Thomson DataCine SDC 2002 Filmscanner Operating Instructions

Spirit
DataCine Filmscanner SDC 2002
Operating Instructions
Software Version 4.60
Document Order Number: FU 0120 / 0 126 632 000
Printed: June 2003
the most watched worldwide
Published by
THOMSON Broadcast & Media Solutions GmbH
Brunnenweg 9
D-64331 Weiterstadt, Germany
P.O. Box 1165
Tel: +49 (0) 6150-104-0
Fax: +49 (0) 6150-104-300
Web Site
www.thomsongrassvalley.com
Trademarks
All product names mentioned in this manual are the trademarks of their respective owners.
Copyrights
Information in this document is subject to change without notice.
This document and any updates and/or supplemental information, including any copies thereof,
cannot be reproduced, neither communicated to a third party, without written authorization from
THOMSON Broadcast & Media Solutions GmbH.
Please notify THOMSON Broadcast & Media Solutions GmbH of any errors in this document.
We also would appreciate any comments you have to improve this manual.
THOMSON Broadcast & Media Solutions GmbH 2003. All rights reserved.
SDC 2002
Contents
CONTENTS
1.
About the Manual
1.1.
2.
3.
Software state . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
Control and display elements
2.1.
Film Scanner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-1
2.2.
2.2.1.
2.2.2.
Control panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-3
Local Control Panel FH 6500 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-3
Graphical Control Panel
2-6
Operational preparations
3.1.
Hardware conditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-1
3.2.
Power-up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-2
3.3.
3.3.1.
3.3.2.
Basic adjustments of the film scanner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
Configurate control panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
Select TV standard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-4
3.4.
3.4.1.
3.4.2.
3.4.3.
3.4.4.
3.4.5.
3.4.6.
3.4.7.
User-specific configuration of the film scanner . . . . . . . . . . . . . . . . . . . . . . . . . 3-6
Change optical block . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-6
Change the film gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-7
Using Effect Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-8
Setup filmdeck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-20
Setup film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-20
Select TV-ratio 4:3 / 16:9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-21
Select speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-21
3.5.
Perform FPN correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-22
3.6.
3.6.1.
3.6.2.
3.6.3.
3.6.4.
3.6.6.
Thread the film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-24
Define winding direction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-25
Mount fixed winding plates
3-25
Mount Film Rolls
3-25
Mount film reels
3-26
Thread film correctly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-28
3.7.
Adjust frame line . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-29
3.8.
Adjust focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-30
3.9.
3.9.1.
3.9.2.
3.9.3.
Adjust sizing format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-31
Select fixed film scanning format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-31
Select fixed reproduction format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-33
Adjust sizing format variably . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-34
1st Edition
FU 0120 / 0 126 632 000 Customer’s Manual, Part 1 / UL & CE Version)
Operating Instructions - Rev. 1 / 6.2003
I
Contents
SDC 2002
3.9.4.
Adjust horizontal and vertical blanking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-35
3.10.
3.10.1.
3.10.2.
3.10.3.
3.10.4.
3.10.5.
3.10.6.
3.10.7.
3.10.8.
3.10.9.
Matching to different color and monochrome film types . . . . . . . . . . . . . . . . . 3-37
Define film type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-37
Adjust film masking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-39
Adjust intensity of film illumination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-41
Adjust analog signal basic gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-43
Adjust white level (and black level) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-44
Adjust black level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-46
Adjust white level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-48
Adjust gray level (gamma) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-49
Adjust contour, chrominance and coring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-50
3.11.
Adjust audio channels (option) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-52
3.11.1.
Select audio sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-52
3.11.2.
Pre-equalize audio sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-54
3.11.3.
Adjust Dolby noise reduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-55
3.11.4.
Select lowpass filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-57
3.11.5.
Synchronize digital audio channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-58
3.11.6.
Select preemphasis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-59
3.11.7.
Select mono/stereo operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-60
3.11.8.
Adjust lip-synchronous film sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-62
3.11.9.
Check film audio paths with test tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-63
3.11.10. Coarsely adjust the studio level . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-65
3.11.11. Adapt audio outputs to studio inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-66
3.11.12. Adjust headphone & monitor volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-67
3.11.13. Adjust SEPMAG channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-68
4.
Menu control GCP
4.1 . . . . .
4.3 . . . . .
4.4 . . . . .
4.5 . . . . .
4.6 . . . . .
4.7 . . . . .
4.8 . . . . .
4.9 . . . . .
4.10 . . . .
4.11 . . . .
4.12 . . . .
5.
Operation
5.1.
5.1.1.
5.1.2.
5.1.3.
5.1.4.
5.2.
5.2.1.
5.2.2.
5.3.
II
Graphical Control Panel GCP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-1
TK Config . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-19
Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-93
Color Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-105
Sharp Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-133
Sizing Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-139
Audio Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-161
Special Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-173
Memo Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-191
Monitoring Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-198
GCP-Eventlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-215
Reproduction (play) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-1
Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-1
Jogging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-1
Vario motion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-1
Shuttle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-2
Automatic switching-off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-3
Film end switching-off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-3
Film break switching-off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-3
Manual emergency switching-off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-4
Operating Instructions - Rev. 1 / 6.2003
SDC 2002
6.
Contents
Maintenance
6.1.
Safety instructions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-2
6.2.
6.2.1.
6.2.2.
6.2.3.
Clean the film drive mechanism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-3
Clean illumination slit and film guiding of the film gate . . . . . . . . . . . . . . . . . . . . . . 6-4
Clean the capstan roller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-5
Clean and degauss the commag audio head . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-6
6.3.
6.3.1.
6.3.2.
6.3.3.
6.3.4.
6.3.5.
6.3.6.
6.3.7.
6.3.8.
Clean the light path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-7
Clean the projection lamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-8
Clean condenser lens 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-9
Clean the infrared filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-9
Clean the heat absorbing filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-10
Clean the light control (fast aperture) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-10
Clean the filter of the filter wheel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-10
Clean condenser lens 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-11
Clean the front area of the light splitter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-12
6.4.
6.4.1.
6.4.2.
6.4.3.
6.4.4.
Clean the optical block . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-13
Clean the condenser and fibre optic part 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-13
Clean the condenser and fibre optic part 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-14
Clean the integration cylinder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-15
Clean the entrance and the exit lens of the sizing optics . . . . . . . . . . . . . . . . . . . . 6-16
6.5.
Change the projection lamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-17
6.6.
Clean the comopt sound optics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-21
6.7.
Change the comopt sound lamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-22
6.8.
6.8.1.
Clean the air filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-26
Adjust compressed air of the gateblast unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-32
6.9.
Clean the blowers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-33
6.10.
6.10.1.
6.10.2.
Change the backup battery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-35
Change the backup battery in the film scanner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-35
Change the backup battery in the Functional Control Panel . . . . . . . . . . . . . . . . . 6-36
6.11.
Clean or replace PT roller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6-37
7.
Trouble Shooting
8.
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8-1
Operating Instructions - Rev. 1 / 6.2003
III
Contents
IV
SDC 2002
Operating Instructions - Rev. 1 / 6.2003
1. General
SDC 2002
1.
ABOUT THE MANUAL
This manual is part 1 of the Customer’s Manual.
It informs the user about control and display elements, operational preparations,
operation, maintenance and trouble shooting.
1.1.
SOFTWARE STATE
1.1.1.
SDC 2002 DataCine
The present manual documents the following software states:
Film scanner SDC 2002 operating software version V4.60
GCP: Graphical Control Panel
1.1.2.
Op. sw V1.8.7
Telecine Controllers
Pandora Platinum
The Spirit DataCine operating software V 4.60 was tested by Thomson with
Platinum software version 4.2.8
Da Vinci “Mainframe 2k”
The Spirit DataCine operating software V 4.60 was tested by Thomson with
Mainframe 2K software version 2.2.8
Operating Instructions - Rev. 1 / 6.2003
1-1
1. General
1-2
SDC 2002
Operating Instructions - Rev. 1 / 6.2003
2. Control and Display Elements
SDC 2002
2.
CONTROL AND DISPLAY ELEMENTS
2.1.
SDC 2002 FILM SCANNER
1
1
SDC 2002
2 Power on / off
Thomson
11
3
2
4
5
Spirit
DataCine
Fig. 201: SDC 2002 Spirit DataCine film scanner
Overview
1
Lamps (2x)
... serve the lighting of the film scanner interior. Can be switched off, if required.
2
Power
... mains switch for switching on/off the film scanner.
3
Locking
lever
... locking lever for the optical block (LGA, lens gate assembly).
The optical block is locked by turning the locking lever in cw direction.
Operating Instructions - Rev. 1 / 6.2003
2-1
2. Control and Display Elements
4
Wind A / B
SDC 2002
... switch for selecting the winding direction of the threaded film.
WIND A
Winding direction in ccw direction.
WIND B
Winding direction in cw direction.
Application: for rewinding a film threaded with inverse sides.
5
2-2
Control Panel
... Local Control Panel FH 6500 for Play, Stop, Step, Shuttle, FPN, Framing, Stand
by, additional functions and remote delegation.
For further details see section 2.2.1.
Operating Instructions - Rev. 1 / 6.2003
2. Control and Display Elements
SDC 2002
2.2.
CONTROL PANELS
2.2.1.
LOCAL CONTROL PANEL FH 6500
1
Remote
F1
F2
F3
F4
F5
F6
2
3
Stand by
FPN
FPN
FRM
FRM
S8
S16
4
5, 6
7
Shuttle
8
Step
Step
9
Play
Play
10
Stop
11
Fig. 202: Local Control Panel FH 6500
1
Key Remote
... pressing the key delegates the control functions from the Local Control Panel to
an external Remote Control Panel and vice versa (toggle mode).
The key is lit when the control functions are remotable.
Automatic switchover from Remote to Local Control Panel:
1. with Stand by ON and pressing key Stand by (3, e.g. in an emergency)
2. pressing key Stop.
Operating Instructions - Rev. 1 / 6.2003
2-3
2. Control and Display Elements
SDC 2002
2
Function keys
(6x)
... not assigned.
Quick selection for future functions.
3
Key Stand by
... Indicates that the machine is ready for operation.
Momentary-contact pushbutton switch for switching on the standby mode.
The winding motors are switched on (film is automatically tightened) and the capstan motor is released for operation.
Prior to settings, always carry out FPN correction first.
During operation, the Stand by key lamp has to be lit all the time.
4
Keys FPN (2x)
... switches on the automatically noise signal compensation: Fixed Pattern Noise
and
shading correction (shading signal compensation and white balance).
During compensation, the picture gate has to be open (no film threaded).
In order to avoid operational errors, this key function is only enabled when pressing
the two momentary-contact pushbutton switches (4) FPN/FRM at the same time.
4
Keys FRM
/
... momentary-contact pushbutton switch for coarse framing adjustment by means
of the film frame line.
Setting range:
Each time the key is pressed, the film will be shifted in downward or upward direction by one perforation whole per picture of the picture height.
5
Key S8
. Pre selection of S8mm film scanning for FPN correction*1, *2
6
Key S16
. Pre selection of 16mm film scanning for FPN correction*1, *2
*1 Only activ in case S8mm Option is installed!
*2 S8mm and S16mm gate operate with the same gate coding.
7
Control
Function together with key Shuttle (8):
for rapidly locating a scene in forward and reverse run.
Function together with key Focus adjust/assist (5/6):
for optical film focusing.
8
Key Shuttle
... visible search mode is switched on (selected: shuttle speed = 0 and audio channel is muted).
Shuttle mode can be entered from all operational modes.
The search speed is set with control (7) and remains constant.
2-4
rotation to the left
= film motion reverse
rotation to the right
= film motion forward
Operating Instructions - Rev. 1 / 6.2003
2. Control and Display Elements
SDC 2002
9
Keys Step
/
... single-frame selection forward/reverse.
On pressing the step key, the film scanner will automatically enter the Stop mode.
Still frame has broadcast quality.
After Stop the projection lamp is switched to reduced lighting power immediately
(approx. 5 s after Stop the safety shutter is closed).
10 Keys Play
/
... film presentation in the forward or reverse mode.
Can be entered from all operating modes.
The projection lamp is switched to full lighting power.
11 Key Stop
... from the Play mode: quick stop.
From the Shuttle mode: termination of the search function.
Operating Instructions - Rev. 1 / 6.2003
2-5
2. Control and Display Elements
2.2.2.
SDC 2002
GRAPHICAL CONTROL PANEL GCP 1
GCP Eventlist
Dialog buttons
Power
Trackball delegation:
For future use
to panel
to machine
TK button
TK
Previous
Control
Prev
Ctrl
Trackball
Lock
Acceleration
Help
Digits
Unity
Dialog function buttons
2. Display
Digipots
Machine controls
Fig. 203: Functional Control Panel CP1
Machine Control Section
The Machine Control Section is located in the lower right corner of the GCP.
All buttons (including the trackball - if delegated) perform transport functions of the
telecine. Undeclared buttons are currently not in use.
2-6
Operating Instructions - Rev. 1 / 6.2003
2. Control and Display Elements
SDC 2002
TK
4
3
2
1
JOG
VAR
STL
5
Step
Step
6
Play
Stop
Play
Fig. 1: Machine control section
1
Trackball
2
Display button for trackball delegation to GUI
3
Machine button for trackball delegation to machine control
4
1 button for the machine selection (TK)
5
3 buttons for Machine-Mode-Selection (Jog, Var, Shuttle)
6
5 machine-control-buttons (play, reverse play, step forward/backward, stop)
Undeclared buttons are not in use!
Operating Instructions - Rev. 1 / 6.2003
2-7
2. Control and Display Elements
SDC 2002
TK Button
To control the telecine press the TK BUTTON (Button gets lit). All transport controls
are now delegated to the DataCine.
Display Button
Below the trackball on the left you find the DISPLAY BUTTON. Pressing this button
delegates the trackball to the GUI (graphical user interface).
Machine Deck Button
Below the trackball on the right you find the MACHINE DECK BUTTON. Pressing
this button delegates the trackball to the machine (TK) for shuttle, jog or variable
speed control.
Trackball
The trackball can be used for various functions.
Delegation of the trackball is done as follows:
Pressing the DISPLAY BUTTON delegates the trackball to the next control in the
current dialog which can receive trackball input (only possible if there is any control). Moving the trackball has the same effect as sliding the corresponding control
on the touch - screen.
Pressing the MACHINE DECK BUTTON delegates the trackball to the selected
machine (TK).
In this mode the trackball can be used as a SHUTTLE/JOG/VARI speed control.
Jog, Var, Shuttle Buttons
3 buttons for the transport mode selection (JOG, VAR and SHUTTLE) are below
the trackball.
With MACHINE DECK enabled the trackball controls the telecine in the selected
mode.
Step Forward, Step Backward, Play Reverse, Stop, Play Forward
The hard keys for film deck control of the telecine are located below the SHUTTLE/
JOG/VARI speed buttons (Step forward, Step backward, Play, Play reverse and
Stop).
2-8
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
3.
OPERATIONAL PREPARATIONS
The sections of the chapter ”Operational Preparations” have a defined order.
Preceding sections are mostly precondition for the succeeding sections (such as
”Perform FPN correction” before ”Thread the film” etc.) and should therefore be
considered when setting into operation.
3.1.
HARDWARE CONDITIONS
GCP
Installation
The Graphical Control Panel has to be connected to the Spirit DataCine.
Video and audio
The video and audio output signals are available at the respective output sockets.
Depending on the intended further application, use the corresponding output sockets.
In & Out
A detailed overview on the available inputs and outputs and their applications is
given in the manual ”Planning and Installation”.
Video reference
Depending on further use, the video reference inputs and outputs have to be connected with the remaining application units.
Time code
Depending on the application, the time code signal has to be passed on to the other
units.
Keycode Reader
Mounting Support
The mounting support combined with a keycode reader head serves to generate
the film keycode and to insert it to the DPX data output.
Monitoring
If required, connect a video monitor for checking, and monitor both audio channels
via the audio monitor outputs.
Option Phantom Transfer Engine TE 2101
Data Output
The option Data Output - as part of the Transfer Engine option - is required to provide high speed film data - DPX or TIFF format - for recording on computer workstations or Specter Virtual DataCine VDC2000.
HIPPI Serial I.F.
A HiPPI serial interface - also part of the option Phantom Transfer Engine TE 2101
- provides the high speed data transmission to a workstation / Specter via fibre optic
cables.
Option GSN Phantom Transfer Engine TE 2111
Data Output
The option Data Output - as part of the Transfer Engine option - is required to provide high speed film data - DPX or TIFF format - for recording on computer workstations or Specter Virtual DataCine VDC2000.
GSN I.F.
A GSN serial interface - also part of the option Phantom Transfer Engine TE 2111provides the high speed data transmission to a workstation / Specter via fibre optic
cables and GSN Switch.
Operating Instructions - Rev. 1 / 6.2003
3-1
3. Operational Preparations
3.2.
SDC 2002
POWER-UP
The film scanner is powered up with the mains switch ”Power” at the front of the film
scanner (Fig. 301: 1).
To switch on the Graphical Control Panel GCP1 ( Fig. 301: 2), press the power
button 3.
To avoid EMC (electromagnetic compatibility) problems keep the rear doors
always closed during operation!
After 15 minutes operating time, all characteristics are stabilized.
Warm-up
1
SDC 2002
Thomson
11
2
3
2
Diagnostics PC
Spirit
DataCine
Film Scanner SDC 2002
Graphical Control Panel
Fig. 301: Film scanner SDC 2002
3-2
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
3.3.
BASIC ADJUSTMENTS OF THE FILM SCANNER
3.3.1.
CONFIGURATION OF THE CONTROL PANEL
& DELEGATION OF OPERATIONAL CONTROL
Configuration of the graphical control panel is mostly performed only once.
For details, see Customer’s Manual GCP.
After “power on” the display of the graphical control panel shows the power-up test,
and subsequently the HOME menu.
Fig. 302: Home Menu
Ctrl
Press once the CONTROL BUTTON
to get control over the Spirit DataCine.
Operating Instructions - Rev. 1 / 6.2003
3-3
3. Operational Preparations
3.3.2.
SDC 2002
SELECT TV STANDARD
If the momentary TV standard does not correspond to the desired standard,
change the TV standard as follows.
Select the main menu ”TK Config”, SDTV or HDTV submenu.
Fig. 303: :TK config menu, submenu SDTV
Window SDTV / HDTV serves to choose the TV standard.
The change of the TV standard is acknowledged by a beep tone.
Only those outputs are active, which are selected by the TV standard.
HDTV / DTV is only available, if option HDTV / DTV is mounted in Rack 3.
3-4
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
Note!
When switching over the TV standard, the film drive has to be in the stop mode.
Subsequently, a restart of the film scanner is made with corresponding message on
the display of the control panel GCP1.
TV standard
Fig. 304: : Home menu with the new TV standard
Operating Instructions - Rev. 1 / 6.2003
3-5
3. Operational Preparations
SDC 2002
3.4.
USER-SPECIFIC CONFIGURATION OF THE FILM SCANNER
3.4.1.
CHANGE OPTICAL BLOCK
Changing the optical block (Super 16 mm, Super 35 mm/FA 35mm LGA - Lens
Gate Assembly) optically matches the film scanner to the wanted film format.
Change
LGA
1.
Remove the threaded film from the optical block, if necessary.
2.
Unlock the optical block (LGA, lens gate assembly).
For this purpose, move the locking lever on the right of the optical block in upwards ccw direction.
3.
Seize the optical block at the two handles, pull it out on its guide rails and remove it.
Attention!
When pulling out the optical block, keep a firm hold on it (approx. 8 kg)!
As soon as the optical block leaves the guide rails, it might be possible that
it slides downwards.
4.
Set the new optical block on the guide rails and slide it slowly towards the film
deck plate until it fits.
5.
Lock again the lever beside the optical block (position LOCK).
6.
Open the film gate locking lever and close it again, to ensure, that the film gate
is not tilt.
7.
Perform FPN correction (see section 3.5.).
Locking lever of the
optical block
Guide rail
Handle of the
optical block
Film gate
Film gate locking lever
Fig. 305: Optical block of the film scanner
3-6
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
3.4.2.
CHANGE THE FILM GATE
Super optical blocks need an additional film gate (option) when operating standard
films.
Change
1.
Open the film gate locking. For that reason hold the film gate locking lever at
the lower end and pull it up.
2.
Remove the built-in film gate.
3.
Insert and lock the new film gate.
4.
Perform FPN correction (see section 3.5.).
Film gate
Film gate locking lever
Fig. 306: Film gate of the film scanner
Note!
Operating Instructions - Rev. 1 / 6.2003
Film Gate self-adjustment after exchange:
Open the locking lever and close it again without
touching the Film Gate.
3-7
3. Operational Preparations
3.4.3.
SDC 2002
USING EFFECT FILTERS
Precautions!
D Insert a filter drawer into the filter drawer slot with filter facing up
and the filter side heading as shown in the figure below.
D Take care of not fastened filters or hold downs. These can drop
into the AIH or LGA and may cause damage to the system.
D Do not insert any foreign object into the filter drawer slot. This
could result in a malfunction and a damage to the unit.
D To ensure the correct position of the filter and electromagnetic
compatibility, the filter door must always be installed during operation.
D Do not remove or install the Lens Gate Assembly without removing the filter drawer first.
D Use only filter drawers from Thomson. Otherwise danger of damage to the focus system.
D Filter drawer can not be installed if the focus slide is in the range
of 0 up to 15,000. Set focus to the value >15,000.
Insert a filter drawer into the filter drawer slot with filter facing
up and the filter side heading as
shown below!
AIH
Slot
Filter
Filter door
Filter drawer indicator
Captive fastener
LGA
Fig. 307:
3-8
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
AIH
Attention!
Never insert the filter with
the filter facing down!
Slot
Fig. 308:
Note!
The filter drawer is correctly installed
when the white filter drawer indicator is visible!
To ensure the correct position of the filter and electromagnetic compatibility, the filter door must always be installed during operation.
