[Tig] CRTS and CCDs, Battle Royale

Rob Lingelbach rob at colorist.org
Thu Sep 13 00:40:53 BST 2012

On Sep 12, 2012, at 4:10 PM, Dave Pickett wrote:

> "what does the telecine community believe produced the best result - tubed or ccd tk's?"
> That was the defining question at the outset of the Spirit Datacine era. 

On Spirit vs. Ursa Diamond, see "Transformania" thread summary from Rick Anthony at DuArt in
February 1998, at
and from John Bonta at
(including comments from John Dowdell, the US Father of the Spirit)

Going back successively, there were other moments of reluctance.  One iteration back from
the Spirit would be: Cintel Ursa vs. Cintel Digiscan IV telecines.  There were protests about
"The Ursa Look", particularly from New York.

One big improvement involved Bill Hogan's filtration kit for the Ursa, that removed an inherent
tilt in one of the channels (if I recall correctly it was blue).

Before that, and it's documented in the TIG archives (if anyone wants the references I can look
them up) there was a lot of controversy about the thick face-plate tubes replacing the thin-faceplates,
that they weren't as sharp.  But the thick faceplates eliminated the dreaded Tube Dirt from our sessions.

Before that there was controversy about the "blue tubes" that came from England and their better SNR.  
Some colorists found them hard to work with.  

And if you delve deeper into the history of the signal processing, there were steps along the way:  the
first DaVinci color correction systems, I believe, worked with Composite video (!) and decoded to RGB
in order to do the grading.  I remember Dick Kane at Editel LA, using one as a doorstop.  

To examine the picture quality evolution wouldn't be complete without an analysis of Noise Reduction
systems.  There's enough in the TIG archives (do a search at http://tig.colorist.org/cgi-bin/swish.cgi 
with keywords like "DVNR" "DNR" "MNR" etc.) for a few hours of research.

Rob Lingelbach  http://rob.colorist.org

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