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Post by Peter Stirling on Jun 29, 2020 10:41:05 GMT
The Tomorrow's World one was 16mm film recording side by side the Luma and chroma signals to B&W film, a bit like BSB's MAC system. I believe on the old Restoration Team forum Steve Roberts said he set it up for that show. strange that they later managed to get colour back from normal B&W film telerecordings. It all depended if the technician had switched off the colour signal because he knew he was only making a B/W copy. If the colour signal was still on then it formed a minute pattern on the film, don't know if you have seen this below? However (unless they are artificially colorized) there is no hope of this working on ITV colour strike episodes as the unions well and truly killed the colour signal.
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Post by garygraham on Jun 30, 2020 10:18:33 GMT
Yes the time span before content needs to be migrated once again seems to be ten years with LTO data tape which Hollywood and the BBC have been using. That being the length of time machines continue to be backwards compatible with earlier tapes. A huge cost in terms of tapes and labour. Perhaps in the future we'll have a device which can read a reel of tape without actually playing it in the traditional sense. As was done with that reel of film of Morecambe and Wise. Hollywood still makes 35mm copies of its important digital films as motion picture film is the only format that can be checked just by opening the tin (of its condition/ cuts made etc)and also there is a good chance that someone will be able to run it in say 50 years time. ITV has also made 35mm masters of once 16mm programmes like Inspector Morse. Very interesting. I suppose it will cost a couple of thousand pounds to make a 35mm print of a 50 minute programme. Not much in the overall scheme of things. Ironically 16mm would probably be more than adequate to store a programme made on standard definition video and if printing to film digitally. In the past I have separated the interlaced fields of each frame into two half height progressive images one above the other for the purpose of restoring video - removing dropouts etc. That could be done if printing video to film.
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Post by Peter Stirling on Jun 30, 2020 22:45:19 GMT
In the past I have separated the interlaced fields of each frame into two half height progressive images one above the other for the purpose of restoring video - removing dropouts etc. That could be done if printing video to film. That's impressive, is there software that allows you to split like that? Some people today still think that VT is 50 fps but of course, its 25fps divided into 2 fields of the odd and even lines. Its a shame they could split a frame like that on a film telerecording I think it would have looked impressive?
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Post by brianfretwell on Jul 4, 2020 8:48:08 GMT
The Tomorrow's World one was 16mm film recording side by side the Luma and chroma signals to B&W film, a bit like BSB's MAC system. I believe on the old Restoration Team forum Steve Roberts said he set it up for that show. strange that they later managed to get colour back from normal B&W film telerecordings. It all depended if the technician had switched off the colour signal because he knew he was only making a B/W copy. If the colour signal was still on then it formed a minute pattern on the film, don't know if you have seen this below? However (unless they are artificially colorized) there is no hope of this working on ITV colour strike episodes as the unions well and truly killed the colour signal. I followed the development of this on the old Restoration Team forum. It seems it was more could the technician be bothered to flip the switch if he had a colour VT to record to film. I believe the phrase "I'll eat my hat if this works" was uttered by Steve when colour recovery was proposed as he thought there was not chance without the colour burst at the start of each line. As for the separation of fields, at the time the pull down time of the film would have made this impractical (even on 16mm) for and also projecting viewing copies made this way would need a new generation of projectors to show 50fps that no commercial manufacturer would findfinancially viable for the small market, in my opinion.
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