AIH
Filter Door
Filter drawer indicator
LGA
Fig. 309:
Operating Instructions - Rev. 1 / 6.2003
3-9
3. Operational Preparations
SDC 2002
1. General
The Effect Filter Case FH 6910 facilitates the usage of optical effect filters for the
Spirit DataCine film scanner. It consists of a selection of drawers, which position
filters in the optical path between the projection lens and the CCD sensors.
14 different kinds of supermist filters are provided with the upgrade kit. Each filter
is protected in its own drawer. In addition six drawers, six filter hold downs and two
optical flat filters are available to produce custom-built effect filters.
The Effect Filter Case FH 6910 is part of the basic accessory SDC 2002 and contains the following parts:
Pos.
Pcs.
Designation
1
1
Effect filter case
2
14
Effect filter drawer with
White Supermist filter: 0.25, 0.5, 1.00, 2.00, 3.00, 4.00, 5.00
Black Supermist filter: 0.25, 0.5, 1.00, 2.00, 3.00, 4.00, 5.00
3
6
Filter drawer with double-sided tape (w.o. filter)
4
6
Filter hold-down with double-sided tape
5
2
Optical flats
2
1
3
4
5
Fig. 310: Effect Filter Case cpl. FH 6010
3-10
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
Filter types
The type of the filter White Supermist or Black Supermist can be identified at the
front label of the drawer.
Fig. 311:
2. Additional Filter and Filter Drawer Set
a. Filter Drawer Set
(5 pcs, w.o. filters)
is optional available.
Spare part order no.: 3 119 100 288
b. Filters
Please order spare or additional filters directly from:
South London Filter LTD.
Linton House Unit 112
164-180 Union Street
SEL1 OHL London
Phone: +44 171620 3060
Operating Instructions - Rev. 1 / 6.2003
3-11
3. Operational Preparations
SDC 2002
3. Mounting Filter & Filter Drawer
Preparation of customer-prepared Filter
Prepare filter material according to the following measurements:
Filter size:
Area
63.5mm x 63.5mm [2.5 in x 2.5 in] with sloped edges
Maximum thickness
used with filter hold-down 0.65 mm [0.025 in]
used without filter holder 2.0 mm [0.08 in]
63.5 mm
[2.5 in]
63.5 mm
[2.5 in]
30o TYP.
2o
19.05 mm
[0.750 in]
Fig. 312:
Attention!
Pay attention to the right position of filter and filter hold-down. Danger of
damaging both when the focus slide moves down!
The area of the filter material must not surmount the filter drawer edges.
Use only filter drawer from Philips.
Take care of this space
for the focus slide!
Filter drawer
Filter drawer
indicator
Fig. 313:
3-12
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
4. Insert Filter into Filter Drawer
Fixing Filter only with Filter hold-down (for test purposes only)
Insert a prepared filter into the filter drawer and fix it at the drawer with the filter holddown as shown in figure Fig. 314: . Do not remove the tape protection foils from
the filter drawer and filter hold-down.
Note! The height of filter and filter hold-down must not surmount the filter
drawer upper edge.
Filter hold - down
Caution!
Take care of not fastened
filters or hold-downs.
These can drop into the
AIH or LGA and cause
damage to the system!
Filter
max 0.5 mm
[0.02 in]
Filter drawer
Fig. 314:
5. Fixing Filter at Filter Hold-down with double-sided Tape
Insert a prepared filter into the filter drawer and fix it at the filter hold-down with the
double-sided tape as shown in figure Fig. 315: . Do not remove the tape protection
foil from the filter drawer.
Note!
The height of filter and filter hold-down must not surmount the filter drawer
upper edge.
Filter hold - down
Caution!
Take care of not fastened
filters or hold-downs.
These can drop into the
AIH or LGA and cause
damage to the system!
Double-sided tape
Remove protection foil!
0.15 mm
[0.006 in]
Filter
max 0.65 mm
[0.026 in]
Filter Drawer
Fig. 315:
Operating Instructions - Rev. 1 / 6.2003
3-13
3. Operational Preparations
SDC 2002
6. Fixing Filter with double-sided Tape
The filter drawers are provided with a double-sided adhesive tape. This tape serves
for fixing a filter permanently in the drawer.
Insert a prepared filter into the filter drawer and fix it with the double-sided tape as
shown in Fig. 316: . Before doing this, remove the protective foil from the doublesided tape in the drawer.
Important!
The thickness of filter material must not surmount the filter drawer upper
edge.
Filter
max 2.0 mm
[0.08 in]
Double-sided adhesive tape
Remove protection foil!
Filter drawer
Fig. 316:
3-14
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
7. Insert Filter Drawer
Adjust Focus to the value >15,000
Menu Home - focus
Filter drawer cannot be inserted if the focus slide is in the range of 0 up to
15,000.
s
Fig. 317:
Remove the filter door from the AIH, for this purpose loosen the captive fastener, see Figure Fig. 318: .
Insert the filter drawer into the filter drawer slot with filter facing up and
the filter side heading as shown in the figure below.
Attention!
Do not tilt the filter drawer, if the filter is only fixed with the hold-down and
not fixed with the double-sided tape! Filter could drop into the system.
Filter
Filter Door
Filter drawer indicator
Captive fastener
Fig. 318:
Operating Instructions - Rev. 1 / 6.2003
3-15
3. Operational Preparations
SDC 2002
Re-install filter door.
To avoid damage to the focus mechanism and filter drawer and to ensure electromagnetic compatibility, press the filter door firm against the sealing tape
(around the compartment opening) and tighten it with the captive fastener.
Warning!
To ensure the correct position of the filter and electromagnetic compatibility, the filter door must always be installed during operation.
Filter door
Note !
The white pin in front of the filter door indicates that a filter is used!
Fig. 319:
Warning!
Danger of damage to the filter drawer.
Do not remove or install the Lens Gate Assembly without
removing the Filter Drawer first!
Important Note with regard to FPN Correction!
Please ensure, that no filter drawer is inserted into the LGA during
Power up of film scanner SDC 2002 (FPN correction is mandatory)
Reset of SDC 2002 from the Control Panel (FPN correction is mandatory)
FPN correction
3-16
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
Normal FPN correction should always be done without the effect filter to ensure
perfect correction. If FPN is performed with a filter inserted, FPN correction will only
be correct for this special filter.
8. Adjust Focus
The usage of light effect filters can cause de-focussing of the system. It is recommended to adjust the focus of the AIH when an effect filter is being installed or
changed.
Setting
The focus slider controls the focus servo in the film scanner.
Foccussing can be done either with the digipot control or by sliding on the
touchscreen, for details see chapter 3.8. “Adjust Focus”
Fig. 320: Home menu with Focus slider
Storing
Hitting the the STORE button opens the a dialog window. With O.K. your new
setting will be stored.
Operating Instructions - Rev. 1 / 6.2003
3-17
3. Operational Preparations
SDC 2002
9. Trouble Shooting
Remove Parts dropped in
In case of parts have been dropped in to the inside of the AIH system, take them
out as follows (Figure Fig. 321:
Remove the Lensgate Assembly (LGA) and take out the parts which have
dropped in.
if necessary
Remove the cover of the AIH system and take out parts which have dropped
in.
Re-install LGA and AIH cover
AIH
Advanced Imaging Head
AIH cover
Lens Gate Assembly
LGA
LGA cover
LGA door
Removed Lens Gate Assembly
Fig. 321: Access to LGA and AIH
3-18
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
Blocked up Filter
In case a filter is blocked up in its compartment and the “remote focus slide” is
locked, release the focus slide by means of the GCP menu “Diagnosis” Focus Release” button.
Fig. 322: Monitoring menu with submenu Diagnosis - Release Focus button
Operating Instructions - Rev. 1 / 6.2003
3-19
3. Operational Preparations
3.4.4.
SDC 2002
SETUP FILM DECK
Set filmdeck settings in th main menu “TK Config”
Fig. 323: Menu TK Config
Set
Core diameter
Auto Stop
Max Shuttle Speed 35mm
Max Shuttle Speed 16mm in main menu ”SETUP”.
Configuration possibilities concerning film deck are to be found in the GCP Manual.
3.4.5.
SETUP FILM
Open the main menu Film and adapt the film scanner to the film to be played. Use
the button “Filmtype”
Fig. 324: Film menu
Configuration possibilities and explanations are to be found in the GCP Manual.
3-20
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
3.4.6.
SELECT TV RATIO 4:3 / 16:9
Open then main menu TK Config, select submenu SDTV
Fig. 325:
Press button “SDTV Ratio” and select 4:3 or 16:9.
3.4.7.
SELECT SPEED
Open then main menu TK Config
Fig. 326:
Select or adjust a fixed (or a variable) film speed for the film scanner.
Selection of the film speeds and explanations, see GCP manual.
Operating Instructions - Rev. 1 / 6.2003
3-21
3. Operational Preparations
3.5.
SDC 2002
PERFORM FPN CORRECTION
Remote
F1
F2
F3
F4
F5
F6
Stand by
FPN correction:
Press both FPN keys
together
FPN
FPN
FRM
FRM
Shuttle
Step
Step
Play
Play
Stop
Fig. 327: Local control panel of the film scanner
Performing a FPN (Fixed Pattern Noise) correction effects an automatic noise signal compensation in the white as well as an automatic white balance adjustment.
FPN (Fixed Pattern Noise): - noise signal in the white signal
3-22
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
FPN conditions:
1.
Perform FPN the first time after a “warm up” of about 15 minutes.
2.
Perform FPN before threading the film (FPN correction with film:
picture adjustment useless and thermal film damage possible).
3.
Repeat FPN, if the environment temperature changes by more than 5°C.
4.
Repeat FPN to compensate illumination level losses, if the environment
temperature changes by more than 2°C.
With super 16mm optical block:
1.
Perform FPN always after having changed the iris setting.
2.
Use 6 dB gain, if the iris is not opened fully.
3.
No FPN can be performed, if the iris is closed.
Performing the
FPN correction:
Press both FPN keys together (Stand by OFF).
During the automatic FPN correction (duration approx. 2 minutes) both FPN keys
are lit.
Hint!
If both FPN keys blink, a FPN correction has to be performed.
Keys will blink:
1.
After switching on the film scanner
2.
After changing the optical block
3.
After changing the film gate
Note!
S8mm
Film Scanning
Performing FPN correction for S8mm film scanning, see optional manual
“S8mm Scanning”.
Operating Instructions - Rev. 1 / 6.2003
3-23
3. Operational Preparations
3.6.
SDC 2002
THREAD THE FILM
Thread the film according to the film threading path printed on the film deck.
Before the film can be threaded, the following preparations have to be made.
3.6.1.
DEFINE WINDING DIRECTION
The both switches A/B on the film deck are to be set in position A (= PLAY position)
for normal film operation. During operation both film reels wind anti-clockwise.
Position B is used only for rewinding a film wound side-inverted.
SDC 2002
Thomson
11
2
Spirit
Normal
operation:
both
switches
in position A
DataCine
Fig. 328: Film threading path
3-24
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
3.6.2.
USING FIXED WINDING PLATES
Two fixed winding plates can be mounted on the filmscanner.To adapt any filmtypes
to the winding plates use the inlays for bobbins or the inlays for reels as well as the
two locking devices. The inlays for 16/35mm films are delivered with the
filmscanner or can be ordered separately (9mm spindle= FH6609 / 8mm spindle
FH6608). The inlays for S8mm films are optional.
3.6.3.
MOUNT FILM ROLLS
Mounting
film rolls
1. Remove the complete locking device from the reel spindle.
In addition, pull the release ring towards the release button.
Winding plates
Inlays for film bobbins
Fig. 329: Fixed winding - sheets with bobbin inlays
2. If the film is on a bobbin, the inlays for bobbins have to be mounted on both fixed
winding plates.
Release button
Bobbin
Reel spindle
Locking Device
& Button
Inlay for bobbin
Fixed winding plate
Fig. 330: Mounting film rolls with bobbin
3. Plug in the film bobbin onto the carrier of the inlay.
4. Slide the locking device onto the reel spindle until it locks in with an audible
click.
Operating Instructions - Rev. 1 / 6.2003
3-25
3. Operational Preparations
Attention!
3.6.4.
SDC 2002
When operating with bobbins, the inner shaft of the locking device has to protrude, otherwise press the locking button and the shaft will jump out.
MOUNT FILM REELS
If the film to be played is a film reel, the full film reel has to be mounted on the leftsided reel spindle and the empty film reel on the right-sided one.
Winding plates
Inlays for film reels
Fig. 331: Fixed winding plates with bobbin inlays
1. Remove the complete locking device from the respective reel spindle.
For this purpose, pull the release ring towards the release button.
Locking button
Release ring
Locking
device
Inlay for film reel
16 & 35 mm
Release button
Reel spindle
Film reel
Fixed winding plate
Inlay for film reel S8 mm optional
Fig. 332: Mounting the film reels
3-26
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
2. Mount the reel inlay to the fixed winding plate (on each side)
3. Slide the film reel on the reel spindle.
4. Plug in the film reel onto the carrier of the reel spindle.
5. Slide the locking device on the reel spindle until it locks in with an audible click.
Attention:
When operating with film reels, the inner shaft of the locking device has to be
sunk, otherwise press the locking button and slide the inner shaft backwards.
S8mm
Film Scanning
For scanning S8 mm films, the option “S8mm Film Scanning“ FH 6603 is required.
3.6.5.
RESTRICTION
Only film reels with core maximum of 130 mm can be used with the new fixed winding plates FH 6608 / 6609.
For reels with 150 mm core diameter, the reel holders 2 128 102 102 / 8mm axis
and 2 128 102 103 / 9mm axis have to be used.
This reel holder is standard for SDC 2000 #101 - 236, for SDC 2001 #2101 - 2170
and for Shadow STE-B1 #110 - 130
Fig. 2: Holder for reel diameter > 130mm
Operating Instructions - Rev. 1 / 6.2003
3-27
3. Operational Preparations
3.6.6.
3.6.6.1.
SDC 2002
THREAD FILM CORRECTLY
FILM
THREAD DIRECTION
S8 mm film (option S8 scanning req.)
Put perforation to the film deck plate
16mm film
Put perforation to the film deck plate
35mm film
Put audio track to the film deck plate
Film roll with bobbin o p e r a t i o n
Slide the full film roll, as shown below, onto the left winding plate and lead the film on
film path ”A” (printed on the film deck plate) to the right winding plate.
Insert the film leader into the slot of the winding body and give the winding plate a
few turns counterclockwise.
3.6.6.2.
Film reel operation
Slide the full film reel onto the left reel spindle and lead the film on film path ”A” to the
right (empty) film reel.
Insert the film leader into the slot of the film reel and give the reel a few turns counterclockwise.
2
Door magnet !
Fig. 333: Film threading path
Note!
3.6.6.3.
When threading the film into the film guiding edges of the optical block make sure
that the film properly fits to the edges and that there are no emulsion deposits at
the film guiding edges (for cleaning see section 6.2.1.).
Attention! When threading films with a magnetic sound track never touch the door
magnet of the front doors (danger of erasing)!
Switch to standby
Subsequently press key STANDBY on the Local Control Panel of the film scanner
(film is tightened).
3-28
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
3.7.
ADJUST FRAME LINE
To achieve a correct vertical picture position for 35mm films press “Framing” key on
the Local Control Panel several times. This effects a coarse correction of the frame
bar downward (1 perforation hole downward per film picture).
Shift frame line until it disappears under the upper or lower picture border.
or via Grahpical Control Panel GCP:
Select the Home menu.
Fig. 334: Home menu with ”Framing Adjust”
Shift the fame bar
Shift frame bar of 35mm film by pressing the framing coarse buttons (arrows up and
down) several times until the frame bar disappears under the upper or lower picture
border.
The framing fine sliders allow neat vertical positioning for all film formats.
Store frame bar
position
Pressing the STORE button enables the current setting to be stored and recalled if
you hit Unity.
Note!
For operation, first correct the frame bar and then make film/time code assignment,
because shifting the frame bar by 1 frame will also shift the frame/time code assignment.
When placing the film on the sprocket wheel, take care to lace the frame bar on the
cross line of the sprocket wheel. Thus, the frame bar will not be visible when playing
the film.
Lace-up frame bar on the cross line
Fig. 335: Film position on the sprocket wheel
Operating Instructions - Rev. 1 / 6.2003
3-29
3. Operational Preparations
3.8.
SDC 2002
ADJUST FOCUS
Graphical Control Panel GCP1
The focus slider controls the focus servo in the film scanner.
Focussing can be done either with the digipot control or by sliding on the
touchscreen.
Setting
Hitting the AID button sets zoom and contour to maximum and slows down the film
speed to 6 fps.
Thus, film grain will appear as large and clear as possible which helps to find the
optimum focus position.
Fig. 336: Home menu with focus adjust slider
Storing
3-30
Hitting the STORE button and subsequently the O.K. button saves the focus value
as the new default.
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
3.9.
ADJUST SIZING FORMAT
The sizing format (scanning and reproduction format) of the film scanner is set in
the sizing menu.
Preconditions
3.9.1.
1.
The TV standard is selected
(i.e., line standard is determined, see section 3.3.2.).
2.
According to film format (16mm, S16mm, 35mm, S35mm),
the suitable optical block is used (see section 3.4.1.).
3.
The film is threaded correctly (see section 3.6.).
4.
The frame line is adjusted (see section 3.7.).
SELECT FIXED FILM SCANNING FORMAT (FIXED ASPECT)
On the film box of the film to be played, the film scanning format (e.g. 1:1.85 /
1:2.20 / 1:2.35) is noted in addition to the film format (16mm, 35mm etc.).
If this format corresponds to a fixed format of Fig. 338 (1.85 / 2.20 / 2.35), the following steps are necessary.
Selection
1
Press button Sizing
Where?
Function
Control
panel
The Sizing menu appears.
1080 60 I
24500 x 19000
12250 / 9307
21110 x 19000
18750 / 9306
21102 x 19000
18750 / 9500
Fig. 337: Sizing menu
Operating Instructions - Rev. 1 / 6.2003
3-31
3. Operational Preparations
2
Select submenu “Repro”
SDC 2002
Touch
screen
Select a fixed scan format by pressing
“Fixed Aspect”
and
according to the specification of the film
scanning format on the film box.
1207 x 1079
959 x 549
21.25
19.00
18.75
Fig. 338: Sizing menu, submenu Repro
3-32
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
3.9.2.
SELECT FIXED REPRODUCTION FORMAT (FIXED REPRO)
When selecting a fixed film scanning format (see section 3.9.1.), a suitable reproduction format is selected each time automatically for this film.
If an other reproduction format should be wanted nevertheless, proceed as follows.
Selection
3
4
Where?
Function
Press the button Sizing
Control
panel
The Sizing menu appears.
Select the submenu “Repro”
Touch
screen
Select button ”fixed repro”
The reproduction formats
appears on the screen.
1207 x 1079
959 x 549
21.25
19.00
18.75
Fig. 339 Submenu Repro
5
Make a new selection
by pressing one of the repro formats
Operating Instructions - Rev. 1 / 6.2003
pull down
menu
Select further adjustments
in the ”Sizing menu”
if necessary
3-33
3. Operational Preparations
3.9.3.
SDC 2002
ADJUST SIZING FORMAT VARIABLY
If the fixed reproduction format (as selected in section 3.9.2. ) does not yet correspond to the requests, the reproduction format can also be adjusted variably.
Selection
Where?
Function
6
Press button Sizing
Control
panel
The Sizing menu appears.
7
Select Size Window
Touch
screen
Sets sizing adjustments
to default values.
1080 60 I
24500 x 19000
12250 / 9307
21110 x 19000
18750 / 9306
21102 x 19000
18750 / 9500
Fig. 340 Sizing menu
8
Click on the area to activate the
digipot control.
When active, the sliders are
highlighted
Window
Adjust with the digipot
or slide on the touchscreen
the vertical and horizontal
reproduction format
Pay attention to the picture geometry,
i.e. a circle has to be reproduced as a circle.
3-34
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
3.9.4.
ADJUST HORIZONTAL AND VERTICAL BLANKING
Selection
Where?
Function
9
Press button Sizing
Control
panel
The Sizing menu appears.
10
Select submenu Blanking
Sizing
menu
Submenu ”Blanking”
appears.
1201 x 1151
959 x 575
Fig. 341: Submenu ”Blanking”
11
Select the Film button
Submenu
Blanking
The Film blanking adjustments (Size and
Position) determine the section of the picture
which is written into the frame store.
Film blanking becomes part of the picture
(with only black content)
Adjust with the digipot or sliders
the vertical blanking,
and
the horizontal blanking.
Operating Instructions - Rev. 1 / 6.2003
3-35
3. Operational Preparations
SDC 2002
The TV blanking adjustments (Size and
Position) determine the section of the picture
which is read out of the frame store.
TV blanking is not part of the picture. It behaves like an external blanking rendered by
a production switcher.
12
Select the TV button
Submenu
Blanking
Adjust with the digipot or sliders
the vertical blanking,
and
the horizontal blanking.
The blanking settings should limit film picture
content only slightly.
Vertical frame line corrections have to be
made before as described in section 3.7.
3-36
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
3.10.
MATCHING TO DIFFERENT COLOR AND MONOCHROME FILM TYPES
Precondition for this section are the preceding sections of chapter 3.
The most important ones are:
3.10.1.
1.
Film scanner user-specifically configurated
2.
FPN correction performed
3.
Film threaded
4.
Frame line optimized
5.
Picture optically focused
6.
Sizing format adjusted
DEFINE FILM TYPE
Select
1
Press button Film
Where?
Adjust function
Control
panel
The Film menu appears
Fig. 342: Film menu
Operating Instructions - Rev. 1 / 6.2003
3-37
3. Operational Preparations
2
3
Double click
function button ”unity ALL”
Select button Film Type
SDC 2002
left to the
touchscreen
Adjusts standard values for
the complete film menu.
Film menu
Make your choice from the drop - down
menu.
For each filter type, positive and negative
setting are available. This function also
switches the gamma according to the selected film type.
Fig. 343: Film menu with drop down menu ”Film Type”
4
3-38
Depending on film to be played,
select one of the film types
Pop - down
menu
Defines the following film types:
Print Positive
Print Negative
Intermediate Pos.
