American Cinematographer - February 2001 - 122

six feet before the end of the reel. A

high-speed shuttle capability allows for
fast winding - forward or reverse - at

200 fps.
Synchronized sound is achieved
through the integrated use of a separate
audio unit, such as the Magnasync. To
work with a DAT player, an LTC (time
code) output is available.
An easy-to-follow instruction
manual and trouble-shooting menu are
shipped with the device, but servicing is
limited to trained personnel.
An interesting sidelight is the
LocPro 35's optional, built-in video
up to

camera.

to a

This

camera can

be hooked up

monitor, video recorder

or

video

printer in order to provide instant video
dailies lifted directly from the printed
footage. Because video dailies are virtu¬
ally irrelevant to the feature cinematog¬
rapher, he can take solace from the fact
that this aftermarket transfer

can

be

electronically masked to coincide with
whatever format might be in use.
I've
dure

on

seen

the results of this proce¬

VHS, and though the masking is

indeed

precise, the visual quality is about
would expect in a transfer from
print source: somewhat murky and ill-

what you
a

defined. At

an

dard of 768

x

NTSC 2:1 interlaced stan¬
494

pixels (with an image
resolution of 470 lines), this should be no

surprise, but it is hardly a strike against
the LocPro 35. The timeliness and conve¬
nience of simultaneous tape

dailies are
producers.
Furthermore, the original intent of the
machine makes any complaint about
transfer quality irrelevant.
The most important news is that
the projected image delivered by the
LocPro 35 was nothing short of superla¬
tive. In every instance, the picture was
steady, sharp, flicker-free and absolutely
on par with the best of what is seen in

welcomed

more

by

many

traditional facilities. At

a

distance

of 151 from the screen, the LocPro 35's
400-watt HTI (5400 degrees Kelvin) light
delivered a clear, bright, 8'-wide
image in 1.85 format, evenly illuminated
from corner to corner at an optimum 15
source

footlamberts. In addition, once the focus
was

any
118

February 2001

set, it stayed put. There was never
drifting in and out, nor was there any



American Cinematographer - February 2001

Table of Contents for the Digital Edition of American Cinematographer - February 2001

American Cinematographer - February 2001 - 1
American Cinematographer - February 2001 - 2
American Cinematographer - February 2001 - 3
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