American Cinematographer - September 1996 - 18

A Division of

Backstage Equipment. Inc.
8010 Wheatland Avenue 0
Sun Valley. CA 91352

THE

excessively noisy."

TOUGH,CUSTOMIZABLE

Russell also points out that
aliasing is a problem in film transfers
today, because "there is just not enough
over-sampling on CRT-based scanners to
overcome this artifact." But as the Spirit
always scans film at full 2K resolutions,
no electronic or optical aliasing is visible
on the output; this results in a more filmic

LOW-COST, LIGHTBANK

ALTERNATIVE

Easily fitted to any lamphead with
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alternative to "frame and fabric' cones.
Designed for real working conditions,
LCD's simple construction and multi¬
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light to make any shot.

look at standard television resolutions.
The Spirit DataCine offers a

For information,
call 800-692-2787, or
fax 818-504-6180

of other features, including optical
matching provided for print, negative,
range

and intermediate film stocks; real-time
2K by 2K data reformatter and TV store

for 4:4:4:4 or 4:2:2:4 or 8:4:4 10-bit digi¬
tal and analog outputs at 525/59.94Hz or

complimentary

color

Despite all the

new

technol¬

ogy, Russell insists that a visit to a Spirit
DataCine transfer session won't require
a learning curve. "The user interface and
feature sets make it identical to using

People are raving about the color reproduction Fuji delivers
in 16 and 35mm motion picture film. Fuji Super-F stocks
offer excellent latitude and ultra-fine grain and are quickly
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Steadi Systems has it for less!

10 locations - 24 hours

625/50Hz in 4:3,16:9, and 2:1 fixed as¬
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1125/59.94Hz and 1250/50Hz analog and
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day

a

any other kind of telecine on the market
today," he stresses. "All popular color
correctors and edit controllers fully inter¬
face to the Spirit. The only difference
you'll notice is the improved image qual¬
ity and wider dynamic range."
Philips Broadcast Television
Systems have already confirmed orders
for over 12 systems in North America and
Europe. In North America, The Tape

House in New York, Command Post &
Transfer in Toronto, and Crawford Com¬

munications in Atlanta have all
the Spirit DataCine.

bought

The Tape House's John J.
Dowdell III has already been quoted in
the trade press about his enthusiasm for
the Spirit DataCine. In fact, Dowdell re¬

cently put his detailed review of the
film

scanner on

new

the Internet.

Craig Heyl, Crawford Commu¬
of film transfer ser¬
vices, reports that the Spirit will be used
for high-quality, everyday film-to-tape
nications' manager

SYSTEMS

transfers for commercials and feature
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films, for data transfers to Flame, In¬
ferno, Fire or their new Cineon. A future
use, says Heyl, will be for high-definition
transfers. "This machine can be adapted
to any standard we need, so it's futureproof," he concludes.
♦
American Cinematographer - September 1996

Table of Contents for the Digital Edition of American Cinematographer - September 1996