Intermediate Neg.
Primetime Pos.
Primetime Neg.
Color Positive
Color Negative
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
3.10.2.
ADJUST FILM MASKING
Select
5
For matching to special films,
select submenu
“Masking”,
Where?
Adjust function
Film Menu
Opens submenu ”Film masking”
comm_1
comm_1
comm_2
comm_3
1.000
0.
0.000
1.
0.000
0.
comm_4
comm_5
comm_6
comm_7
0.000
0.000
1.000
comm_8
TCP5285
TCPLIMX
spec_1
Fig. 344: Submenu ”Film masking with pull - down menu matrix
6
Click button Matrix.
Select fixed, preadjusted
matrix coefficients
from the drop-down menu.
Judge the color reproduction
in the output picture
and via WFM output
testpoint 4 Mask/CRT Gamma
For test purposes use
testpoint 4
Mask / CRT Gamma
Menu Monitoring
Fig. 345:Menu Monitoring, submenu Test Points
Operating Instructions - Rev. 1 / 6.2003
3-39
3. Operational Preparations
7
SDC 2002
If the correct color reproduction
in the output pictures not yet
achieved, click on new matrix in
the drop - down menu
An additional window “Enter new Matrix”
opens and a two lined keypad is activated in
the top of the menu.
Fig. 346: Set new matrix name
8
Type in the name for the new
matrix coefficient
Submenu
Masking
Confirm by pressing the OK button.
Now the coefficients in the matrix window
can be modified.
9
Clicking on the coefficients
opens a numeric keypad on the
top of the menu.
Submenu
Masking
Type in your modified values and confirm by
pressing OK.
Fig. 347: Set coefficients
3-40
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
3.10.3.
ADJUST INTENSITY OF FILM ILLUMINATION
Select
10
Press menu button Film
Where?
Adjust function
Control
panel
The Film menu appears
85%
Slide CCD Output
for 100 % video level
100 %
Flash button
100 %
100 %
Fig. 348: Film menu
For test purposes use
testpoint 1
AIH / A/D
Menu Monitoring
Fig. 349:Menu Monitoring, submenu Test Pnt
11
Shift slider “Light”
or use the trackball
Operating Instructions - Rev. 1 / 6.2003
Film Menu
The amount of light falling via the film on the
CCDs can be controlled.
3-41
3. Operational Preparations
12
Run film
for adjusting
the intensity of film illumination
SDC 2002
Search for a scene with low film density (bright
lights, clouds or similar) and adjust the intensity of film illumination in such a way that the
brightest one of the RGB video signals
reaches a level of 100 % (oscilloscope).
”CCD Output Level Display:
During adjustment watch the CCD Output
Level Display!
Make sure that this level is around 85%.
Or during Play:
Pressing the “Flash button” sets film illumination intensity at once to maximum CCD output level.
If 100 % video level is not reached, switch
video basic gain to + 6 dB (see section 3.10.4.)
and adjust the film illumination intensity again.
Attention!
Exceeding 22A lamp current may shorten
the life span of the projection Xenon
lamp.
13
3-42
Re-wind film
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
3.10.4.
ADJUST ANALOG SIGNAL BASIC GAIN
Select
14
Press button Gain
Where?
Adjust function
Film Menu
Opens pull down menu and shows the possible selections for analog basic gain.
100 %
100 %
100 %
Fig. 350: Film menu with pull down menu Gain
15
Run film
for judging the film density
16
Select 6dB
With very dense film material,
use basic gain ”6 dB”.
Pulldown
menu
Selection ”6 dB”
doubles now the analog gain.
For test purposes use
testpoint 1
AIH / A/D
Menu Monitoring
Fig. 351:Menu Monitoring, submenu Test Pnt
Operating Instructions - Rev. 1 / 6.2003
3-43
3. Operational Preparations
3.10.5.
ADJUST LIFT & GAIN (BLACK & WHITE SIGNAL LEVEL RANGE)
Select
17
SDC 2002
Press menu button Film
Where?
Adjust function
Control
panel
The Film menu appears
100 %
100 %
100 %
Fig. 352: Film menu
For test purposes use
testpoint 3
Gain / Lift
Menu Monitoring
Fig. 353:Menu Monitoring, submenu Test Pnt
18
3-44
Run film scanner
for adjusting the white level
(and then the black level)
Search for a scene with picture white
(or picture black) and stop.
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
19
Matching Gain
for the white level adjustment
&
Matching Lift
for the black level adjustment
Film menu
Adjust picture white
in the R, G and B channels
with the corresponding digipot controls or by
sliding on the touch screen matching Gain
in all channels to 100 % video signal.
Adjust picture black
in the R, G and B channels
in matching lift RGB
to 1 % setup)
This is the basic adjustment for the film to
be played.
20
Re-wind film
Operating Instructions - Rev. 1 / 6.2003
Color corrections during later operation
(scene for scene) are made via the Color
menu.
3-45
3. Operational Preparations
3.10.6.
ADJUST BLACK LEVEL (BLACK MASTER & BLACK RGB*)
Select
21
SDC 2002
Press menu button “Color”
Where?
Adjust function
Contr. panel
The Color menu with submenu
Primary color correction appears
Fig. 354: Color menu
For test purposes use
testpoint 4
Mask / CRT Gamma
Menu Monitoring
Fig. 355:Menu Monitoring, submenu Test Pnt
22
Run film for adjusting
the black levels
Search for a film scene with a
black object
and stop.
* Adjustments of Black Master and Black RGB do not change White level.
3-46
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
23
Black Master
controls the dark parts of the picture.
Slide Black on the touchscreen
Black RGB
magnitude and phase for
R, G or B black level adjustment.
Slide directly on the colored hexagon of the touchscreen or use the
24 trackball.
By clicking on the area around the
hexagon, the control is delegated
to the trackball.
The cursor inside the hexagon indicates the working position.
25
Color
menu
Adjust the relevant channels
to 1 % black signal level
Adjust the relevant channels
to 1 % black signal level
Color
menu
The adjustments are judged on the color
monitor and changed until an optimum
black level reproduction is achieved.
Re-wind film
Operating Instructions - Rev. 1 / 6.2003
3-47
3. Operational Preparations
3.10.7.
ADJUST WHITE LEVEL (WHITE MASTER & WHITE RGB*)
Select
26
SDC 2002
Where?
Color menu
Adjust function
Contr. panel
Fig. 356: Color menu
27
Run film for adjusting
the white levels
28
White (Master)
slide White on the touch screen
White (RGB)
magnitude and phase for
R, G or B white level adjustment
Slide directly on the colored hexagon of the touchscreen or use the
trackball.
By clicking on the area around the
hexagon, the control is delegated
to the trackball.
The cursor inside the hexagon indicates the working position.
Search for a film scene with a
white object
and stop.
Touch
screen
Adjust the relevant channels
to 100 % white level
Adjust the relevant channels
to 100 % white level
The actual adjustment is displayed with cursor in the RGB hexagon
The adjustments are judged on the color
monitor and changed until an optimum
white level reproduction is achieved.
* Adjustments of White Master and White RGB do not change Black level.
3-48
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
3.10.8.
29
ADJUST GRAY LEVEL (GAMMA MASTER & GAMMA RGB)
Select
Where?
Color menu
Control
panel
Adjust function
Fig. 357: Color menu
30
Run film for adjusting
the medium gray levels
31
Select Gamma
slide Gamma on the screen
Gamma RGB
magnitude and phase for
R, G or B gray level adjustment
Slide directly on the colored hexagon of the touchscreen or use the
32 trackball.
By clicking on the area around the
hexagon, the control is delegated
to the trackball.
The cursor inside the hexagon indicates the working position.
33
Search for a film scene with a
medium gradation
and stop.
Menu
The relevant channels become
adjustable for the gray levels
The actual adjustment is displayed with cursor in the Gamma hexagon
The adjustments are judged on the color
monitor and changed until an optimum gray
level reproduction is achieved.
Rewind film
Operating Instructions - Rev. 1 / 6.2003
3-49
3. Operational Preparations
3.10.9.
ADJUST CONTOUR AND CORING
Select
34
SDC 2002
Where?
select Sharp menu
Adjust function
Control
panel
Fig. 358: Sharp menu
For test purposes use
testpoint 5
Sizing / Matrix /
Contour
Menu Monitoring
Fig. 359:Menu Monitoring, submenu Test Pnt
35
3-50
For adjustment search the appropriate film picture and operate the film scanner in the still
frame mode.
Contour adjustment:
picture with fine and coarse details
Coring adjustment:
picture with noise in the black areas
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
36
Select Contour
This adjustment only addresses
the luminance signal.
A Black and White transition appears more contrast and therefore sharper
Sharp menu
Set Contour correction for optimum H and V
contour with coring set to 0%.
For that adjust CONTOUR Balance to
H3/V3.
PEAK FREQUENCY H/V to coarse (e.g.“1”)
or fine details (e.g. ”7”).
Sharp menu
Increase coring from 0% until the optimal
grain suppression in the black areas is
reached. Repeat contour adjustment, if necessary.
Select Coring
Adjust for optimum picture contents with the digipot or slide on
the touch screen.
Coring enhanced contour correction in dependence on detail contrast.
37
0% Coring (default setting):
the selected contour correction
applies to all details of the picture.
100% Coring: only the high contrast details are enhanced (they
will get broad contours).
Select Peaking Frequency
38
39
Horizontal and Vertical
This function offers contour enhancement in dependence on
detail size (spatial frequency)
In order to enhance small picture
details, select a higher value.
Higher value correspond to high
frequencies.
to enhance contours of coarse
details, select a low value.
Sharp menu
Select menu Home
Control
panel
Operating Instructions - Rev. 1 / 6.2003
Increase Peak Frequency H&V to enhance
small picture details.
Repeat contour adjustment, if necessary.
Closes Sharp menu,
stores new Contour adjustments
and returns to the Home menu.
3-51
3. Operational Preparations
3.11.
SDC 2002
ADJUST AUDIO CHANNELS (OPTION)
Before leveling the audio channels, first adapt them to the studio environment.
For adaption, select the Audio Config menu.
This menu determines with its submenus the sequence for proceding (from left to
right, see below).
3.11.1.
SELECT AUDIO SOURCES
Requirements
1.
Depending on the film format (16mm, S16mm*, 35mm, S35mm*), the optical
block suitable to the film to be played is used (see section 3.4.1.).
2.
The film is threaded correctly and ready for play (see section 3.6.).
*
S16 and S35 films have no own audio track.
External audio sources, such as SEPMAG via INPUT EXTERN 1, 2 are usually
selected as audio sources.
Select
1
Touch button Audio
&
select submenu A Config
Where?
Adjust function
Contr. panel
The Audio Configuration menu appears
Fig. 360: Audio Config menu
3-52
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
2
Touch Source section
Audio
Config
Menu
Window
”Input Source”
is opened
Fig. 361: Audio Config menu with pull-down menu ”Input Source”
Depending on the film used,
select audio source for audio channel CH 1.
Magnetical
Optical
Ext 1/2
Test Tone
for Sepmag Units
for light sound
External sources
1 or 10 KHz
3
Touch button Source Channel 1
Pull down
menu
4
Touch button Source Channel 2
Pull down
menu
Select audio source for channel CH 2
5
To exit the window, click on the
Close button
Pull down
menu
Close window
Operating Instructions - Rev. 1 / 6.2003
3-53
3. Operational Preparations
3.11.2.
PRE-EQUALIZE AUDIO SOURCES
Note:
Function “Pre-Adjust” is only operable for the service by means of a service code.
Select
6
SDC 2002
Select Preadjust section
Where?
Adjust function
Audio
Config
menu
The window ”Pre-Adjust”
appears.
This window contains basic
factory settings for
pre-amplifier levels
&
pre-equalizing
Fig. 362: Audio Config menu with window ”Pre - Adjust”
Both audio channels are exactly factory-preadjusted. Therefore, input level and
pre-equalization need no further correction.
Adjustments have to be performed by service personnel only (special test films required).
For further details see chapter 6.7 “Change Comopt Sound Lamp” in this manual.
3-54
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
3.11.3.
ADJUST DOLBY NOISE REDUCTION
Select
7
Touch Dolby section
Where?
Adjust function
Audio
Config
menu
The window ”Noise Reduction”
appears.
Fig. 363: Audio Config menu with window ”Setup Noise Reduction”
8
Press Channel 1/2 Noise Red
Window
Depending on the film used,
(with dolbysated audio),
select the noise reduction mode.
Dolby A:
not selectable
Dolby SR: Noise reduction
via external dolby SR
add-on unit
(SR: Spectral Recording)
OFF:
Film without dolby audio
Operating Instructions - Rev. 1 / 6.2003
3-55
3. Operational Preparations
Select
SDC 2002
Where?
Adjust function
9
Press Channel 1/2 NR level
Window
Adjust dolby level:
(only for external dolby SR device)
1. Switch on dolby test tone on external device and read deflection on its
indicating instrument.
2. Play film with dolby test tone on the film
scanner and also read the deflection on
the external indicating instrument.
3. Change adjustment at the film scanner until test tone level and film scanner level
show the same reading.
Adjustment of the dolby level is made by pressing “Gang” and turning digipot dial.
10
Press button Close
Window
Close window
3-56
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
3.11.4.
SELECT LOWPASS FILTER
Select
11
Touch Low Pass section
Where?
Adjust function
Audio
Config
menu
The window ”Low Pass”
appears
Fig. 364: Audio Config menu with window ”Low Pass Filter”
12
Run film
(for judging the film sound)
13
Press button
Channel 1/2 Low Pass
Pull down
menu
Depending on the film sound quality,
switch on or off the lowpass filter.
.
None: Film audio channel is not filtered
5 kHz: Film audio channel is filtered
14
Re-wind film
15
Press button Close
Operating Instructions - Rev. 1 / 6.2003
Window
Close window
3-57
3. Operational Preparations
3.11.5.
SYNCHRONIZE DIGITAL AUDIO CHANNELS
Select
16
SDC 2002
Touch A/D Convert section
Where?
Adjust function
Audio
Config
menu
Window ”A/D Converter Reference”
appears
Fig. 365: Audio Config menu with window ”A/D Convert”
17
Touch A/D Convert Ref
&
Select
int. Video
or
ext. 48KHz
Window
Depending on the succeeding audio studio,
lock the digital film sound of the film scanner
either with its own video signal (standard)
or use an external 48kHz synchronization
when it is also used for synchronization of
the external audio studio.
int Video:
Digital audio channels are
video-locked
ext 48 kHz: Digital audio channels are
synchronized on 48 kHz
18
3-58
Press button Close
Window
Close window
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
3.11.6.
SELECT PREEMPHASIS
Select
19
Touch Pre-Emphasis
section
Where?
Adjust function
Audio
Config
menu
The window ”Pre-emphasis”
appears
Fig. 366: Audio Config menu with window ”Setup Preemphasis”
20
Press button
Pre-Emphasis
& select
On or Off
Window
For improving the signal-to-noise ratio prior
to A/D conversion or for adaption to other
contributions in the digital audio studio,
the digital audio channels of the film scanner
can be provided with a preemphasis.
Pre-emph:
peaking of frequency components
prior to A/D conversion; reduction after D/A
conversion
OFF:
ON:
21
Press Close
Operating Instructions - Rev. 1 / 6.2003
Window
Preemphasis off (standard)
Preemphasis on
(CD-type preemphasis,
EQ time constant: 50/15 µs)
Close window
3-59
3. Operational Preparations
3.11.7.
SELECT MONO/STEREO OPERATION
Select
22
SDC 2002
Select Channel Mode section
Where?
Adjust function
Audio
Config
menu
Window ”Channel Mode” appears
Fig. 367: Audio Config menu with window ”Select Output Mode”
23
Press button Channel Mode
& select
2 Channel
or
Single Channel
Pull down
menu
Depending on the film used
(mono or stereo film),
select the audio channel mode.
Single Channel (Mono)
Analog output 1 = audio 1
Analog output 2 = audio 1
Subfr. A in the digital AES output. = audio 1
Subfr. B in the digital AES output. = audio 1
2 CHANNEL (Stereo):
Analog output 1 = audio 1
Analog output 2 = audio 2
Subfr. A in the digital AES output = audio 1
Subfr. B in the digital AES output = audio 2
3-60
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
Select
Where?
Adjust function
MONO (for stereo film):
Analog output 1 = audio 1 + 2 mixed*
Analog output 2 = audio 1 + 2 mixed*
Subfr. A+B mixed/dig. AES output = Audio 1*
Subfr. A+B mixed/dig. AES output = Audio 2*
*
24
Press button Close
Operating Instructions - Rev. 1 / 6.2003
Window
In order to avoid overmodulation, the output levels of the mixed audio signals are
reduced by 4.5 dB.
Close window
3-61
3. Operational Preparations
3.11.8.
ADJUST LIP-SYNCHRONOUS FILM SOUND
Select
25
SDC 2002
Press Delay section
Where?
Adjust function
Audio
Config
menu
The window ”Channel Delay”
appears
Fig. 368: Audio Config menu with window ”Setup Channel Delay”
26
Run film
for judging
lip synchronism.
Compare picture and sound
at the studio output.
When playing a film, picture and sound are
always lip-synchronous at the output
of the film scanner.
The adjustable audio channel delay
only compensates film frame delays caused
for example by a succeeding video studio.
27
Adjust the delays by sliding on
the touchscreen or use the digipot control
Depending on the delay between
picture and sound,
delay the film sound
(for stereo in both channels).
Window
The adjustable delay depends
on the film format and is
approx. within 0 and 1.2 s
(in steps of 10 ms).
28
Re-wind film
29
Press button Close
3-62
Window
Close window
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
3.11.9.
CHECK FILM AUDIO PATHS WITH TEST TONE
Select
30
Press Test Tone section
Where?
Adjust function
Audio
Config
menu
Window ”Test Tone”
appears and the finally selected test tone is
indicated.
Fig. 369: Audio Config menu with window ”Test Tone”
31
Press button Test Tone
Window
Depending on the requirement,
select 1 kHz or 10 kHz test tone.
32
Press button Close
Window
Close window
Operating Instructions - Rev. 1 / 6.2003
3-63
3. Operational Preparations
33
Press Source section
SDC 2002
Audio
Config
menu
The window ”Setup Input Source”
appears.
Fig. 370: Audio Config menu with window ”Input Source”
34
Press button
Source Channel 1 / 2
Window
For turning on the test tone,
select ”TEST.”
Check film audio path in the studio.
35
3-64
Press button Close
Window
Close window (and switch off test tone).
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
3.11.10. ADJUST THE STUDIO LEVEL
Select
Where?
Adjust function
36
Press menu button
Audio Levels
Contr. panel
The Audio Level menu appears.
37
Press button Setup
&
button Studio Level
Audio
Level
menu
Pulldown menu ”Audio Level Setup”
appears.
Note!
The internal test tone
level of the Spirit DataCine is at 0VU.
Scale zero point is at
the 28% audio modulation level for COMOPT.
The zero point of the
scale is set to full scale
db fs
Fig. 371: Audio Level menu with window ”Audio Level Setup”
38
Touch button Studio Level
and make your selection
in the pulldown menu
Pulldown
menu
Depending on the requirement,
adjust the studio level
- 3 dBu, 0 dBu, 4 dBu or 8 dBu.
Note:
With unbalanced load, the audio level is automatically reduced by 6 dB, when a studio level
of +4 or +8 dBu is selected.
39
Press button Close
Operating Instructions - Rev. 1 / 6.2003
Close window
3-65
3. Operational Preparations
SDC 2002
3.11.11. ADAPT AUDIO OUTPUTS (BALANCED / UNBALANCED) TO STUDIO INPUTS
Select
Where?
Adjust function
40
Press button Audio Level
Contr. panel
The Audio Level menu appears.
41
Press button Setup
Audio
Level
menu
Drop-down menu ”Audio Level Setup”
appears.
Fig. 372: Audio Level menu with window ”Audio Level Setup”
42
Touch button Channel 1/2
and
make your selection
“unbalanced or unbalanced”
Window
Adapt the outputs of the film scanner
A1, A2, Monitoring and Dolby Stereo,
according to the available studio inputs
unbalanced or balanced
Note:
With unbalanced load, the audio level is automatically reduced by 6 dB, when a studio level
of +4 or +8 dBu is selected.
43
3-66
Press button Close
Window
Close window
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
3.11.12. ADJUST HEADPHONE & MONITORING VOLUME
Select
44
Press button Audio Levels
Where?
Adjust function
Contr. panel
The Audio Levels menu appears.
Fig. 373: Audio Level menu
45
Touch
Headphone
Mon left (for mono)
Mon Left and Right (for stereo)
attenuators
Menu
46
Press button Close
Contr. panel
Operating Instructions - Rev. 1 / 6.2003
Adjust the volume controls according to
requirement.
To modify, slide the controls on the touchscreen ore use the digipot controls
Return to the Home menu
3-67
3. Operational Preparations
SDC 2002
3.11.13. ADJUST SEPMAG CHANNELS
Select
Where?
Adjust function
47
Press menu button Special
&
Submenu Extern D
Contr. panel
The sub menu Extern D appears.
48
Press button
Sepmag Coupling Source
Menu
The pull down menu “Biphase / Timecode
is opened
Fig. 374: Submenu Extern D
49
Select Source “Biphase”
Menu
Select Sepmag coupling
50
according to the
Sepmag unit used
Menu
2x Biphase:
for Sepmag units with
2 pulses per frame synchronization
(at connection SEPMAG OUT / Rack 2)
10x Biphase: for Sepmag units
with 10 pulses per frame synchronization
Fig. 375: Submenu Filmdeck Settings
3-68
Operating Instructions - Rev. 1 / 6.2003
3. Operational Preparations
SDC 2002
Select
Where?
Adjust function
51
Press menu button
Audio Config
Contr. panel
The Audio Config menu appears.
52
Select Input Source section
Audio
Config
menu
The window
Source Channel 1/2
appears.
