm productions! The

lenses convert

use

perfectly to

the lenses for Standard

factory-fitted units (retro-fittins service available)

convert the Zeiss to a versatile 12-120mm T2.4 and the Cooke to a

10.8-60mm T3

-

two

high quality

zoom

lenses with

performance in the
The lenses

handy

impressive

an

new

are

format.

available in

standard that allowed it. The

thing now is to reach for a very
high standard regardless of
what you can manufacture to¬
day.
Poster: An

interesting compari¬

that I recently saw was
Michael Apted's 28-Up, in
which you see 28 years of
emulsion technology changing
over that
period of time. As we
son

know, film is

a moving target
keeps getting better as
well. It was astounding to see
the differences in the period,
and you do the same thing
with television. If you take

-

Arri
and Aaton mounts

or

via

OpTex adaptors to

any mount.

Cost of conversion is probably less than

hiring

single production. So change

Super 16

your

up now to

Bayonet, Arri PL,

a

Super 16
-

zoom

for

a

it

television that was done, if
there's any left other than bad

Kinescopes..

.

without changing

Hummel: In

lenses! Call for full details.

June '92 CBS aired

a

special

on Watergate. They
went and got the master tapes
from PBS. The stuff on the
USA SALES

street

ZGC

Haldeman, which is 16mm,

Incorporated. 264 Morris Ave, Mountain Lakes,NJ 07046

Phone: (201) 335-4460. Fax: (201) 335-4560

chasing Ehrlichman and

OpTex. 20-26 Victoria Road, New Barnet, Herts, EN4 9PF. UK.

actually looked OK, because
the negative was still OK and

Tel: 44-81-441 2199. Tlx: 8955869 OpTex G. Fax: 44-81-449 3646.

there

INTERNATIONAL SALES

was

reversal film too. It

held up

MATTE ASSIST
with

wr
f

M

F/X TAP™ is our high resolution camera tap
which, when used together with our Ultimatte

matting package, allows you to test your
bluescreen film composites live, on the set.

y

/

Check size and

position relationships
between live foreground and recorded
backgrounds.
^ 358*4
■ Match ey#4ines, cues and action
jpJbetween characters in different layers.
■ Position blue props accurately.
■ Use for one layer or build multiple layers
as you shoot.
■

Bob Kertesz
'""z

Commercial Video Services

(213) 467-7572

and the color was
good. But the hearings from
the master tapes looked like
sixth-generation VHS. They
were
streaking and they were
just fuzzy images. You re¬
member watching those hear¬
ings. They weren't ugly at the
time through our TV sets, but
magnetic oxide sitting on the
shelf is subject to degradation.
Daviau: Certain things survive.
The Fred Astaire restoration

from '58

was

not

as

horrible

as

you would expect, but look at
the stuff from the Ed Sullivan
Show laserdisc. Some of that
color is extraordinary, I mean

again it has to do with the vari¬
of how the stuff was
stored. But anyway, to return
the point, you're trashing all
those years of NTSC.
ances

Hummel: That's the

thing

we

represent. The Hollywood in¬
dustry of motion picture film
is the largest library of enter¬
tainment. The filmed enter-

The Finest in Bluescreen Services for Film and Video
86
American Cinematographer - March 1994

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