On 16/05/2025 14:07, NY wrote:
Is SEPMAG run slower then? I always assumed it ran at the same speed as
film with actual pictures on it, which has several sprocket holes per
frame (in the 35mm variant anyway - did 16mm SEPMAG exist?), so more adjustable than 1/25.
On 12/05/2025 21:08, NY wrote:
I've have thought that well-exposed, well-lit reversal film was capable
of good results, because any colour cast could easily be corrected in
the telecine with the tilt-and-twist joysticks. Not as flexible,
perhaps, as photographic grading, where different coloured filters and exposures could be used for different shots, at the contact printing stage.
It is, but you need to get the lighting and filtration correct on
*every* shot, and if you are not indoors, the light often changes enough between takes to be noticeable. This is why, even on programming
produced entirely on video, there is often a credit for a "colour
grader", whose job it is to correct the colours so you don't notice the actor's face changing colour when they replace a fluff with a well
delivered line from earlier or later in the sequence of takes.
On 12/05/2025 12:07, John Williamson wrote:
If I remember rightly, the sound guy carried the recorder, with an umbilical lead to the cameraman. Four person crew, cameraman, sound guy, director/ minder and reporter.
Towards the end of film cameras and separate sound tape recorders, did
news crews ever use a wireless link between the two? All it needs is to
send the sync pulses to keep the camera and recorder in sync, so it's
not high-bandwidth. That would have removed the need for an umbilical
cord which could have been beneficial in a crowded media scrum.
It needs processing, but only once, though if you have a decent
telecine machine, you can get usable results for broadcast off a
negative.
We are talking here about the late sixties and seventies, before hand held video cameras became available. And when only massive quadruplex VTRs were broadcast quality.
All news film was reversal, usually processed at the TV station, in the BBC TV
Centre Spur for BBC News, which had nine 16mm photo conductive colour telecines
from the introduction of colour (flying spot came later), but only five quad VTRs.
The VTRs were used to play in film received from the regions or abroad on contribution circuits. No local film was taped, insufficient VTRs, thus the large numbers of TKs to play in segments to the live shows.
News actually more 16mm TKs than main block TK, where TK to tape for broadcast
was the norm, tape breaks less often that cut film.
The 8 field sequence was really only important in editing. You have to
keep the odd/even field sequence continuous of course, and for PAL
you also have to maintain the colour burst blanking sequence which
repeats every four fields (two frames), but the number of whole cycles
of subcarrier only repeats every eight fields, so would be 180 degrees
out of phase after only four. It was possible to get away with edits
to the nearest four fields as long as there was a change in picture
content because the timebase corrector would adjust the delay of the
whole signal to keep the subcarrier continuous, which would result in
a small sideways shift in the picture - half a subcarrier cycle
whatever that was, but it was pretty small.
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