Fig. 376: Audio Config menu with window ”Input Source”
53
Press button
Source channel 1/2
&
Select
Ext1 / EXT2
Window
for Sepmag mode
54
Press key Close
Operating Instructions - Rev. 1 / 6.2003
Contr. panel
Select the audio sources
according to Sepmag unit used
(mono or stereo).
Mono:
CH1, 2: each “Extern1”
Stereo:
CH1: “Extern 1”
CH2: “Extern 2”
Return to the menu
3-69
3. Operational Preparations
3-70
SDC 2002
Operating Instructions - Rev. 1 / 6.2003
4. Basic Menu Control
SDC 2002
4.
MENU CONTROL GCP
4.1
Graphical Control Panel GCP
The highly sophisticated Graphical Control Panel GCP1 is designed to control the
Spirit DataCine SDC 2002.
GCP1 replaces the former Control Panel FCP1 and provides equal functionality
and user friendly operation by means of a touchscreen.
Note!
4.1.1
The general operating instructions are described in
the separate GCP Manual FU 0104.
It provides short form instructions for an expert with
experiences in operating of telecines.
Additional detailed information is provided in the
following chapters 4.2 to 4.11
CONTROL AND DISPLAY ELEMENTS GCP
Power
Dialog buttons
GCP Event List
Trackball delegation:
For future use
to panel
to machine
TK button
TK
Previous
Control
Prev
Ctrl
Trackball
Lock
Acceleration
Help
Digits
Unity
Dialog function buttons
Digipots
Machine controls
Fig. 401: Graphical Control Panel GCP1
Operating Instructions - Rev. 1 / 6.2003
4-1
4. Basic Menu Control
4.1.2
SDC 2002
MENU STRUCTURE OF GCP1
Menus
Main menus
Sub menus
Home
Overview
Setup
Remote
Options
TK Config
Film Deck
SDTV
HDTV
Data
Timecode
Film
Matching
Masking
Color
Primary
6 - Sector
Color Setup
Sharp
Contour
Aperture
Expert
Sizing
Sizing
Reproduction
Blanking
Audio
Audio Levels
Audio Config
Scream
Extern Devices
Steady Scan
Ref Store
Special
Memo
TK Mems
Cue
Monitoring
Test Point
Setup
Diagnosis
1x
...
Login
GCP User, Panel and
Network Setup
2x
Copy
...
1x
GCP EVL
GCP Event List
Fig. 401: Menu structure of the Graphical Control Panel GCP1
4-2
Operating Instructions - Rev. 1 / 6.2003
4.2. Home Menu
SDC 2002
4.2
HOME MENU GCP
Main menu
Submenus
Overview
Setup
Remote
Options
Home
4.2.1
SUBMENU “OVERVIEW”
1
2
3
5
4
FSB 35 mm
6
7 8
9
Fig. 402: Main menu “Home” / submenu “Overview”
Overview
The main menu “Home” appears automatically after having switched on the film
scanner.
It permits the user to handle the most important machine settings and operating
modes and serves to control and display the following film scanner functions:
Operating Instructions - Rev. 1 / 6.2003
4-3
4.2. Home Menu
SDC 2002
6. Display of current time code , date & time
7. Operating display of the film deck status
8. Test pattern selection for checking the video signal path
9. Focus adjustment to set the film sharpness
10. Framing adjustment to set the film bar position
11. General information list which provides short information about essential basic
settings
12. Illumination adjustment CCD Output Level, Light and Shot to set the intensity
of the film illumination
13. Audio output level indicators for the audio channels left and right
14. Cue, Cue Timecode to cue the DataCine to the defined position
Function Buttons, Controls & Displays
1. Display
Current TC
Display of current time code shows the value in
hours : minutes : seconds : frames
Additionally display of the keycode:
(Manufact. ID; Film ID; Prefix - Filmroll; Countm film lenght in feet; Offset in
frames;
and date & time.
2. Operating
Display
The operating display of the film deck status; informs about film drive mode
(PLAY, SEARCH, STEP, film run direction, film speed, stop status, if no film is
threaded (”no film”) and indicates that the film scanner is operating in the remote mode (”no contr.”).
3. Test Pattern
Switches the test signal on or off. The preselection of the test signal (staircase,
sawtooth, color bar a.s.o.) is made in the main menu “Home” within submenu
“Setup”.
ON:
OFF:
4-4
test signal
film signal
Operating Instructions - Rev. 1 / 6.2003
4.2. Home Menu
SDC 2002
4. Focus
With this bar graph, the film scanner is focused optically to the film material
used.
Focussing can be done either with the digipot control or by sliding on the
touchscreen.
For optimum focus adjustment it is useful to zoom into image and focus on the
grain.
For a better detection of the grain, the coring adjustments in the main menu
Sharp should be set to 0% and at least the aperture correction should be set to
maximum.
To store the adjusted focus position.
Aid
Store
5. Framing
To make focussing easier, hit the Aid button.
This macro function sets zoom and contour to maximum and slows down the
film speed to 6 frames per second.
Thus, film grain will appear as large and clear as possible which helps to find
the optimum focus position.
If the chosen value is very different from the unity setting, this should be saved
as the new default.
Hitting the Store button opens a dialog window.
With OK, your new setting will be stored and recalled next time when Unity is
pressed.
The default focus setting is important as this value is used during FPN and affects the quality of the FPN.
With this bar graph, the frame line of the film frame is coarsely shifted into the
vertical blanking interval and thus made imperceptible.
coarse “DOWN”
Softkey assignment only available for 35mm film.
After pressing the action button , the frame line is shifted by 1/4 of picture
height downward.
coarse “UP”
Softkey assignment only available for 35mm film.
After pressing button , the frame line is shifted by 1/4 of picture height upward.
adjust “FINE”
After pressing the bar graph framing the frame line is adjusted with the digipot.
The display in the bar graph shows the selected frame line in deviation in %.
Thus, framing adjustments become reproducible.
Store
To store the framing setting.
Operating Instructions - Rev. 1 / 6.2003
4-5
4.2. Home Menu
6 Information
List
SDC 2002
The general information list provides short information about essential basic
settings of the Video Standard, Film Format, Aspect / Repro, Fixed speed, Audio source, TC mode, Gate type, Filmdeck, Video, Audio, Size and Monitoring,
Local and Remote Delegation.
Shot button,
serves during Play for setting the intensity of film illumination once to 100%.
video level.
7. Illumination
Adjustment
Light
Serves for setting the intensity of film illumination and adjusting the video level
and Xenon lamp current display.
Attention!
Exceeding 22A lamp current may shorten the life span of the bulb.
When exiting the selection, the last illumination intensity value is stored.
CCD Output
CCD Output is the signal level derived from the scanner head.
This is set using LIGHT which is the illumination or light level of the film. The
aim is to achieve that sufficient light is available to capture D - Min (minimum
density) of the negative or D - Max (maximum density) on a Print.
The CCD Output level should be up to 100%.
7. Audio Level
Left & Right
Indicates the current audio levels of the two audio channels (Left / CH 1 and
Right / CH 2) as well as the current position of the level controls for audio Out 1
and 2.
8. Cue
Cue Timecode
00:00:01:23
Serves to cue the DataCine to the defined timecode visible in the button display.
If no cue point is defined or if the Setup buttons pressed, the main menu
“Memo” submenu “Cue” for setup of the cue points is opened.
4-6
Operating Instructions - Rev. 1 / 6.2003
4.2. Home Menu
SDC 2002
4.2.2
SUBMENU “SETUP”
1
2
4
6
3
5
Fig. 403: Main menu “Home” / submenu “Setup”
Overview
The submenu “Setup ” serves to set the basic settings
1. Date & Time
2. Genlock Ref Sync
3. Genlock Setting
4. Test Pattern (signal) on / off
5. Pattern selection
6. Time Code Setup
Operating Instructions - Rev. 1 / 6.2003
4-7
4.2. Home Menu
SDC 2002
Function Buttons, Controls & Displays
1. Setting
Date & Time
Select the Date & Time window
Setting Date & Time is done via numeric keyline and the action buttons (“OK”,
“Cancel”, “Clear”, “< - - ”) at the bottom.
Fig. 404: Numeric keypad and control buttons in submenu “Setup”
Cancel
Clear
<- -
4-8
Actuating the “Cancel” button interrupts the film tc setting.
“Clear” sets the TC value to zero.
The button “< - - ” shifts the digits of the TC value backwards.
Operating Instructions - Rev. 1 / 6.2003
4.2. Home Menu
SDC 2002
2. Genlock
Ref Sync
Switches over to different genlock reference sync signals.
The meanings and the possible selections of the individual parameters are explained below.
Factory adjustments are underlined.
Selection: Internal / Ext1 / Ext2 / Ext3 / Serial
”Int”
”Ext1”
film scanner is synchronized internally (runs free)
film scanner is synchronized by sync signal SYNC 1
on terminal panel Rack 3
film scanner is synchronized by sync signal SYNC 2
on terminal panel Rack 3
film scanner is synchronized by sync signal SYNC 3
on terminal panel Rack 3
film scanner is synchronized by sync signal SER REF
on terminal panel Rack 3
”Ext2”
”Ext3”
”Serial”
3. Genlock
Settings
Bar graph
Genlock
Sub Pixel Delay
Changes the pixel delay to less than 1 pixel.
Selection: 0 / 1 to 255 pixel parts
”0
”
Delay:
”1 - 255” Delay:
none
1 to 255 pixel parts
Genlock
Pixel Delay
Changes the genlock delay to pixel increments.
Selection: 0 / 1 to 4095 pixels
”0”
Delay:
”1 - 4095” Delay:
Operating Instructions - Rev. 1 / 6.2003
none
1 to 4095 pixels
4-9
4.2. Home Menu
SDC 2002
Genlock
Line Delay
Changes the genlock delay to line increments.
Selection: 0 / 1 to 4095
”0”
Delay: none
”1 - 4095”
Delay: 1 to 4095 lines
Rack 2-3 Delay
Switches on or off Rack 2 - Rack 3 Delay
Selection: OFF / ON
Bar graph
Rack 2-3 Delay
”OFF ”
Delay off
”On”
Delay on; value depending from parameter “Rack 2 - Rack 3 Delay”
Note!
Parameter “Rack 2 - Rack 3 Delay” is used to match the genlock generator
delay to the delay of a color corrector, operating between Rack 2 and Rack 3
(e.g. Pogle MegaDef 1)
Changes the genlock delay from 0 to 30 ore more line increments
Selection: 0 / 1 to 30 lines
”0
”
”1 - 30”
4. Test Pattern
Test Pattern
4-10
Delay: none
Delay: 1 to 30 lines
Switches the test pattern ( - signal) on or off. The preselection of the test signal
(staircase, sawtooth, color bar) is made in the dropdown menu “Pattern” within
submenu “Setup”.
ON:
test signal
OFF:
film signal
Operating Instructions - Rev. 1 / 6.2003
4.2. Home Menu
SDC 2002
5. Pull down menu This pulldown menu serves to select the test signals.
Pattern
Overview
The meanings of the individual test signals are explained below.
”Staircase”
Test signal
”staircase”
”Sawtooth_100”
Test signal
”sawtooth 0 -100%”
”Colorbar”
Test signal
”color bar””Sawtooth_14”
Test signal
”Ramp 0 -14%”
“Multi-Burst”
Test signal
“Multiburst “
“10% Video Level”
Test signal
“10% video level, for monitor adjustment” *
“90% Video Level”
Test signal
“90% video level, for monitor adjustment” *
*
To achieve this video levels, set following parameters:
Color correction - unity; CRT gamma - on; film type - Print pos.;
”60% Video Level”
Test signal
”Black”
Test signal
“Color Fade”
Testsignal
”FPN Positive”
Test signal
HDNR Pattern
“60% video level (area)”
“black”
6-Sector Color Corretion test signal
“positive FPN correction signal”
“FPN Data”
Test signal
“last stored FPN correction data”
”FPN Negative”
Test signal
“negative FPN correction signal”
”FPN Intermediate”
Test signal
“Intermediate FPN correction signal”
“FPN Read Data”
Test signal
“last stored FPN correction data”
”FPN Primetime”
Test signal
“Primetime FPN correction signal”
“HDNR”
Testsignals for Scream noise reducer
The current selection is shown on the key display. If it reads ”HDNR Pattern”, a
SCREAM Test Pattern is active.
Operating Instructions - Rev. 1 / 6.2003
4-11
4.2. Home Menu
SDC 2002
6. Time Code
Setup
This button opens the main menu “TK Config” / submenu “Time Code” as described in chapter 4.3 Menu TK Config, submenu TC
4-12
Operating Instructions - Rev. 1 / 6.2003
4.2. Home Menu
SDC 2002
4.2.3
SUBMENU “REMOTE”
If a film scanner has to be controlled from several remote panels (FCP and GCP),
consider the following:
In order to avoid problems with parallel operation, the default setting of the GCP
should always be REMOTE 2. When changing the remote address of the GCP, the
film scanner has subsequently to be restarted.
1
2
3
4
Fig. 405: Submenu “Remote”
This submenu serves to select the control interfaces for Film Deck, Video- Audio Amps, Scanning System and Monitoring from which the film scanner is remote-controlled via the adequate pulldown menu.
(Connections, see manual Planning and Installation)
Overview
1. Tk Remote switch
2. Master Control switch
3. Pulldown menu “This Panel”
4. Pulldown menus for controlling the film scanner functions
Operating Instructions - Rev. 1 / 6.2003
4-13
4.2. Home Menu
SDC 2002
Function Buttons, Controls & Displays
1. TK Remote
The Tk Remote toggle switch delegates the selected control functions of the
film scanner either to the GCP (Rem1) or to the local control panel.
Tk Remote
2. Master
Control
The “Master control” button sets all remoteable functions like filmdeck, video
& audio amps, the scanning system and monitoring selection to Remote1 or
Local control.
Master control
3. This Panel
For connecting the GCP to Remote 1 - 3
If a film scanner has to be controlled from several remote panels (FCP and GCP),
consider the following:
In order to avoid problems with parallel operation, the default setting of the GCP
should always be REMOTE 2. When changing the remote address of the GCP, the
film scanner has subsequently to be restarted.
4.1 Filmdeck
4-14
Selects remote interface for the film deck.
For controlling the filmdeck, optionally via the own (Local) control panel or an external control panel.
Remote 1 to 3 are iMCS (Cheapernet) control connections.
Rem 1 is provided for the Graphical Control Panel and Rem 2 and 3 for external
color corrections.
Rem ote 4, 5 are RS422 interfaces for connecting an editor or a filmdeck control
panel. Only for future use.
Parallel is a parallel interface for connecting a control panel with reduced filmdeck
functions.
Operating Instructions - Rev. 1 / 6.2003
4.2. Home Menu
SDC 2002
4.2 Video
Selects remote interface VIDEO
The function but applies to control of the video amplifier, alternatively local or
external via Rem 1 to Rem 3.
4.3 Audio
Selects remote interface AUDIO
The function applies to control of the audio amplifier, alternatively local or external via Rem 1 to Rem 3.
4.4 Scanning
Selects remote interface Scanning
The function applies to control of the sizing, alternatively local or external via
Rem 1 to Rem 3.
4.5 Monitor
Select remote interface MONITOR
The function applies to control of the monitoring, alternatively local or external
via Rem 1 to Rem 3.
Operating Instructions - Rev. 1 / 6.2003
4-15
4.2. Home Menu
4.2.4
SDC 2002
SUBMENU “OPTIONS”
Two lined keyboard
1
Function Buttons
2
Fig. 406: Submenu “Options” with the numeric data keypad and control buttons
This submenu displays the activated and available options of the film scanner.
Entering the appropriate “option code” from the Philips “License Document”
activates the desired features.
Overview
1.
Display of active and available options
2. Edit field for the entering the license code
4-16
Operating Instructions - Rev. 1 / 6.2003
4.2. Home Menu
SDC 2002
Function Buttons, Controls & Displays
2. Enter
option code
Selecting the “Enter option code” edit field opens a two lined keyborard with
numbers 0 to 9 and characters A to F above the display and the control buttons
“OK”,
“Cancel”,
“Clear” and “< - - ”
on the bottom side of the submenu.
The option code can be input by using the data keyboard. It writes the option
code into the “Enter option code” display.
To enter the option code, press the “OK” button.
Note!
The “Enter option code” is cancelled automatically after a while without any
actions.
The license code string consists of 5 times 4 characters or numbers.
If the decoding of the license code string was successful the menu shows the
name of the new option.
If this option has a time limit, this limit will be shown in the column “Timeout“.
An error message ”invalid license code!” appears, if the Spirit DataCine film
scanner cannot decode the license code string.
Perhaps you made a typing error during entry or the license document belongs
to another Spirit DataCine film scanner.
Operating Instructions - Rev. 1 / 6.2003
4-17
4.2. Home Menu
SDC 2002
In this case verify the product type and the serial no. of the DataCine / Telecine
shown in the main menu Diagnosis corresponds to the entries in the License
Document(s).
User 1
Spirit Datacine Film Scanner SDC 2002
2130
20 August 2002
Fig. 407: License Document
Now you can enter another License Code or leave the submenu “Options”.
4-18
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
4.3
TK CONFIG
Main menu
Film Deck
SDTV
HDTV
Data
Timecode
TK Config
4.3.1
Submenus
SUBMENU “FILM DECK”
1
6
7
8
2
9
3
10
4
11
5
12
Fig. 408: Main menu “Tk Config” / submenu “Film Deck”
Overview
The main menu “Tk Config” / submenu “Film Deck” serves to configure the
following Film Deck settings:
1. Cores, diameter left and right
2. Aid, helptext for focus adjustment
3. Focus Store to store the current focus setting
4. Focus adjustment to set the film sharpness
5. Framing adjustment to set the film bar position
6. Auto Re-Scan function on / off
Operating Instructions - Rev. 1 / 6.2003
4-19
4.3. TK Config Menu
SDC 2002
7. Max. Shuttle Speed 16 mm setting, for 16 mm film
8. Max. Shuttle Speed 35 mm setting, for 35 mm film
9. Auto Stop selection on / off
10. Safety Shutter mode selection
11. Film Speed selection
12. SAS Speed display, displays the adjusted variable film speed
Function Buttons, Controls & Displays - Filmdeck
1. Cores
“Cores” diameter left / right
Adjustment of the used bobbin or film reel diameters (separately for the left and
right reel spindle).
Important for determining the correct film supply indication and for the function
”auto stop” (see below)!
Selection: 50, 75, 100, 124, 150 mm
(Philips recommends not to use 45 and 50 mm bobbins).
2. Aid
Calls a helptext for focus adjustment
Aid
3. Focus
4. Store
With this bar graph, the film scanner is focused optically to the film material
used.
For optimum focus adjustment it is useful to zoom into image and focus on the
grain.
For a better detection of the grain, the coring adjustments in the main menu
Sharp should be set to 0% and at least the aperture correction should be set to
maximum.
Stores the current focus setting as a ”unity” value (default value).
Store
4-20
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
5. Framing
With this bar graph, the frame line of the film frame is coarsely shifted into the
vertical blanking interval and thus made imperceptible.
coarse “DOWN”
Softkey assignment only available for 35mm film.
After pressing the action button , the frame line is shifted by 1/4 of picture
height downward.
coarse “UP”
Softkey assignment only available for 35mm film.
After pressing button , the frame line is shifted by 1/4 of picture height upward.
adjust “FINE”
After pressing the bar graph framing the frame line is adjusted with the digipot.
The display in the bar graph shows the selected frame line in deviation in %.
Thus, framing adjustments become reproducible.
Store
6. Auto Re-Scan
Auto Re-Scan
To store the framing setting.
Automatic read-in of the changed frame into the frame store.
(after focus, illumination, 6 dB gain, film type changes etc.)
Selection: Off / On
7. Max. Shuttle
Speed 16 mm
Determines the maximum shuttle speed for 16 mm films.
8. Max. Shuttle
Speed 35 mm
Determines the maximum shuttle speed for 35 mm films.
9. Auto Stop
Determines automatic Film Deck stop shortly before film end.
Attention: adjust always the correct ”core diameter” (see above)!
Selection: 2 to 25 times the normal speed
Selection: 2 to 10 times the normal speed
Selection: off / Shuttle / Shuttle + Play
”off”
automatic Film Deck stop switched off
”Shuttle”
automatic Film Deck stop only in shuttle mode
”Shuttle + Play” automatic Film Deck stop in shuttle and play modes
Operating Instructions - Rev. 1 / 6.2003
4-21
4.3. TK Config Menu
10. Safety
Shutter
SDC 2002
This pull down menu serves to close the safety shutter (lens cap) of the film
scanner and to switch on the automatic safety shutter control.
Selection: Open / Closed / Auto
”Open”
”Closed”
”Auto”
11. Film Speed
safety shutter open
safety shutter closed (film heat-protection)
automatic safety shutter control switched on
This pull down menu serves to adjust the fixed or variable film speed for the
film scanner.
Fixed film speeds at 625/1250L/50Hz:
6 1/4, 12 1/2, 18 3/4, 25 and 50 frames/s
as well as a preselected variable film speed (SAS = Select a Speed)
Fixed film speeds at 525/1125L/60Hz:
6, 12, 18, 24, 30 and 48 frames/s
as well as a preselected variable film speed (SAS = Select a Speed)
12. SAS Speed
Selected SAS, the film scanner is changed over to a variable film transport
speed.
The bar graph “SAS Speed” shows the variable film speed adjusted last. The
film scanner will then run at this speed.
The display, attached to the bar, shows the selected variable film speed in FPS
(frames per second). Thus, film speed adjustments become reproducible.
Variable film speeds SAS:
Range from 2.000 to 57.000 fps for all standards.
For setting push the “SAS Speed” bar graph.
Numerical buttons will appear at the top of the screen.
Type the requested speed and enter with the Ok-button below.
SAS Restriction!
Only in
HD standards
segmented
Frame
& Progressive
4-22
In the HD standards “segmented Frames” and “Progressive”
the output frame of the HDTV/DTV output can be composed of field 2
from the last scanned frame & field 1 of the current scanned frame.
