Business screen magazine (1946)

projection lamp is reflected by a mirrored dichroic filter which deflects heat, thus a still frame projects as brightly as a moving picture, and permits editing in a normally lit nvm With the digital counter and a cue sheet, it is actually possible to find anything on any roll of film or tape, with no breakdown, in a minute or two. This keeps hands off film for almost the entire editing priKess. although it is perfectly possible lo cut and splice right on the machine with great accuracy. In practice, at Avon, the Moviola console is turned on in the morning, and it slays on all day. It is used by almost everyone in the place, for all staff people have been instructed how to operate it — even secretaries preparing transcripts turn to the Moviola. "One of the most indispensibic pieces of equipment a producer can have," Weisinger says. Q 35mm sound head replaces 16mm head in seconds; provides frame by frame sync with 16mm picture. Hazeltine Analyzer Key to Color Film Timing at Du Art When the Hazeltine Color Film Analyzer first came on the market several years ago it revolutionized motion picture laboratory procedures. Today, it has become a standard fi.\ture in almost ail laboratories. What the color analyzer docs is to display a positive color image on a video display from color negative (or reversal) film. A lab technician called a timer makes changes in the color and brightness of each scene of the film by making adjustments to red, blue and green controls which are analogous to printer exposure until the displayed image obtained is properly balanced. The adjustments are noted on a timing sheet, or a punched tape can be generated at this point, which is then used to regulate the additive light valves on the motion picture printer. The analyzer can be set to give exact correction measurements for any type of emulsion used. One of the early labs to put the Hazeltine into use was Du Art Film Labs, of New York. An original analyzer was acquired in 1966. Last year, it was replaced by two new solid-state Hazeltine models which have proved to be even easier to u.se, cooler, and compact enough that both could be installed in one room, thus centralizing the timing department for greater efficiency. Another important feature of the new machines is that each is equipped for A and B roll timing. Two reels run through the machine simultaneously and at each scene change the projection aperture can be quickly Tom Salvatore, r. Chief Timer at Du Art, working with Hazeltine Color Film Analyzer. switched from one film to another. Tom Salvatore, Du An"s Chie Timer, finds that the great virtue ol his two H;LZeltine Analyzers is in mak ing It possible to turn out an acceptabli print the first time. "It isn't usually a final print, o course," he says. "The state of the has not advanced that far yet, but it'i a good print, sometimes even g enough to be final and it lets us get ti the final, fully-corrected prmt muc faster than we were able to before w. had color analyzers." Color printing is more of an an thai a technology, and it is doubtful if thi human element will ever be eliminat or computerized out of existence. Al Du Art. constant research and devel opment is going on to advance col printing technology as an aid to the and to provide surer, safer, quickei ways to the perfect print. About a year ago. working wii Fred Schleiter. of Information S terns. Inc., Du Art developed and in-j stalled a computerized tap)c punch system by which the scene-by-scei timing information generated on thtl Hazeltines and originally punched od standard Bell & Howell paper tapd punching equipment can be Irwin Young, Du Art president, demon strates controls of new solid stati Hazeltine. rint sccne-by-l quicker and! punched for subsequent print i scene corrections much quii with more safeguards for accuracy than was previously possible. The Du Art -Schleiter system displays the var J ious values of the printing lights onj light-emitting diodes, provides hard'l copy read-outs of the tape for check1 ing, permits deletion and insertion ol " scenes and fades, and signifies printing corrections which are out of range sc that basic trim adjustments on the printers may be altered. According to Irwin Young, president of Du Art, this and other technological advances now on the drawingi Ixiards of his. and other laboratories, are all aimed at eliminating human as ^ well as mechanical error. The basic nature of the color printing priKCSS requires constant tiny cora-ciions which affect not only each individ ual scene, but subjectively affect adjacent scenes and previous scenes continue 34 May/June, 1973 — BUSINESS SCREEN ueami, r