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
4.3.2
SUBMENU “SDTV”
1
2
3
4
6 7
5
8
9
10
Fig. 409: Main menu “Tk Config” / submenu “SDTV”
Overview
The submenu “SDTV” serves to perform video basic adjustments for SDTV
outputs:
1. Actual Output to display the actual output (SD)TV standard
2. SDTV Selection to select the (SD)TV standards
3. Sync on RGB to switch on or off the Sync signal in the RGB signal
4. Limiter 102% to switch on or off the 102% video limiter
5. Key Blanking to switch on or off the key blanking
6. H/V-Blanking to switch the horizontal and vertical blanking
7. Analog Coding Format to define the mode of the analog SDTV outputs
8. Digital Coding Format to switch the 4:2:2, 4:2:2:4, 4:4:4:4, GBR KBR or the
GR KB mode on
9. Output Wordlength to switch the wordlength in the digital output signal from
8 to 10 bits
10. SDTV Ratio picture aspect ratio for the TV output picture 4:3 / 16:9
Operating Instructions - Rev. 1 / 6.2003
4-23
4.3. TK Config Menu
SDC 2002
Function Buttons, Controls & Displays
1. Actual Output
The display shows the actual output (SD)TV standard.
2. SDTV
Selection
With these function buttons the following (SD)TV standards
can be selected:
525_SDTV
SDTV standard with 525 lines / 60 Hz
625_SDTV
SDTV standard with 625 lines / 50 Hz
525_EDTV
EDTV standard with 525 lines / 60 Hz
625_EDTV
EDTV standard with 625 lines / 50 Hz
525_8:4:4
8:4:4 standard with 525 lines / 60 Hz
625_8:4:4
8:4:4 standard with 625 lines / 50 Hz
With this function button the Sync signal in the RGB signal can be switched on
or off.
3.
Sync on RGB
With this function button (in SDTV OUTPUT only) the 102% video limiter can
be switched on or off.
4.
Limiter 102%
Selection: off / on
With this function button (in SDTV OUTPUT only) the key blanking can be
switched on or off.
5.
Key Blanking
4-24
Selection: off / on
Selection: off / on
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
6. H/V-Blanking
This pull down menu serves to switch the horizontal and vertical blanking off or
on or to narrow blanking values.
Selection: Off / Norm / Narrow
”Off”
”Norm”
”Narrow”
H and V blanking switched off
H and V blanking switched to standard norm
H and V blanking switched to narrow blanking
(has no effects in HDTV standards)
7. Analog Coding This pull down menu serves to define the mode of the analog SDTV outputs.
Format
Selection: YCrCb / RGB
”YCrCb”
”RGB”
8. Digital Coding
Format
YCrCb operation
RGB operation
This pull down menu serves to switch the 4:2:2, 4:2:2:4, 4:4:4:4, GBR KBR or
the GR KB mode on.
Selection: 4:2:2 / 4:2:2:4 / 4:4:4:4 / GBR KBR / GR KB
9. Output
Wordlength
”4:2:2
(2* YCrCb)”
4:2:2 mode switched on
Link A: Y, CB, CR
Link B: Y, CB, CR
Luminance with halfband filtered chrominance
according to CCIR 601/656
”4:2:2:4
(Y Cb Cr/K)”
4:2:2:4 mode switched on
Link A: Y, CB, CR
Link B: K, 0, 0
Link A: Luminance with halfband filtered chrominance
according to CCIR 601/656
Link B: with Key, Chrominance off
”4:4:4:4
(Y/K Cb Cr)”
4:4:4:4 mode switched on
Link A: Y, CB0, CR0
Link B: K, CB1, CR1
Link A: Luminance and even unfiltered chrominance
Link B: Key and odd unfiltered chrominance
”4:4:4:4
(GBR KBR)”
GBR KBR mode switched on
Link A: G, B0, R0
Link B: K, B1, R1
Link A: Green and even unfiltered blue and red
Link B: Key and odd unfiltered blue and red
This pull down menu serves to switch the wordlength in the digital output signal
from 8 to 10 bits.
Selection: 8 Bit / 10 Bit
10. SDTV Ratio
Picture aspect ratio for the TV output picture.
Selection:
4:3 output picture
”4 : 3”
”16 : 9”
16:9 output picture
Operating Instructions - Rev. 1 / 6.2003
4-25
4.3. TK Config Menu
4.3.3
SDC 2002
SUBMENU “HDTV”
1
3
2
12
4
8
9 10
5
6
7
11
Fig. 410: Main menu “Tk Config” / submenu “HDTV”
Overview
The submenu “HDTV” serves to perform video basic adjustments for HDTV and
DTV outputs:
1. Actual Output to display the actual output HDTV or DTV standard
2. DTV Selection to select the DTV standards
3. HDTV Selection to select the HDTV standards
4. Bi - Level-Synch to switch on or off the bi / tri - level sync signal
5. Sync on RGB to switch on or off the Sync signal in the RGB signal
6. Analog Coding Format to define the mode of analog SDTV outputs
7. Digital Coding Format to switch on the 4:2:2, 4:2:2:4, 4:4:4:4, GBR KBR or
the GR KB mode
8. Output Wordlength to switch the wordlength in the digital output signal from
8 to 10 bits
9. Synch on YCrCb to switch the sync signal in the YCrCb signal
(in HDTV Output only)
10. HOA Filter to select the analog output filter for HDTV or future standards
11. Matrix 1080 / 720 P to switch-over the matrix coefficients between
SMPTE 240M and SMPTE 274 / 296M
12. H / V Blanking to switch the horizontal and vertical blanking
4-26
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
Function Buttons, Controls & Displays
1. Actual Output
This display shows the actual output HDTV or DTV standard.
2. DTV Selection
With these function buttons the following DTV standards
can be selected:
720_60
DTV standard with 720 active lines / 60 Hz **
720_59.93
DTV standard with 720 active lines / 59.93 Hz **
1080_24 P
DTV standard 1920x(1080 active lines) / 24 Hz progr.**
1080_25 P
DTV standard 1920x(1080 active lines) / 25 Hz progr.**
1080_23.97 P DTV standard 1920x(1080 active lines) / 23.97 Hz progr.**
1080_24 sF
DTV standard 1920x(1080 active lines) / 24 Hz segmented
Frame**
1080_50 I
DTV standard 1920x(1080 active lines) / 50 Hz interlaced**
1080_23.97 sF DTV standard 1920x(1080 active lines) / 23.97 Hz
segmented Frame**
** = Options FH 1675 HDTV Output and FH 1635 DTV are required
3. HDTV Selection With these function buttons the following HDTV standards
can be selected:
1250_50
HDTV standard with 1152 active lines / 50 Hz *
1125_60
HDTV standard with 1035 active lines / 60 Hz *
1125_59.93
HDTV standard with 1035 active lines / 59.93 Hz *
1080_60
HDTV standard with 1080 active lines / 60 Hz *
1080_59.93
HDTV standard with 1080 active lines / 59.93 Hz *
* = Option FH 1675 HDTV Output is required
Operating Instructions - Rev. 1 / 6.2003
4-27
4.3. TK Config Menu
SDC 2002
With this function button the bi / tri - level Sync signal can be switched on or off.
4.
Bi-Level-Sync
Selection: off / on
A bi / tri-level SDTV Sync signal is provided at J 40 “SDTV SYNC OUT” and in
the green channel G/Y or via the separate S output in HDTV, DTV, SDTV and
Data mode.
The output is especially designed for the vertical synchronization of telecine
controllers.
The signal pattern only depends on the frame rate of the selected video standard.
(for more details see Mounting & Operating Instructions FU 0103:
“HDTV / DTV Output”, chapter 2.1.1 and 6.1)
With this function button the Sync signal in the RGB signal can be switched on
or off.
5.
Sync on RGB
6. Coding
Format
Selection: off / on
This pull down menu serves to define the mode of analog SDTV outputs.
Selection: YCrCb / RGB
”YCrCb”
”RGB”
4-28
YCrCb operation
RGB operation
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
7. Digital Coding
Format
“Digital Coding Format”
This pull down menu serves to switch on the 4:2:2, 4:2:2:4, 4:4:4:4, GBR KBR
or the GR KB mode.
Selection: 4:2:2 / 4:2:2:4 / 4:4:4:4 / GBR KBR / GR KB
8. Output
Wordlength
”4:2:2
(2* YCrCb)”
4:2:2 mode switched on
Link A: Y, CR, CB
Link B: Y, CR, CB
Luminance with halfband filtered chrominance
according to CCIR 601/656
”4:2:2:4
(Y Cr Cb/K)”
4:2:2:4 mode switched on
Link A: Y, CR, CB
Link B: K, 0, 0
Link A: Luminance with halfband filtered chrominance
according to CCIR 601/656
Link B: with Key, Chrominance off
”4:4:4:4
(Y/K Cr Cb)”
4:4:4:4 mode switched on
Link A: Y, CR0, CB0
Link B: K, CR1, CB1
Link A: Luminance and even unfiltered chrominance
Link B: Key and odd unfiltered chrominance
”4:4:4:4
(GBR KBR)”
GBR KBR mode switched on
Link A: G, B0, R0
Link B: K, B1, R1
Link A: Green and even unfiltered blue and red
Link B: Key and odd unfiltered blue and red
”GRKB”
GR KB mode switched on
Link A: G0, G1, G2, G3, ... / R0, R1, R2, R3, ...
Link B: K0, K1, K2, K3, ... / B0, B1, B2, B3, ...
Link A: all green and than all red signals
Link B: all Key and than all blue signals
“Output Wordlength”
This pull down menu serves to switch the wordlength in the digital output signal
from 8 to 10 bits.
Selection: 8 Bit / 10 Bit
Operating Instructions - Rev. 1 / 6.2003
4-29
4.3. TK Config Menu
9. Sync on
Y Cr Cb
SDC 2002
“Sync on Y Cr Cb” (in HDTV Output only)
Switches the Sync signal in the YCrCb signal
Selection: None / Y / Stand / All
10. HOA Filter
”None”
No Sync signal in video
”Y”
Sync only inserted in Y signal
“Stand”
1250 Sync only in Y signal
1080 Sync in all channels: Y Cr Cb
“All”
Sync in all channels: Y Cr Cb
(in HDTV Output only)
Selects the analog output filter for HDTV or future standards.
Default filter equipment on board HOA FY 6314.xx:
Filter bank 1
:
Eureka
Filter bank 2
:
Full Bandwidth
The equipped filters are displayed on the control panel
Selection: Auto / Eureka / Full Bandwidth
”Auto”
Selects the filter depending on the TV format at the analog
HDTV outputs
Format 1250 , 1125, 1080
Filter: Eureka
other Formats Filter optional
“Eureka”
Eureka filter is selected in all analog HDTV modes
”Full Bandwith”
Filter is bypassed in all analog HDTV modes
The selected filter is displayed on the control panel
11. Matrix
1080 / 720 P
12. H/V-Blanking
R’G’B’ to Y’C’R C’B matrix coefficients for the HDTV standards 1280*720/60P
and 1920*1080/60I can be switched-over between
SMPTE 240M and SMPTE 274 / 296M
”274M”
coefficients according to SMPTE 274 and 296M
“240M”
coefficients according to SEMPTE 240M
This pull down menu serves to switch the horizontal and vertical blanking off
or on or to narrow blanking values.
Selection: Off / Norm / Narrow
”Off”
”Norm”
”Narrow”
4-30
H and V blanking switched off
H and V blanking switched to standard norm
H and V blanking switched to narrow blanking
(has no effects in HDTV standards)
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
4.3.4
SUBMENU “DATA”
Note!
GSN Phantom Transfer Engine Package 111 - TE 2111 is required!
If Transfer Engine TE 2101 (HiPPI Serial Data Output) is used the different
control buttons and displays are described in the chapter 4.3.4.2 on page
4-73.
Menu button “Data ”
opens dialog “Data Output”
4.3.4.1
Submenu Data with Option GSN Transfer Engine TE 2111
1
2 3 4 6
5
7 8
Characteristic
10, 11, 12
13
9
Flat
14
15
Fig. 411: Main menu “Tk Config” / submenu “Data”
Overview GSN Output
The submenu “Data” allows the film scanner to be set up for Data Output Mode.
The function is supported with option GSN Phantom Transfer Engine TE 2111.
In Data Mode SDTV and HDTV outputs are switched off.
Operating Instructions - Rev. 1 / 6.2003
4-31
4.3. TK Config Menu
SDC 2002
1. Actual Output to display the selected standard
2. Data Mode 50 / 59.93 selection
3. GSN (Gigabit Serial Network) status (Option TE 2111 required)
4.
Start and Stop button for the data transfer
5. Image Size to define horizontal and vertical resolution for the data output
6. Packing mode to define the data sequences of different video components /
data words
7. Output LUT maps the output data to different levels and characteristics
8. Transfer Mode provides different data flows
9. CRT Gamma switch
10. VGA Resolution for horizontal pixels and vertical lines settings
11. VGA Frequency for the vertical frame rate of the VGA monitor
12. VGA LUT to adjust the color temperature of the used VGA monitor type
13. VGA User Setup opens the window for adjustments in the VGA Interface
14. VGA Panning on / off enables or disables the image positioning on the preview
monitor
15. VGA H / V Pan serves for positioning the VGA monitor image size (max.
1280x1024) within the scanned image size (max. 2048x1536)
Details of Function Buttons, Controls & Displays
1. Actual Output
The display “Actual Output” shows the actual standard.
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Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
2. Data Mode
With function buttons “Data Mode” the following standards can be selected:
“Data_50”
Selects Data Mode 50 Hz, if the option Data Output (e.g. Phantom Transfer
Engine TE 2101/2111) is available.
All sync outputs and the time code are set to Video Mode 1250 / 50 / 2:1
Time code is generated in 50 Hz Mode (25 frames/s)
Available fixed speeds are 6.25, 12.5, 18.66, 25, 50
Genlock generator is switched to 1250 / 50
SDTV Sync Out provides a 625 / 50 sync signal
“Data_59.9”
Selects Data Mode 59.94 Hz, if the option Data Output (e.g. Phantom Transfer
Engine TE 2101/2111) is available.
All sync outputs and the time code are set to Video Mode 1125 / 59.94 / 2:1
Time code is generated in 59.94 Hz Mode (23.98 frames/s)
Available fixed speeds are 6, 12, 24, 30, 48
Genlock generator is switched to 1125 / 59.94
SDTV Sync Out provides a 525 / 59.94 sync signal
Note:
In Data Mode SDTV and HDTV outputs are switched off.
3. GSN Status
4. Transfer
Start / Stop
The display “GSN Status” shows the following possible messages:
“Down 00”
“Down 01”
“Down 02”
“Down 03”
Link state is not yet known, only used at startup
Link is down
Link is coming up - checking far end
Link is waiting for far end to report type
”Up 0a”
”Up 0b”
”Up 0c”
”Up 0d”
Link is up, but connected type is unknown
Link is up, loopback plug detected
Link is up, direct connected to host
Link is up, GSN switch detected
”Ready”
added to above values for Output
(DIP - > Host) ST connection valid
“Error 00”
“Error 01“
t.b.d.
t.b.d.
The function button “Transfer Start” starts the data transfer in the GSN /
HIPPI data channel. Operates only in Transfer Mode ”Frame by frame”.
Note:
In this moment the film scanner must be in the locked play operation,
not during run-up time.
(Button ”Lock” on the Control Panel is lit).
The function button “Transfer Stop” stops the data transfer in the GSN /
HIPPI data channel. Operates only in Transfer Mode ”Frame by frame”.
Note:
In this moment the film scanner must also be in synchronal play operation
(do not stop before).
Operating Instructions - Rev. 1 / 6.2003
4-33
4.3. TK Config Menu
SDC 2002
5. Image Size
This pull down menu serves to select:
“Variable” (variable dimensions)
to define vertical and horizontal resolution of the data output with:
“Pixel“
for the horizontal image size of the data output in pixels per line.
The actual pixel number is displayed.
“Lines”
for the vertical image size of the data output in lines per image.
The actual line number is displayed.
“4 : 3 SDTV” (fixed dimensions)
to display the horizontal and vertical image size for 4:3 SDTV at the data output. Image size ratio: 720 pixels x 540 lines.
“16 : 9 SDTV” (fixed dimensions)
to display the horizontal and vertical image size for 16:9 SDTV at the data output. Image size ratio: 720 pixels x 405 lines.
“16 : 9 HDTV” (fixed dimensions)
to display the horizontal and vertical image size for 16:9 HDTV at the data output. Image size ratio: 1920 pixels x 1080 lines.
only GSN I.F.
only GSN I.F.
only GSN I.F.
only GSN I.F.
only GSN I.F.
“1280 x 960” (fixed dimensions )
Image size 1280 pixels x 960 lines.
Square pixel scan for 4:3 SXGA monitoring based on 1280 pix.
“1364 x 1024” (fixed dimensions)
Image size 1364 pixels x 1024 lines.
Square pixel scan for 4:3 SXGA monitoring based on 1024 pix.
“1920 x 1440” (fixed dimensions)
Image size 1920 pixels x 1440 lines.
4:3 scan based on HDTV horizontal resolution
“2048 x 1240” (fixed dimensions)
Image size 2048 pixels x 1152 lines.
Super 16 mm scan
“2048 x 1536 (fixed dimensions)
Image size ratio 2048 pixels x 1536 lines.
Full Aperture 35 mm 4-perf scan
“VGA Resolution”
Image size equivalent to the selected VGA resolution
“1828 x 1332” (fixed dimensions)
Image size 1828 pixels x 1332 lines.
Academy 35 mm 4-perf scan
“1712 x 1240” (fixed dimensions)
Image size 1712 pixels x 1240 lines.
Standard 16mm scan
4-34
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
6. Packing Mode
Puts data words of diverse video components together to data sequences to
transmit them with a certain data rate in the GSN data channel.
Selection GSN I.F.:
3x8+0, 3x10, 3x10Y-(10bit), 2x16Y (16bit),
GSN I.F.
”3x8+0”
3 component data words + Alpha set to “0” with 8 bit
resolution each are put together to a 32 bit data word
(e.g.: R, G, B, 0).
”3x10”
3 component data words with 10 bit resolution each are put
together to a 32 bit data word with padding at bits 0 and 1
(e.g.: R, G, B).
”3x10Y”
3 luminance data words with 10 bit resolution each are put
together to a 32 bit data word with padding at bits 30 and 31
(e.g.: Y1, Y2, Y3).
”2x16Y”
2 luminance data words with 16 bit resolution each are put
together to a 32 bit data word
(e.g.: Y1, Y2).
Operating Instructions - Rev. 1 / 6.2003
4-35
4.3. TK Config Menu
7. Output LUT
SDC 2002
Output Lookup tables
With these settings the image data can be mapped to level ranges which are
required by different applications.
Selection:
Grading on Video Monitors
TVLEV / GRLEV / TV_PD / TV-G
Grading on graphical Displays DXR / DXR-G / C-PD / LOG
free programmable,
user defined LUT
User Tab 01 - 15
Characteristic
Fig. 412: Main menu “Tk Config” / submenu “Data”, pulldown menu “Output LUT”
Function of
Lookup Tables
Lookup tables (LUT) are used to map signal levels to the required level, range and
input characteristics of different downstream products and applications.
They are basically tables containing code values. These do not necessarily describe a simple mathematical function, but are rather results of subjective tests
and research.
Therefore, it is very important to understand how these lookup tables work in order
to preserve the required image information.
Lookup tables can be applied at the output and / or input of many products and
software applications.
It is essential to take the time and effort to analyze and test the entire chain to find
out the best lookup table combinations and setups for each application.
User defined
LUT
This menu allows to use customer specific lookup-tables. To generate and perform a download of lookup-tables to a data output board see the detailed description of the separate SDCMAINT manual provided in the supplements of the “Spirit
DataCine Customer’s Manual”.
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Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
Setup
Data Output
All setups regarding the data output can be found in the submenu data.
Here you set up the format of the data file and the HIPPI link connection parameters:
GSN I.F.
Characteristic
Flat
Packing Mode
default 3 * 10 bit
Output LUT
selected transfer lookup table
Transfer Mode
default frame by frame
VGA Setup only for GSN I.F. - details see item 10
Destination
Connection Mode default stream / only HiPPI I.F.
Image File Format default DPX / only HiPPI I.F.
Color Sequence
HiPPI I.F.
Operating Instructions - Rev. 1 / 6.2003
default 1; routing over HIPPI switch / only HiPPI I.F.
default RGB / only HiPPI I.F.
4-37
4.3. TK Config Menu
Waveform Monitor
SDC 2002
For transfers with the following lookup tables you should use your monitoring waveform as a reference for signal levels as you are used to work for standard video
applications.
Fig. 413: WFM
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Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
”TVLEV”
Image data maintains the TV video levels:
black level
white level
high lights
64d (10 bit)
940d (10 bit)
up to 1019d (10 bit)
Characteristics:
data output- code value
1024d
0d
TV - LEV (CRT on)
TV - LEV (CRT off)
Lokuptable input
1024d
Note!
The CRT gamma is normally switched on
- main menu “Color”, submenu “Col Set”
- but may be switched off for pure linear video signals.
Description
TV LEV
This lookup table maps the image data according to standard video levels (reference black and white) and provides highlight range beyond the reference levels.
This is the easiest way to transfer film content into data, as specially calibrated
monitors are not required on the downstream workstations. Most applications can
import data mapped to standard video level and visualize it correctly.
This transfer mode with CRT GAMMA ON is the best choice if final grading will be
performed on Specter Virtual DataCine VDC.
To set up the telecine for transfers in TV LEV mode the colorist works the familiar
way:
The DataCine is running in SDTV or HDTV video mode, color correction is done
using the standard video monitor as a reference.
With the monitoring set to the output stage while still in video mode, it is worth noting that 0% (black) on the waveform monitor will be mapped to 64d, and 100%
(white) will be mapped to 940d when the image data is transferred.
For any signal peaks above 100% there is a little headroom up to 1019d. The values between the black and white reference levels will be represented with a linear
or CRT characteristic, depending on the CRT GAMMA setting on the film scanner.
Operating Instructions - Rev. 1 / 6.2003
4-39
4.3. TK Config Menu
SDC 2002
”GRLEV”
Image data is mapped to graphic video levels
black level
white level
within a total range of
0d
1019d (10 bit)
0 - 1023d (10 bit)
Characteristics:
1024d
data output - code value
GR - LEV (CRT on)
0d
GR - LEV (CRT off)
Lookuptable input
1024d
Note!
The CRT gamma is normally switched on
- main menu “Color”, submenu “Col Set”
- but may be switched off for pure linear video signals.
Description
GRLEV
Graphics level behaves the same way as TV level, the only difference is the data
mapping within the 10-bit range Looking at the output test point, 0% signal will be
mapped to 0d, 100% to 1019d. There is no headroom for signal portions above
100%.
In the past, traditional graphics workstations for print media (i.e. desktop publishing) usually worked in graphics level, they did not spend bits for headroom, which
originates out of the video domain.
Only video oriented applications reserve some code values to provide headroom
within their 8 or 10-bit environment to ensure that no picture information is clipped.
Attention!
Many applications can handle TV level and Graphics level data separately, therefore it is important to switch the application to the right mode in order to receive
the data appropriately.
If you are working in the wrong way at this point, you will compress the data or cut
off high and low lights.
The compression can be handled by the downstream application in most cases
by setting the data to a higher contrast, but is not recommended for quality reasons.
Note!
The cutoff of information (data from telecine in graphics level, downstream application in TV level mode) cannot be restored.
4-40
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
”TV-PD”
Image data, color graded on a TV monitor, are mapped to
Printing Density characteristic for CINEON DXR files
- e. g. used for post production systems like Inferno / Fire
(Discreet Logic) or Domino (Quantel).
TV-PD lookup table transfers the dynamic range of the TV
display into the logarithmic domain. No highlight details appear
above ~ 720d.
black level
white level
highlights
95d (10 bit)
685d (10 bit)
up to ~ 720d
Characteristics:
data output - code value
1024d
0d
Description
TV-PD
TV - PD
Lookup table input
1024d
To set up the machine for TV-PD, grade your film on your video monitor as usual,
then switch to data mode, choose TV-PD as LUT and start the transfer.
The telecine monitoring test point has to be switched to Output stage.
0% (black) on the WFM will be mapped to 95d,
94% (white) will be mapped to 685d (658mV).
The transferred data will contain all information up to approx. 109% signal level at
the waveform monitor.
In TV-PD mode, CRT GAMMA (Menu Color - Col Set)cannot be deselected because it is part of the logarithmic TV - PD transfer characteristic.
Note!
The TV-PD in Specter always requires TV LEV data with CRT GAMMA switched
“ON” at the telecine.
Operating Instructions - Rev. 1 / 6.2003
4-41
4.3. TK Config Menu
SDC 2002
”TV-G” Images, color graded on a TV monitor, are mapped to Printing Density
characteristic for CINEON DXR files.
In addition to the TV_PD mode, the TV-G mode provides a closer
color matching to the Kodak Genesis scanner.
black level
white level
highlights
95d (10bit)
685d (10bit)
up to~720d
Data output - code value
1024d
0d
TV - G (B)
(R;G)
LUT input
1024d
Note!
In mode “TV-G”, the CRT gamma is not selectable,
because CRT gamma is replaced by the TV-G transfer
characteristic.
Description
TV-G
TV-G is similar to TV-PD, the only difference is the Genesis scanner emulation,
reproducing data the same way as if they were scanned on a Genesis scanner.
The code values (black, white and highlights) representing green and red signals are equal to TV-PD.
The code value mapping for blue is slightly higher towards the upper values to
meet the output characteristic of the Genesis or Lightning scanner.
In TV-G mode, CRT GAMMA cannot be deselected because it is part of the
TV-G transfer characteristic.
Note!
The TV-G data output on Specter always requires TV LEV data with CRT
GAMMA switched ON at the telecine.
When transferring a greyscale pattern, light fields will not get colored on a
Cineon calibrated monitor. A monitor that is calibrated for logarithmic code values from 95 to 685 will display colored gray fields.
4-42
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
”DXR”
Printing density characteristic for
CINEON DXR (Digital Extended Range) files
- e. g. used for post production systems like Inferno / Fire
(Discreet Logic) or Domino (Quantel) which captures most of the dynamic range of NEG films.
black level
white level
highlights
95d (10 bit)
685d (10 bit)
up to 859d
(2% / 14 mV)
(79% / 554 mV)
Characteristics:
data output - code value
1024d
0d
Description
DXR
DXR
Lookup table input
1024d
This lookup table maps image data logarithmically to a range according to
Cineon DXR (Digital eXtended Range) specifications.
This format provides enough headroom to capture most of the dynamic range
of negative film.
Actually a slightly greater range of highlight information is transfered than the
video monitor can display.
In comparison to the TV - PD LUT (where only the information from the monitor
is transfered - ”IWYG is transfered”) more highlight information is captured
with the DXR - LUT.
The following procedure should be performed for one - light transfers for all
kinds of material.
Setup
Recommendations
for DXR
OCN
(Original Color Negative) film material
Dmin = lowest density
Dmax = highest density
For an One-Light transfer of OCN material, the following settings are recommended:
Operating Instructions - Rev. 1 / 6.2003
4-43
4.3. TK Config Menu
Set Film Type
SDC 2002
Set Film Type to “Color Negative” - main menu “Film”, submenu “Matching”
Fig. 414: Main menu “Film” / submenu “Matching”
Set Unity
Set primary color correction (Grading) to “unity - this page” - main menu
“Color”, submenu “Primary”
Fig. 415: Main menu “Color” submenu Primary and “Unity” button
4-44
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
Select
Testpoint
AIH / FPN
Set the testpoint selector to testpoint “AIH/FPN”
- main menu “Monitoring”, submenu “Test Pnt”
Parade
Fig. 416: Main menu “Monitoring” / submenu “Test Pnt”
Set Illumination
Select main menu “Film”, submenu “Matching”
Select “Play“ mode with running NEG film
Adjust the minimum density (white field, e.g. frame bar) of the NEG film to
100%. Use Light control!
Note!
The scanned image signal of the negative film is not inverted at testpoint
AIH/FPN, that means the frame bar produces peak white (Dmin )!
66
Fig. 417: Main menu “Film” / submenu “Matching”
Adjust Light (illumination) until the signal level on the wave form monitor does not
exceed 100 %.
Operating Instructions - Rev. 1 / 6.2003
4-45
4.3. TK Config Menu
Select
Testpoint
SDC 2002
Mask CRT Gamma
Select main menu “Monitoring”, submenu “Test Pnt”
Set the testpoint selector to testpoint “Film Color Correction / Mask CRTGamma”.
Note!
From this testpoint, the video signal of the Neg Film is inverted and produces black at the frame bar.
Parade
Fig. 418: Main menu “Monitoring” / submenu “Test Pnt”
Preset
Lift & Gain
DXR
Select main menu “Film” / submenu “Matching”.
As a starting point, set Matching “Gain” controls of the GCP in all three channels
to 80% and Matching “Lift” controls to 180%.
Fig. 419: Film menu, matching lift & gain
4-46
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
Set Reference
White
DXR
Adjust peak white (maximum density Dmax on NEG film) for all three channels to video level 554 mV (WFM) just below clipping with Matching “Gain”
Set Reference
Black
DXR
Adjust “Matching Lift” (black) controls in all three channels to 14mV
controls.
(WFM).
Repeat Gain and Lift adjustments until the levels for reference white and black
are reached at the same time.
Note!
a) In DXR mode, the CRT gamma is not selectable, because CRT gamma is
replaced by the DXR transfer characteristic.
b) Image monitoring requires a logarithmic calibrated graphics display monitor.
Fig. 420: RGB level setup for transfers with DXR characteristic
Operating Instructions - Rev. 1 / 6.2003
4-47
4.3. TK Config Menu
SDC 2002
”DXR- G”
Printing density characteristic for CINEON DXR files,
which captures the dynamic range of NEG films.
In addition to the DXR mode, the DXR-G mode provides
a closer color matching to the Kodak Genesis scanner.
black level
white level
highlight
(2% / 14 mV)
(79% / 554 mV)
95d
685d
up to 859d
data output - code value
1024d
0d
Description
DXR-G
DXR - G (B)
(G)
(R)
Lookup table input
1024d
The DXR-G lookup table is the equivalent to the DXR LUT the same way as
TV - PD and TV-G.
Image data are mapped to printing density characteristics according to Cineon
DXR specifications.
The telecine setup should be performed similarly as described for DXR LUT,
but with the following differences:
1. First adjust (Lift) black and (Gain) white in the G-channel as described for
DXR.
2. Adjust matching Lift (black) readings for R- and B-channel to the control value
of the G-channel.
3. Adjust the black level for R- and B-channel with Matching Gain to 2%.
If the peak white level in one channel should be clipped, please take this channel as a reference for the first Matching Black and Gain adjustment instead of
G-channel.
4-48
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
Setup
Recommendations
for DXR-G
OCN film material
For an One-Light transfer of OCN (Original Color Negative) material, the following settings are recommended:
Note!
The DXR-G lookup table is the equivalent to the DXR LUT.
Image data are mapped to printing density characteristics according to Cineon
DXR specifications.
The telecine setup should be performed similarly as described for DXR LUT:
Set Film Type
Set Film Type to “Color Negative”
- main menu “Film”, submenu “Matching”
Set Unity
Set primary color correction (Grading) to “unity - this page”
- main menu “Color”, submenu “Primary”
Select
Testpoint
AIH / FPN
Set the testpoint selector to testpoint “AIH/FPN”
Set Illumination
Select main menu Film, submenu Matching
- main menu “Monitoring”, submenu “Test Pnt”
Adjust the minimum density (white field, e.g. frame bar) of the NEG film to
100%. Use Light control!
Note!
The scanned image signal of the negative film is not inverted at testpoint AIH/
FPN, that means the frame bar produces peak white (Dmin )!
Select TP
Mask /
CRT Gamma
Set the testpoint selector to testpoint “Film Color Correction / Mask CRTGamma”. - main menu “Monitoring”, submenu “Test Pnt”
Note!
From this testpoint, the signal of the Neg Film is inverted and produces black
at the frame bar.
Operating Instructions - Rev. 1 / 6.2003
4-49
4.3. TK Config Menu
SDC 2002
Set
Reference White
G-Channel
Adjust peak white (maximum density Dmax on NEG film) of the G-channel
to 554 mV at wave form monitor just below clipping with “Green Gain” control.
Fig. 421: Film menu, matching lift & gain
Set
Reference Black
G-Channel
Adjust “Green Lift” (black) control of the G- channels to 14mV at the WFM.
Repeat Gain and Lift adjustments of the G-channel until the levels for reference
white and black is reached.
Set R & B
Lift Controls
Adjust the “Red & Blue Lift” (black) ” controls for R- and B-channels to the
Set
Reference Black
& White
R- & B-Channel
Adjust the black levels for R- and B-channels with “Matching Gain” to 14
control value of the G-channel.
mV.
If the peak white level in one channel should be clipped, please take this channel as a reference for the first “matching lift (black)” and “matching gain” adjustment instead of the G-channel.
Note!
c) In DXR-G mode, the CRT gamma is not selectable, because CRT gamma
is replaced by the DXR-G transfer characteristic.
4-50
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
d) Image monitoring requires a calibrated graphics display monitor.
”C-PD” Cineon Print Density
This logarithmic characteristic is close to the mathematical
Printing Density characteristic. The density range is from 0 to 2.0.
95d (10 bit) (3.5% / 24.5 mV)
685d (10 bit) (71% / 497 mV)
up to 1019d
black level
white level
highlights
Characteristics:
data output - code value
1024d
C - PD
0d
LUT input
1024d
Note!
In mode “C-PD”, the CRT gamma is not selectable, because CRT gamma is replaced by the C-PD transfer
characteristic (Menu Grading -Grading Setup).
Description
C- PD
With the C-PD LUT, the film information will be transferred into a DPX Cineon
file containing the black and white information as other logarithmic transfers,
but highlight information is covered up to code value 1019d.
In C-PD mode, the internal monitoring processing is different from other LUTs,
therefore the waveform monitor display is different. See the difference when
switching between VIDEO and DATA MODE in C-PD.
To set up the telecine for C-PD LUT, you can either use the original film material if you have an indication of reference black and white (90% reflectance) or
take a TAF film printed on the same material.
Operating Instructions - Rev. 1 / 6.2003
4-51
4.3. TK Config Menu
SDC 2002
The figure below shows a typical data transfer application with “C-PD” data conversion mode.
Waveform Monitor
Phantom
Transfer Engine
C-PD Characteristic
Cineon
Film Postproduction
Graphic Display
Ouput
HiPPI
Input
Fig. 422:
Connect a waveform monitor to the monitoring outputs of Spirit DataCine - Rack
2
Monitoring
Rack 2
D-Min 15 pole
SDC
Terminal Board Rack 2
Waveform Monitor
Fig. 423:
4-52
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
C-PD setup
Recommendations
For logarithmically or Cineon calibrated Monitors!
For an One-Light transfer of OCN (Original Color Negative) material, the following settings are recommended:
Important!
To setup the DataCine for CPD transfers, the machine has to be switched into
Data mode, C-PD LUT 50 Hz or 59.93 Hz.
Set Data mode
&
C-PD LUT
Select main menu “TK Config”, submenu “Data”
Set the film scanner to Data mode 50 or 59.93
Select C-PD LUT
Characteristic
Fig. 424: Main menu “Tk Config” / submenu “Data”, pulldown menu “Output LUT”
Operating Instructions - Rev. 1 / 6.2003
4-53
4.3. TK Config Menu
Set Film Type
SDC 2002
Set Film Type to “Color Negative” - main menu “Film”, submenu “Matching”
Fig. 425: Main menu “Film” / submenu “Matching”
Set Unity
Set primary color correction (Grading) to “unity -this page” - main menu
“Color”, submenu “Primary”
Fig. 426: Main menu “Color” submenu Primary and “Unity” button
4-54
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
Select
Testpoint
AIH / FPN
Set the testpoint selector to testpoint “AIH/FPN”
- main menu “Monitoring”, submenu “Test Pnt”
Parade
Fig. 427: Main menu “Monitoring” / submenu “Test Pnt”
Set Illumination
Adjust the minimum density (white field, e.g. frame bar) of the NEG film to
100%. Use Light control!
Note!
The scanned image signal of the negative film is not inverted at testpoint
AIH/FPN, that means the frame bar produces peak white (Dmin )!
66
Fig. 428: Main menu “Film” / submenu “Matching”
Adjust Light (illumination) until the signal level on the wave form monitor does
not exceed 100 %.
If the peak signal values differ very much, film type “Intermediate Neg” may
give a better match.
Operating Instructions - Rev. 1 / 6.2003
4-55
4.3. TK Config Menu
Select
Test Point
Mask /
CRT Gamma
SDC 2002
Set the testpoint selector to testpoint “Film Color Correction / Mask CRTGamma”. - main menu “Monitoring”, submenu “Test Pnt”
Note! From this testpoint, the signal of the Neg Film is inverted and produces
black at the frame bar.
Fig. 429: Main menu “Monitoring” / submenu “Test Pnt”
Set Matching as follows for all three channels
For logarithmic
calibrated Monitors
496 mV at WFM for white (use R - G - B - Gain controls)
23 mV at WFM for black (use R - G - B - Lift controls)
Repeat Gain and Lift adjustments until the levels for reference white and black
are reached at the same time.
Fig. 430: Film menu, matching lift & gain
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Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
For Cineon calibrated monitor
Set Matching as follows for the channel with the largest dynamic
range.
496 mV for white (use Gain controls)
23 mV for black (use Lift controls)
Fig. 431: Film menu, matching lift & gain
Set the other two channels to the matching lift control value of the channel
above, independent of the level values of the WFM.
Adjust the black level of these two channels with “Matching Gain” to 23mV at
WFM.
Operating Instructions - Rev. 1 / 6.2003
4-57
4.3. TK Config Menu
SDC 2002
”LOG”
“LOG” characteristic for CINEON DXR files.
black level
white level
highlight
95d
685d
1019d
data output - code value
1024d
0d
Note!
LOG
Lookup table input
1024d
This lookup table maps the image data to obtain a logarithmic transfer characteristic from a linear signal without applying CRT Gamma.
This LUT is not recommended any more to be used on the Spirit DataCine as
it was replaced by the better suited C-PD lookup table.
”User Tab 01 - 15”
Allows to use customer specified lookup tables.
To generate and perform a download of LUT to the
data output board of the Spirit DataCine see the
detailed description of the separate SDCMAINT
Manual FU 0058 provided in the supplement of this
manual
4-58
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
Settings
Application
Characteristics
Function
Grading on a
TV Monitor
TV => DATA => TV
TV => DATA =>FILM
Grading on a
calibrated
Graphics Display
Workstation Requirements
Ref
Black
Ref
White
Comment
CRT
DATA
(10bit)
(10bit)
ON
TVLEV
TVGamma
64d
940d
no import or export LUTs !
display gamma = 1
(or fine tuned)
transparent => black and
white unclipped
ON
GRLEV
TVGamma
0d
1019d
TV export LUT
display gamma = 1
(or fine tuned)
black and white clipped
ON
TVLEV
TVGamma
64d
940d
import LUT to 0...1023 and
>10 bit linear
display gamma to be applied
Workstation clips black and
white
ON
GRLEV
TVGamma
0d
1019d
import LUT to >10 bit linear
display gamma to be applied
black and white clipped
-
TV-PD
Print
Density
~ 95d
~ 685d
Cineon or Cineon import LUT
log. calibrated Monitor
Cineon Printing Densities
for e.g. Inferno, Fire, Domino,
-
TV-G
Genesis
PD
~ 95d
~ 685d
Cineon system
Cineon calibrated Monitor
Cineon Printing Densities
for Genesis emulation
-
DXR
Print
Density
~ 95d
~ 685d
Cineon import LUT
Cineon Printing Densities
Logarithmic cal. Monitor for e.g. Inferno, Fire, Domino;
One-Light OCN transfer with
FILM=>DATA=>FILM
- primary color corr. = UNITY
- illumin. signal level 100%
- matching Black control /
RGB = 14mV WFM*
- matching Gain control /
RGB = 554 mV WFM *
-
DXR-G
Genesis
PD
~ 95d
~ 685d
Cineon system
Cineon calibr. Monitor
Cineon Printing Densities for
Genesis emulation
One-Light OCN transfer with
-primary color corr. = UNITY
- illumin.: signal level =100%
- matching Black control /
RGB = 14 mV WFM*
- matching Gain control
RGB = 554 mV WFM*
-
C-PD
Cineon
Print D
~ 95d
~ 685d
Cineon import LUT
Cineon Printing Densities
Logarithmic cal. Monitor - set Data mode first
- set C-PD LUT
- illumin. signal level100%
- matching Black 23mV &
Gain 496 mV WFM
C-PD
DATA, 8...10 bit linear
Cineon
Print D
~ 95d
~ 685d
Cineon import LUT
Cineon calibr. Monitor
see above C-PD comments.
Match to channel with largest
dynamic range.
OFF
LOG
logarithmic
~ 95d
~ 685d
special log. display LUT or
import LUT
Cineon additional markers on
the WFM for the black and
white reference required
OFF
GRLEV
linear
0d
1019d
display gamma to be applied
black and white clipped
Fig. 432: Overview of Look-up tables (LUT) for data applications
* = Reference values at WFM (Wave Form Monitor). For fine adjustment, see description above “data conversion DXR or DXR_G”
Operating Instructions - Rev. 1 / 6.2003
4-59
4.3. TK Config Menu
SDC 2002
Function of Look-up Tables for Data Applications / Data for TV
TVLEV Characteristic
TV Monitor
RGB
Specter VDC 2000
TV Monitor
GSN / HiPPI
Output
940**
(...1019)
64*
Input
GRLEV Characteristic
TV Monitor
RGB
SDC 2001
Specter VDC 2000
TV Monitor
1019**
940**
Output
Output
GSN / HiPPI
64*
0*
Input
** White reference level : decimal value of a 10 bit system
* Black reference level : decimal value of a 10 bit system
Input
Fig. 433: Data conversion for TV
4-60
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
Function of Look-up Tables for Data Applications / Data for Film
1. TVLEV Characteristic
TV - Monitor
RGB
e.g.: Inferno, Domino ...
Image Processor
Phantom
Transfer Engine
Import
LUT
GSN / HiPPI
Output
940**
(...1019)
64*
Input
2. GRLEV Characteristic
TV - Monitor
RGB
e.g.: Inferno, Domino ...
Image Processor
Phantom
Transfer Engine
Import
GRLEV LUT
GSN
HiPPI
Output
1019**
0*
Input
3. TV-PD Characteristic
TV - Monitor
RGB
e.g.: Inferno, Domino ...
Image Processor
Phantom
Transfer Engine
Ch
Import
LUT
GSN/ HiPPI
Output
685**
(...720)
95*
Input
Operating Instructions - Rev. 1 / 6.2003
4-61
4.3. TK Config Menu
SDC 2002
Function of Look-up Tables for Data Applications / Data for Film - Part II
4. TV-G Characteristic
TV - Monitor
RGB
Phantom
Transfer Engine
GSN
HiPPI
Output
685**
(...720)
Cineon
Film Postproduction
95*
Input
5. DXR Characteristic
Phantom
Transfer Engine
e.g.: Inferno, Domino ...
Image Processor
Graphic Display
logical calibrated
Import
LUT
GSN
HiPPI
Import
LUT
Output
685** (...859)
(76...) 95* Input
6. DXR-G Characteristic
Graphic Display
Cineon calibrated
Phantom
Transfer Engine
GSN / HiPPI
Cineon
Film Postproduction
Output
685** (...859)
(76...) 95*
Input
4-62
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
7. C-PD - log. cal. Monitoring
Specter VDC 2000
TV Monitor
GSN / HiPPI
940**(...1019)
Output
Output
685** (...1019)
64*
(4...)95**
Input
Input
8. C-PD, Cineon cal. Monitoring
Graphic Display
Cineon calibrated
Phantom
Transfer Engine
GSN / HiPPI
Cineon
Film Postproduction
Output
685** (...1019)
(4...)95*
Input
Fig. 434: Data application: Data for Film
Operating Instructions - Rev. 1 / 6.2003
4-63
4.3. TK Config Menu
8. Transfer Mode
SDC 2002
Defines the transfer mode.
Selection:
Off / frame by frame / display changed mode / continuous
”Off”
No data transfer.
”Frame by
Frame”
Only during PLAY the data transfer begins
by pressing transfer START
and ends by pressing F2 transfer STOP.
Scanned images are transferred proportionally
to the film speed.
Each frame is transferred only once.
The transmission is interrupted by STOP, if the
external receiver is not fast enough.
This mode ensures that no image is missing
in the transferred sequence.
Application: transferring and storing of complete sequences.
”Display
changed
mode”
Data is transferred only if the film frame number or the image
contents has changed.
The transmission skips images, if the external receiver
is not fast enough.
Works in all operating modes (shuttle, step and so on).
Application: preview purposes
”Continuous” Continuous data transfer,
independent of the film run status (test mode).
4-64
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
9. CRT Gamma
CRT is a gamma function to compensate the display gamma of a picture monitor.
In order to judge a picture content (in terms of gradation) by looking at a monitor, CRT has to be switched on.
When working with Data, the end product is not necessarily video or a TV picture but a picture recorded back on film or a picture which will be projected by
a video beamer. In this case, a Output LUT (lookup table) will be chosen that
replaces the CRT gamma by its own characteristic.
Depending on the selected Output LUT, CRT GAMMA will automatically be
switched on or off.
Note! CRT GAMMA in Data mode is only active with TVLEV and GRLEV.
When CRT Gamma is active, the green bar on the button is lit.
VGA Characteristic
10.VGA
Resolution
Flat
VGA Resolution serves to adjust the horizontal & vertical pixel resolution of
the VGA Monitor connected to the Rack 3 socket J61 “Preview Out”
PREVIEW OUT
J 61
Selection:
640 x 480 / 800 x 600 / 1024 x 768 / 1280 x 1024
640 x 480
800 x 600
1024 x 768
1280 x 1024
Operating Instructions - Rev. 1 / 6.2003
Hor 604 pixels - Vert 480 lines
Hor 800 pixels - Vert 600 lines
Hor 1024 pixels - Vert 768 lines
Hor 1280 pixels - Vert 1024 lines
(VGA)
(SVGA)
(XGA)
(SxGA)
4-65
4.3. TK Config Menu
SDC 2002
11. VGA
Frequency
PREVIEW OUT
VGA Frequency serves to adjust the vertical frequence of the VGA Monitor
connected to the Rack 3 socket J61 “Preview Out”
J 61
Selection:
60 Hz / 75 Hz
12.VGA
Characteristic
Lin
CRT
Flat
VGA Characteristic
Lin
Print
In dependency of the selected Data Output LUT and CRT gamma (on/off) color
grading selection different display modes can be selected.
Selection: Lin, CRT, Flat, Print
A detailed description is provided in item “13.4 VGA Characteristic”on page
4-66.
This function is redundant in the VGA User Setup window.
13.VGA
User Setup
The option GSN data interface includes an additional VGA Interface which can
be used for monitoring purposes.
The characteristic of the VGA video signal can be adjusted according to the
transfer characteristic at the Data Output.
The processing at the preview monitoring output (VGA User Setup) is split into
three processing blocks: VGA Pre - Processing, VGA Matrix, VGA LUT (see
Fig. 46). The input to the VGA LUT depends on the Output LUT and VGA
Characteristic selected. The characteristic for the preset Output LUTs is described in table 400. on page 4-70.
Attention!
The adjustment of the monitor color temperature is done with the VGA
LUT button, see item 13 in this chapter, details see also Fig. 435: on page
4-67.
Pressing “VGA User Setup” button opens a window for setting matrix coefficients and VGA LUTs.
4-66
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
GSN Data Output
Overview of Output LUT; CRT Gamma, VGA Characteristic, VGA LUT & Masking
Controls
Menu TK Config
Submenu Data - VGA Setup -
Submenu Data -VGA Setup -
Submenu Data
12. / 13.4 VGA Characteristic:
13.3 VGA Masking:
13.5 VGA LUT:
Lin, CRT, Flat or Print
Default Matrix: Standard
RGB
R 100
B 010
G 001
or
user defined matrixes
Default: LUT 1:1
or
15 User defined VGA LUTs
for adjustment of the
monitor color temperature
Preview
Out
From TV Store
VGA Pre Processing
VGA
Matrix
VGA
LUT
Rack 3
J61
Data
Processing
Y/CR/CB/K
40 Bit
Submenu Data -
Data
Output
LUT
GSN
I.F.
Optical Ouput
to GSN Switch
7. Output LUTs
Log, TVLEV, GRLEV, DXR, TV-PD, DXR-G, TV_G, C-PD, UserTab 01-15
& 9. CRT Gamma
Fig. 435: Preview Monitoring Processing
Operating Instructions - Rev. 1 / 6.2003
4-67
4.3. TK Config Menu
SDC 2002
The button 13 “VGA user setup” opens the following window:
13.1 VGA User
Setup
window
This window serves to set the following parameters:
VGA Matrix
and in dependency of the Data Output - LUT “C-PD” selection:
VGA Characteristic - with the options Lin, CRT, Flat or Print
Each user (from the login menu) can store its VGA user settings.
13.2 Current
user
This window shows the current user of the VGA Setup.
The user can be defined and selected in the login menu.
Press the “ON” button to open the login menu.
To select or set a new user make the corresponding choice.
A two lined keyboard and the concerning action buttons will be opened to set
a new user.
Type in the name for the new user and confirm by pressing the OK button at
the bottom of the dialog.
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Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
13.3 VGA
Masking
Note!
VGA Masking is
disabled if a LUT is
selected.
In this case the
Matrix of the LUT
is displayed.
The “VGA Masking” serves the color adaption of the VGA path in Data mode.
Adaption is made optionally by selection of fixed or variable masking coefficients.
The field “Current User”, shows the selected user setup from the login menu.
A two lined keyboard is provided to set a new matrix:
First enter the matrix name and then select the R G B fields to set the new
matrix coefficients.
Finally confirm the selection with the OK buttons at the bottom of the dialog.
R/G/B in * C1/9
R in
G in
B in
=
R/G/B out, represents the matrix equation
*
C1
C4
C7
13.4. VGA
Characteristic
C2
C5
C8
C3
C6
C9
=
R out
G out
B out
Lin
CRT
Flat
VGA Characteristic
Lin
Print
In dependency of the selected Data Output LUT and CRT gamma (on/off) color
grading selection the display modes from table 400. page 4-70 can be selected.
Selection: Lin, CRT, Flat, Print
This function is redundant in the submenu “Data” section 12. “VGA Characteristic”.
The following table shows the VGA Input values in dependence to
7. Output LUT,
9. CRT Gamma and
12. / 13.4 VGA Characteristic.
Operating Instructions - Rev. 1 / 6.2003
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4.3. TK Config Menu
SDC 2002
Spirit DataCine GSN Data Output / Default Pre-Processing
7. Output
LUT
9. CRT
Gamma
Preview
Processing
Input
12. / 13.4 VGA Characteristic
VGA LUT Input
GCP
Display
VGA Pre - Processing
Characteristic
Level Range
TVLEV
ON
CRT
CRT
1:1 LUT (TVLEV Output LUT)
CRT
(4…)64*…940**(…1019)
TVLEV
OFF
LIN
LIN
1:1 LUT (TVLEV Output LUT)
LIN
(4…)64*…940**(…1019)
OFF
LIN
CRT
CRT LUT
CRT
(4…)64*…940**(…1019)
GRLEV
ON
CRT
CRT
1:1 LUT + Black and white limiter
CRT
64*…940**
GRLEV
OFF
LIN
LIN
1:1 LUT + Black and white limiter
LIN
64*…940**
OFF
LIN
CRT
Black and white limiter + CRT LUT
CRT
64*…940**
-
LOG
Flat
1:1 LUT (TVLEV Output LUT)
LOG
(4…)95*…685**(…1019)
-
LOG
CRT
DELOG+CRT/TVLEV expansion
CRT
(4…)64*…940**(…1019)
-
LOG
Print- LOG
Print- Look from logarithmic calibrated data for CRT display
CRT
(4…)64*…940**(…1019)
TV - PD
-
CRT
CRT
1:1 LUT (TVLEV Output LUT)
CRT
(4…)64*…940**(…1019)
TV - G
-
CRT
CRT
1:1 LUT (TVLEV Output LUT)
CRT
(4…)64*…940**(…1019)
DXR
-
CRT
Flat
DXR Output LUT
LOG
(66…)95*…685**(…836)
-
CRT
CRT
Ref. White mapping: 685=>940
CRT
64*…940**(…1019)
DXR - G
-
CRT
Flat
DXR - G Output LUT
LOG
(66…)95*…685**(…836)
LOG
-
LIN
Flat
LOG Output LUT
LOG
(4…)95*…685**(…1019)
-
LIN
CRT
CRT+Ref. White mapping:
685=>940
CRT
(0…)64*…940**(…1019)
OFF
LIN
LIN
1:1 LUT (TVLEV Output LUT)
LIN
(4…)64*…940**(…1019)
OFF
LIN
CRT
CRT LUT
CRT
(4…)64*…940**(…1019)
User
.CRT
ON
CRT
CRT
1:1 LUT
CRT
(4…)64*…940**(…1019)
User
.LOG
-
LOG
Flat
1:1 LUT
LOG
(4…)95*…685**(…1019)
-
LOG
CRT
DELOG+CRT/TVLEV expansion
CRT
(4…)64*…940**(…1019)
C - PD
User .LIN
Table 400.: VGA Input values in dependence to Output LUT, CRT Gamma & VGA Characteristic
4-70
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
Remarks:
* = Black reference level: decimal value of a 10 bit system
** = White reference level: decimal value of a 10 bit system
All VGA Characteristics are designed to be displayed on a CRT monitor connected to “Preview Out”.
Please use the VGA Characteristic CRT to set reference black and white on the
preview monitor with brightness and contrast controls.
If more than one setting is possible the default is marked yellow.
Operating Instructions - Rev. 1 / 6.2003
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4.3. TK Config Menu
SDC 2002
13.5 VGA LUT
Off
User VGA LUT 01
With the VGA LUT the Graphics Display can be adjusted to the individual requirements by loading user defined LUTs into this area (e.g. for calibration special Print film or projector simulation ...)
Individual characteristic in R, G, and B as well as linear RGB matrixing can be
applied to the preview monitoring output.
15 VGA lookup tables “User VGA LUT 01 - 15” can be downloaded and stored
in the Spirit DataCine via the SDCMAINT program.
The handling of the User VGA LUTs is similar to the handling of the existing
User LUTs for the main data path.
Details to create, download and store User VGA LUTs, see chapter
SDCMAINT Vers. 2.23 or higher.
For instructions relating the color adaptation of the VGA Monitor or Graphics
Display, refer to the documentation of the respective manufacturer.
14.VGA Panning
Selection: Off , On
15.VGA
H - Pan
V - Pan
4-72
Off
By means of a pixel and line dropping, the scanned image is
completely displayed on the VGA Monitor.
On
All scanned pixels and lines are displayed on the VGA Monitor in a
1:1 display mode.
If the scanned image is larger then the VGA monitor resolution the VGA H-Pan
and VGA V-Pan allow to pan the VGA image within the scanned image.
VGA H-Pan
horizontal shift range of the VGA image in lines
VGA V-Pan
vertical shift range of the VGA image in lines
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
4.3.4.2
Submenu “Data” with Option Transfer Engine TE 2101 (HiPPI Serial Data Output)
Note!
HiPPI Phantom Transfer Engine Package 101 - TE 2101 is required!
If Transfer Engine TE 2111 (GSN Serial Data Output) is used the different control buttons and displays are described in the chapter 4.3.4.1 on page 4-31.
1
2 3
4 16
5
19
17 6 7
18
9
8
Fig. 436: Main menu “Tk Config” / submenu “Data” HiPPi Output
Overview HiPPI Output
The submenu “Data” allows the film scanner to be set up for HiPPI Data Output
Mode.
The function is supported with option Phantom Transfer Engine TE 2101.
In Data Mode SDTV and HDTV outputs are switched off.
1. Actual Output to display the selected standard, see also chapter 4.3.4.1
2. Data Mode 50 / 59.93 selection, see also chapter 4.3.4.1
3. HiPPi status (Option TE 2101 required)
4.
Start and Stop button for the data transfer, see also chapter 4.3.4.1
5. Image Size to define horizontal and vertical resolution, see also chapter 4.3.4.1
6. Packing mode to define the data sequences of different video components /
data words, see also chapter 4.3.4.1
Operating Instructions - Rev. 1 / 6.2003
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4.3. TK Config Menu
SDC 2002
7. Output LUT maps the output data to different levels and characteristics, see
also chapter 4.3.4.1
8. Transfer Mode provides different data flow, see also chapter 4.3.4.1
9. CRT Gamma switch, see also chapter 4.3.4.1
10. - 15. not used with Option TE 2101 HiPPI Serial I. F.
16. Connection Mode (Option TE 2101 required)
17. Destination Routing (Option TE 2101 required)
18. Image File Format Selection DPX or TIF (Option TE 2101 required)
19. Color Sequence defines the sequence of the data out video components
(Option TE 2101 required)
3. HiPPI Status
The display “HIPPI Status” shows the following possible messages:
”Transfer Start”
”Transfer Stop”
”Not Connected”
”Connected”
”Idle”
”failure”
data channel is transmitting
data channel transmitting has stopped
data channel not connected with external unit
data channel connected with external unit
data channel is ready
failure occurred in the data channel
Display of the actual data rate in MByte/s.
The actual data rate is calculated by the SPC (FY 6316.xx in Rack 3).
16.Connection
Mode
only
HiPPI I.F.
Defines the HiPPI operation mode.
Selection:
Stream / Datagram
”Stream”
Stream operation:
HIPPI data connection is established,
images are transferred,
connection is released only if errors occur or when the
data mode is switched off.
Note: that operation mode is not supported by all
external HIPPI adapters.
”Datagram”
Datagram operation:
HIPPI data connection will be established for each image,
image will be transferred,
connection will be released again.
Note: that operation mode is supported by most of the
external HIPPI adapters.
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Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
17.Destination
only
HiPPI I.F.
“Destination” routing takes the number, entered with the number keys on top
of the menu and inserts the information as logical destination into the HiPPI
data stream.
Range of destination: 0 ... 255
This information will only be used if the Spirit DataCine film scanner is used
together with a HiPPI switch.
Note:
The switch has to be programmed with the installed physical destination addresses, in order to pass the data stream to the desired logical destination.
(e.g. set destination logical address 1 to physical address 1)
A physical address can be the slot number or connector number of the HiPPI
switch.
18.Image
File Format
only
HiPPI I.F.
Defines the image file format. Each image is a separate file.
Selection:
DPX / TIFF
”DPX”
DPX format
(Digital moving Picture eXchange format)
”TIFF”
TIFF format
(Tag Image File Format)
Note!
The Tag Image File Format (TIFF ) can only be used
together with 3x8+K or 3x16+K packing mode.
All other packing modes generated files are not
according to the TIFF standard.
19.Color
Sequence
only
HiPPI I.F.
Defines the sequence of the digital video components in the 32 bit data word.
Selection:
RGB / GBR
”RGB”
sequence: R, G, B
”GBR”
sequence: G, B, R
Operating Instructions - Rev. 1 / 6.2003
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4.3. TK Config Menu
4.3.5
SDC 2002
SUBMENU “TIMECODE”
2
1
3 4
5
6
7
8
Fig. 437: Main menu “Tk Config” / submenu “Timecode”
Overview
The main menu “Tk Config” / submenu “Timecode” serves to set the linear time
code, to adjust the frame accurate counting of film frames and keycode (4perf
35mm film and 1perf 16mm film).
LTC
1. Time Code and Count area with Counter Mode selection
2. Display of counter position and setting
3. Frame count mode, selection of the frame rate
4. Linear Timecode Out, settings of LTC
Keycode
5. Keycode display of the current keycode
6. Learn Head Offset window, to set the head offset automatically
7. Position, to select the perforation hole 1, 2, 3 or 4 of the “zero frame mark”
8. Head Offset, to select/display the number of perforation holes
between key code reader head and film gate (illumination slit).
Factory setup: 62 perf holes for 16mm and 35mm films
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Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
Remarks concerning Linear Time Code (LTC)
Rack 3
TIME
TIME
CODE
CODE
LTC IN
ILTC, compatible to the SMPTE 12M standard, is available at J41 LTC OUT Rack
3 from SDC 2001 operating software V4.10 onwards and will always be generated
in “non drop frame mode”.
J 41 A
LTC OUT
J 41 B
Assignment of userbits
If a keycode reader is installed, the keycode will be mapped into the userbits.
Restrictions of LTC operation
LTC transfer via TE 2101 Transfer Engine Package 101
The transfer of LTC via Transfer Engine 101 to a workstation (e.g. OS2 / SGI)
causes a fixed delay of one frame. Example: Spirit DataCine SDC 2001 sends
LTC 00:00:00:00, Transfer Engine reads 00:00:00:01.
Problem can be solved with LTC Delay in this submenu
LTC synchronizing for SEPMAG players
Do not feed the audio signal of an externally connected Sepmag player, synchronized with LTC output (J41 LTC OUT Rack 3) from the SDC 2001, through
the audio system of the SDC 2001 - Audio 1/2 In to Audio 1/2 Out - for a signal
mix of SDC 2000 audio and Sepmag audio.
In this case audio is delayed versus video, because it passes the film scanner
audio delay which is active for audio, coming from the audio head of the DataCine SDC 2000.
A Sepmag player synchronized with the bi-phase signal (J25 SEPMAG
OUT Rack 2) from the SDC 2000 operates correct, audio / video are synchronal.
Notes!
Drop frame / Non drop frame mode
Drop-frame compensation for the 59.94 Hz standard is not supported.
SDC 2001 operates always in “non drop frame mode”.
That means, that for film speeds 30 or 24 fps and TV standard “59.94 Hz interlace” always 30 / 24 time code values are generated.
Counting mode for progressive standards
For all 59.94 / 60 Hz progressive standards one time code value is allocated
to two frames.
Operating Instructions - Rev. 1 / 6.2003
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4.3. TK Config Menu
SDC 2002
Function Buttons, Controls & Displays - Timecode
1. Counter Mode
The upper line shows the Counter Mode in which the telecine is currently
counting.
Three different modes are selectable: Timecode, Frames, Feet & Frames.
To change this mode, click on the key and make your choice from the
drop - down menu.
The display shows the current Counter Position of the telecine.
The lower line shows the Frame Count Mode depending on the output
standard.
2.Counter
Display
Display of the counter position
Film TC
Film Frames
Keycode value
Counter Setup
To enter the counter value, touch the display area and use the numeric keyline
and the function buttons.
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Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
3. Frame
Count Mode
Selection of the standard-dependent timecode operation mode.
Following frame count modes are selectable:
24 frames:
for 24 frames/sec and 60 or 59.94 Hz video systems
25 frames:
for 25 frames/sec and 50 Hz video systems
30 frames:
for 30 frames/sec and 60 Hz video systems
30 comp.*:
for 24 frames/sec and 60 or 59,94 Hz video systems
* Note:
30 comp. =
30 frames compensated
In 24 fps mode the frames are numbered from 0 to 29, but
each fifth digit is dropped:
0, 1, 2, 3,
5, 6, 7, 8,
10, 11, 12, 13,
15, 16, 17, 18,
20, 21, 22, 23,
25, 26, 27, 28,
0, 1, 2, ....
4. LTC-Out
Mode
Serves to select Linear Timecode operation mode.
Linear Timecode should not be mixed up with the Longitudinal Timecode generated in a VTR. One possible application of this feature is the synchronization
of external devices, such as DAT or Sepmag Players, it can also be used to
feed the external Timecode In of the Recorder VTR or the Phantom Transfer
Engine for HD transfers into the SGI HD Input/Output board.
With the upper key, Linear Timecode Mode settings can be made. The current
mode is displayed on the key.
Three different modes are selectable: Film Fixed, TV - TC Gen and Film Variable.
To change this mode, click on the key and make your choice from the drop down menu.
Operating Instructions - Rev. 1 / 6.2003
4-79
4.3. TK Config Menu
SDC 2002
“TV-TCGen”
In this mode the LTC signal is locked to the TV signal and has
to be used when the timecode output of the film scanner is
connected to the timecode input of a video tape recorder.
For every video frame, a unique timecode number will be
generated.
For 24 fps film speed and 59.94 /60 Hz TV-systems the repeat
rate of video fields is taken into account.
This mode can only be used with the following settings:
TV Standard
Film Speed
Frame Count
Mode
1
50Hz
25 fps
25
2
59.9Hz/60Hz **
24 fps
24
3
59.9Hz/60Hz
**
30 fps
30
4
24 progressive
24 fps
24
5
59.94Hz/60Hz progressive
24 fs
24 ***
** = non drop frame mode
*** = Two frames are allocated to one time code value
“Film-Fixed”
Operates like mode TV-TCGen, but the frame numbers are
always related to film.
Therefore TC numbers with the same value can be transmitted
multiple times at slow speeds.
Frame numbering is done according the Frame Count Mode
setting.
“Film-Variable”
In mode film-variable, the LTC frequency is variable in
the range from 12 fps to 57 fps.
For every video frame a unique timecode number will be
generated.
For all other speeds the FILM-fixed mode will be used
automatically.
Frame numbering is done according the Frame Count Mode
setting.
Note!
LTC displayed in the TC-field of each main menu is calculated according
to the LTC of the Time Code Menu
(see also parameter “Frame Count Mode”).
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Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
Delay
The lower key shows the current delay.
Different settings are needed in order to match the Linear Timecode timing with
delays introduced by external devices. The possible selection ranges from 0 to
3 frames. ”0” means no delay active.To change, click on the key and make
your choice from the drop - down menu.
Note that the telecine has to be in STOP mode.
This function is important for transfers into the SGI HD i/o board.
Following LTC count modes are selectable:
“0”
no delay of LTC signal
“1 - 3” 1 - 3 frame(s) delay of LTC signal
Different delays can be selected in order to match the timecode
signal with delays introduced by other external devices.
LTC setting can be selected between 0 and 3 frames.
The default delay after a power-up is 0 frames.
Changing LTC delay is only accepted when the filmdeck is in
STOP mode.
Operating Instructions - Rev. 1 / 6.2003
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4.3. TK Config Menu
4.3.6
SDC 2002
KEYCODE SETUP
Pressing “Learn Head Offset” opens this window
numeric keyline
control buttons
6.1
6.2
6.3
6
Fig. 438: Main menu “Tk Config” / submenu “Timecode” / window “Learn Head Offset” opened
Overview
6 Learn
Head Offset
6.1
Window Learn Head Offset / Count & Offset
6.2
Position serves to set the perforation hole at the zero frame mark
6.3
Start / Stop button for head offset processing
This window serves to set the keycode parameter “Keycode position” and
“Head Offset” via learn mode automatically.
6.1 Count + Offset “Count + Offset” serve to set the film length in feet and frames.
For setting push the “Count + Offset” window.
Numerical buttons will appear at the top of the screen.
Type the requested values and enter with the Ok-button below.
6.2 Position
4-82
Serves to set Keycode position (always perf 1 for 16mm films) and determine
the “Zero Frame Reference Mark” at the perforation holes 1 - 4 for 35mm film,
see Fig. 442: .
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
6.3
Start
Starts the learn mode for setting the “Head offset” in “perforation holes”.
Stop aborts the learn mode.
4.3.7
CHECKING AND OPERATING KEYCODE GENERATION
EVERTZ / AATON
ARRI
Keycode Reader
Pre-conditions
&
Restrictions
The operating procedure applies to keycode data reproduction including insertion
into the ancillary data of the HiPPI output and into the user bits of the LTC Out and
SDTV (Video + VITC).
The data is generated by a keycode reader from the manufacturers EVERTZ,
AATON Keylink System V.8 or ARRI.
For details see the system applications in the Customer’s Manual “Planning & Information” chapter 3.
he system operates only with 4 perf 35mm and 1 perf 16mm films correct.
AATON Keylink system V 8.2 or higher is required.
Evertz Keycode reader models 5500 and 5550 are tested by Thomson.
2, 6 and 8 perf film material are not supported from the AATON, EVERTZ and
ARRI keycode readers.
Note concerning Keycode Reader setup!
The setup procedure for 16mm and 35mm (1, 3, 4 perf) film material is the same.
1. Check the connection from the keycode reader head to the reader device (decoder).
SDC 20001
Rack 2
2. Check the connection from the keycode reader device (decoder):
EXTERN
KEYCODE IN
J21
EVERTZ:
“Serial I/O” to the keycode reader input of SDC 2001 Rack 2 - EXTERN KEYCODE IN J21 (9 pin / RS 232).
Cable
Evertz 5500 / 5550
SDC 2001
Sub-D 9 pin (male)
Sub-9 pin (male)
3 ------------------------------------ 2
2 ------------------------------------ 3
5 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 5 GND
Operating Instructions - Rev. 1 / 6.2003
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4.3. TK Config Menu
SDC 2002
ARRI:
“Serial I/O” to the keycode reader input of SDC 2001 Rack 2 - EXTERN KEYCODE IN J21 (9 pin / RS 232).
Cable
ARRI
SDC 2001
Sub-D 9 pin (male)
Sub-9 pin (male)
2- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 2
3 ------------------------------------ 3
5 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 5 GND
AATON:
“Keylink Com 1” to the keycode reader input of SDC 2001 Rack 2 - EXTERN
KEYCODE IN J21 (9 pin / RS 232).
Rack 2
VARIOUS OUT
TC GEN OUT
Cable 1
AATON
Sub-D 25 pin (male)
3 -----------------------------------2 -----------------------------------7 ------------------------------------
SDC 2001
Sub-9 pin (male)
2
3
5 GND
Cable 2 (is part of the AATON Keylink System)
J23
Keylink PC “MTC board top socket” to the bi phase sync signal output of
SDC 2001 Rack 2 - TC GEN OUT - J23 (9 pin / control I.F.)
3. Only for AATON Reader!
Adjust bi phase pulse to one pulse per frame.
Select menu Special - submenu Extern D (Devices)
Choose parameter “TC Generator Out Coupling” and set -1*BiPhase
Fig. 439: Main menu “Special”, submenu “Extern D”
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Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
4. Thread a 16mm or 35mm film with keycode.
5. Select Play mode
6. Adjust the keycode reader settings (film type, intensity, ...) as described in the
keycode reader manual (EVERTZ / AATON / ARRI).
7. Open the Timecode menu
The current keycode should be displayed, “count” and “offset” values should
change.
Note!
If question marks
are displayed,
repeat step 5!
Fig. 440: Window “Key Code” section of submenu “Timecode”
8. Select STOP mode
9. Open submenu “Timecode” window.
“Key Code” setup will be displayed.
Adjust the reader head offset as described in chapters “Manual Setup” 4.3.8
or Learn Mode “Head Offset” 4.3.10
10. Check that the correct reader type is displayed in the “Key Code” setup window.
Reader type:
EVERTZ, AATON or ARRI
Reader Type
EVERTZ, AATON or
ARRI is recognized
via RS 232 I.F.
Rack 2 - J21 KEYCODE IN
Fig. 441: Window “Key Code” setup
Operating Instructions - Rev. 1 / 6.2003
4-85
4.3. TK Config Menu
4.3.8
SDC 2002
MANUAL SETUP
Adjust
Reader offset
1. Set head offset in “perforation holes” (default value: 62 for 16mm and 35 mm
films); the distance (amount of perforation holes) between reader head and film
gate (illumination slit).
Use the numerical buttons to insert the “head offset” value.
2. Set keycode position (always “perf-1” for 16mm films)
Zero Frame
Reference Mark
Determine the “Zero Frame Reference Mark” at the perforation holes 1 - 4, for
example perforation hole 3 as shown in the next figure.
Zero Frame
Count + Offset
5666 + 01
5666 + 00
5665 + 15
35mm 4 perf Film
with Keycode
4
Manuf.
ID
Film
ID
3
22 2324
5666
Reel
ID
Film
Length
2
1
Zero Frame reference mark
“keycode position perf. 3”
Bar Code
Fig. 442: 35mm 4 perf film with keycode
Keycode position and head offset are set manually!
Position
Perforation Hole 3
Head Offset (Perf Holes) 62
Fig. 443: Main menu “Tk Config” / submenu “Timecode”
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Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
3. Check the Keycode
Play a short piece of film and take care that any Keycode is read on the reader
device and compare the keycode of the currently scanned frame with the displayed code in the submenu “Timecode”.
Window “Key Code”
Count:
Offset:
Film length in feet
Frame offset (e. g. 0 -15 for 4 perf 35mm film)
Prefix: Ident of film roll
Count & Offset
Film length in feet
& Frame offset
Fig. 444: Submenu “Timecode” / window “Key Code”
4.3.9
REMARKS CONCERNING THE KEYCODE NUMBERING
Important!
In general the system ensures that the keycode numbering related to the film
frames is always correct for the different film perforations (1, 3, 4).
Keycode numbering
for 3, 4, perf 35mm
films
To avoid an ambiguity of the keycode to the film frame the keycode offset is calculated according to “SMPTE Recommended Practice RP 195-1998” as follows:
Keycode number repetition rate K (64 perf) modulo the frame repetition rate R
(e.g. 4 perf per frame for a 4 perf 35mm film).
For details, see the next table.
Offset matching for 35mm films
Keycode number repetition rate = 64 perforation holes
(16 frames for 4perf 35 mm film or 21/21/22/21/21/22.. frames for 3perf 35mm film)
Frame Repetition
Rate
Perf/Frame
Keycode Count
(in feet)
Offset (in frames)
3
xxxx
+00 .... +20 (21 frames) foot 1/2/4/5
+00 .... +21 (22 frames) foot 3/6..
4
xxxx
+00 ... +15 (16 frames)
Defining the first foot of 3 perf films:
The first foot is the foot in which the reference mark appears within the first K-modulo-R perforations.
Example:
In numbering the frames of 35mm 3 perf, by convention, the first foot and second
foot each include 21 frames, numbered +00 through +20, and the third foot includes
22 frames, numbered +00 through +21.
Operating Instructions - Rev. 1 / 6.2003
4-87
4.3. TK Config Menu
SDC 2002
The first foot is the foot in which the reference mark appears at the first perforation
after the frame line at the start of the foot, as shown below.
Zero Frame
Count + Offset
5666 + 01
5666 + 00
5665 + 21
5665 + 20
35mm 3 perf Film
with Keycode
3
Manuf.
ID
Film
ID
2
22 2324
5666
Reel
ID
Film
Length
1
Zero Frame reference mark
“keycode position perf. 1”
Bar Code
Fig. 445: 35mm 3 perf film with keycode
Offset matching for 16mm films
Keycode numbering
for 1 perf
16mm films
4-88
Keycode number repetition rate = 20 perfs!
Perf/Frame
Keycode Count
1
xxxx
Offset
+00 ....
+19 (20 frames)
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
4.3.10
LEARN MODE “HEAD OFFSET” (AUTOMATICALLY)
1. Mark a reference frame on the film
and note the respective keycode (count) printed on the film edge and the offset
which is the number of frames between the zero frame (Count xxxx+ offset 00)
and the marked frame.
Example of the marked frame below:
Count = 5666 Offset = 01
Zero Frame
Count + Offset
5666 + 01
5666 + 00
5665 + 15
35mm 4 perf Film
with Keycode
4
Manuf.
ID
Film
ID
22 2324
5666
Reel
ID
Film
Length
3
2
1
Zero Frame reference mark
“keycode position perf. 3”
Bar Code
Fig. 446: 35mm 4 perf film with keycode with marked reference frame
2. Park the film at the marked reference frame (Film gate position, illumination
slit))
3. Set keycode Position
(always “perf 1” for 16mm films)
Determine the perforation hole which is marked with the dot of the “Zero Frame
Reference Mark” (for example “perf 3” as shown in figure Fig. 446: ).
Position
Operating Instructions - Rev. 1 / 6.2003
Perforation Hole 3
4-89
4.3. TK Config Menu
SDC 2002
4. Set Count and Offset of the reference frame from step 1
Submenu “Timecode” / window “Learn Head Offset”.
Set both with the numeric keyline.
Fig. 447: Submenu “Timecode“ with window “Key Code” setup
5. Press “Start“ to execute the learn mode
While the SDC 2001 is in the “learn mode”, softkey “Start“ is activated.
Using “Stop” aborts the “learn mode”.
6. Rewind a short piece of film
Select PLAY mode and transfer the scene which includes the reference frame.
Take care, that at least one keycode is read during this transfer.
If the SDC 2001 has learned the head offset successfully, learn mode softkey
“Stop“ is activated again.
If an error occurs during this procedure, a warning message will be displayed.
Then you have to retry the head offset learning procedure.
7. Check the keycode
Play a short piece of film and take care that any keycode is read on the reader
device and compare the keycode of the currently scanned frame with the displayed code (count & offset) in submenu “Timecode”.
Field Keycode:
Count:
FIlm length in feet
Offset:
Frame offset
4-90
Operating Instructions - Rev. 1 / 6.2003
4.3. TK Config Menu
SDC 2002
4.3.11
REMARKS CONCERNING “KEYCODE IN DATA, VITC & LTC
Data Output
For inserting keycode in DPX data, the option TE 2150 Transfer Engine Package including FY 6345 Data Output board and the serial I/O HiPPI interface is
required.
The keycode generated in the SDC 2001 is available in the DPX Data and with
the appropriate Keycode Encoder at the video outputs (Video + VITC) and LTC
out.
Servo Locked
Keycode is only evaluated if the servo is locked.
If count
errors occur
If keycode “count” and “offset” do not match to the right frame, please check
Auto Adjust
If the keycode position (reference dot position) changes during a transfer with
that the keycode position (reference dot) and “head offset” are properly adjusted.
a fixed speed, the system automatically adjusts the new position.
Note for EVERTZ Reader!
This works only, if at least one keycode before the position change and one keycode after the change are read with the same speed and play direction.
Reader Type
The reader type (AATON, Evertz or ARRI) is automatically adjusted after the
reader has read and transferred any key code to the SDC 2001.
The Standard
Additional information about the keycode standard see also www.kodak.com.
Keycode Display
The keycode information is also available in addition to the timecode informa-
Specter VDC 2000
&
Phantom
Transfer Engine
tion on the timeline of Specter VDC 2000 and the Phantom Transfer Engine,
if the DPX header contains valid keycode information.
Only the keycode of the current playout frame is displayed.
Operating Instructions - Rev. 1 / 6.2003
4-91
4.3. TK Config Menu
SDC 2002
Keycode Display Specter VDC 2000
02 96 121212 6860 03
37225
02 96 121212 6860 03
Manuf_ID
Film_ID
Prefix
(Film Roll ID)
37225
Count
(Film Length in feet)
Offset
(frames)
Film
frames
Fig. 3: Keycode Display Specter VDC 2000
Keycode Display Phantom Transfer Engine
02 96 121212 6860 03
Manuf_ID
Film_ID
Prefix
(Film Roll ID)
Count
(Film Length
in feet)
Offset (frames)
Fig. 4: Keycode Display Phantom
4-92
Operating Instructions - Rev. 1 / 6.2003
SDC 2002
4.4
4.4.1
4.4 Film Menu
FILM MENU
Main menu
Submenus
Film
Matching
Masking
SUBMENU “MATCHING”
1
7
2
8
9
3
10
4
5
6
Fig. 405: Main menu “Film” / submenu “Matching”
Overview
The main menu “Film” / submenu “Matching” shows the user the matching settings in the black (Lift) and white (Gain) areas, the intensity of film illumination, the
video level and the film settings (film type and video basic gain):
Operating Instructions - Rev. 1 / 6.2003
4-93
4.4 Film Menu
SDC 2002
1. Video, display of film video level (in %)
2. Light, display and setting of intensity of film illumination (in %)
3. Display of Xenon lamp current in Ampere (A)
4. Gain, display and setting of R/G/B matching settings in the white areas (in %)
5. Lift, display and setting of R/G/B matching settings in the black areas (in %)
6. Perforation, display and setting of film perforation (2 - 6 Perf)
7. Gain, display and switching the analog gain (0 / 6 db)
8. Film Type, display and setting of film type (e.g. Pos / Neg)
9. Color, to switch on / off the color information
10. Gang to adjust all the ”Lifts” and all the ”Gains” (RGB) coupled or separated
1. Illumination
Adjustment
Serves for setting the intensity of film illumination and adjusting the video level.
2. Light
Display and control of lamp current.
When exiting the selection, the last illumination intensity value is stored.
3. Display
18,0 A
Xenon lamp current display.
Attention!
Exceeding 22A lamp current may shorten the life span of the bulb.
Shot button,
serves during Play for setting the intensity of film illumination once to 100%
video level.
4. Gain
5. Lift
Red/Green/Blue
4-94
This window serves to define the (analog) basic gain of the video amplifier in
the AIH (Analog Image Head).
Selection:
0 dB / 6 dB
“0 dB”
simple basic gain x 1
“6 dB”
double basic gain x 2
Bar graph matching Lift for RED, GREEN or BLUE
serves for setting the RGB black level matching.
Operating Instructions - Rev. 1 / 6.2003
SDC 2002
6.
Gang
4.4 Film Menu
The adjustment of the RGB black levels (lift) and RGB white levels (gain)
can either be done by setting each level separately or all the ”Lifts” and all
the ”Gains” together.
If the button ”Gang” is switched on, the three black levels and the three white
levels can be adjusted together with either one digipot or slider. E.g. the ”Red
Gain” level is changed and the ”Green Gain” and ”Blue Gain” levels follow in
the same way.
The ratio between the three levels (”Gains” or ”Lifts”) is maintained in this operation mode.
Print Positive
Fig. 406: Submenu “Matching” with coupled adjustment of all ”Lifts” and ”Gains” (RGB)
7. Perforation
This window serves for perf selection in dependence on the film to be played.
The number of perforation holes per film frame determines the value to be set.
Selection:
8. Gain
Red/Green/Blue
2 PERF / 3 PERF / 4 PERF / 6 PERF / 8 PERF
Bar graph matching Gain for RED, GREEN or BLUE
serves for setting the RGB white level matching.
Operating Instructions - Rev. 1 / 6.2003
4-95
4.4 Film Menu
9. Film Type
SDC 2002
This window serves to define the film type used.
Selection:
Print Pos / Neg
Intermediate Pos / Neg
Primetime Pos / Neg
Color Pos / Neg
”Print Positive”
used with print films, POS: negative inversion OFF
”Print Negative”
used with print films, NEG: negative inversion ON
”Intermediate Pos” used with intermediate films, POS: neg. inversion OFF
”Intermediate Neg” used with intermediate films, NEG: neg. inversion ON
”Primetime Pos”
used with primetime films, POS: neg. inversion OFF
”Primetime Neg”
used with primetime films, NEG: negative inversion ON
”Color Positive”
used with color films, POS: negative inversion OFF
”Color Negative”
used with color films, NEG: negative inversion ON
Note!
Film types with orange mask are optically compensated.
Intermediate, Primetime and Color (POS or NEG) film types have different
“orange mask compensations”.
Print
Pos or Neg
The “Print POS” selection creates an illumination spectral balance that, in conjunction with electronic masking or matrixing, will allow color reproduction of
color print films approximating that achieved with optical projection.
The “Print NEG” selection creates an illumination spectral balance that allows
scans of unmasked or b/w negative films.
Intermediate
Pos or Neg
The “Intermediate POS or NEG” selection creates an illumination color spectral
balance with sensitivity peaks that closely match the film dye density peaks of
Eastman EXR Color Intermediate Film 5244. This mode of illumination also
compensates for the red, green and blue minimum densities (D-min) caused by
colored masking colored coupler found in the Eastman EXR Color Intermediate
Film 5244 stock.
Primetime
Pos or Neg
The “Primetime NEG” selection creates an illumination color spectral balance
that is optimized for the characteristics of low-contrast Eastman Primetime
negative film.
The “Primetime POS” selection creates an illumination color spectral balance
to scan positive films with an orange mask close to prime time NEG films.
Color
Pos or Neg
The “Primetime POS” selection creates an illumination color spectral balance
to scan positive films with an orange mask close to prime time NEG films.
4-96
Operating Instructions - Rev. 1 / 6.2003
SDC 2002
6/8 perf
4.4 Film Menu
Notes concerning 6/8 perf mode!
6/8 perf mode requires the options FH 1639 Vistavision and FH 1674
Rotation.
90 0 Rotation
for 8perf
The vertical position of the 8 perf image requires a 90o rotation of the
scanned image for the correct reproduction at the video outputs.
Vistavision
&
Cinerama
The selectable 6 / 8 perf standards are:
Vistavision1 8 perf 35mm film standard
Cinerama1 6 perf 35mm film standard
TV Standards
H&V
Resolution
6/8 perf mode operates in SDTV, (H)DTV2 and Data3 mode. The images are
scanned in horizontal direction with approx. 1500 lines, the vertical resolution is
based on1920 pixels.
Restrictions
Film speed restrictions
The maximum film speed for 6/8 perf mode is 30 fps fixed speed or 31.000 fps
in SAS.
ACA LGA
The ACA Lens Gate Assembly is not supported in the 6/8 perf mode.
ACA Emulation
The ACA emulation is not supported in the 6/8 perf mode.
Markers
Markers are not supported in 6/8-perf mode.
Framing
Framing shifts the image horizontally.
Resolution
The (H)DTV resolution in horizontal direction is limited to approx. 1500 lines
due to the 90o rotated image scanning.
Editing Operation
The ballistic of the servo system in the filmdeck is changed for 6/8 perf mode.
That means editing operation with the default telecine controller parameter is
not accurate. (Pre-roll, stop etc.)
Please find out the new 6/8 perf setup parameter by testing the editing functions of your telecine controller in 6/8 perf mode.
Use alternatively he “default setup” or the “6/8 perf setup” parameters depending of the 2-4 perf or 6/8 perf mode.
(run-up time has been changed to approx. factor 2)
Perforation selection locked
Selecting of 2, 3, 4, 6 and 8 perf film scanning is only possible in STOP mode.
Changing of perf selections - performed by the Functional Control Panel or telecine controllers - during PLAY, Shuttle, JOG etc. will be ignored.
1
2
3
Trademarks! All brands and product names are trademarks of their respective companies!
Requires Option DTV
Requires Option Phantom Transfer Engine TE2150
Operating Instructions - Rev. 1 / 6.2003
4-97
4.4 Film Menu
To switch on / off the color information.
10.
Color
4-98
SDC 2002
”off”
”on”
for black/white films
for color films
Operating Instructions - Rev. 1 / 6.2003
SDC 2002
4.4.2
4.4 Film Menu
SUBMENU “MASKING”
1
2
3
4
5
6
Fig. 407: Main menu “Film” / submenu “Masking”
Overview
The submenu “Masking” serves the color adaption to the actually used film.
Adaption is made optionally by selection of fixed or variable masking coefficients.
Print, intermediate, primetime and color films are adaptable
(positive and negative films, see section 4.4.1 “Matching”).
1. Current User, shows the selected user setup from menu TK Mems
2. R/G/B in * C1/9
R in
G in
B in
*
C1
C4
C7
=
R/G/B out, represents the matrix equation
C2
C5
C8
C3
C6
C9
=
R out
G out
B out
3. Film Masking, to switch on / off the masking adjustment
4. Masking Mems, to select individual or fixed masking coefficients.
Fixed masking coefficients, see next paragraph
5. Enter new Mem: to enter the name of new individual masking coefficients
6. Characteristic, to select “Linear” (mainly for correction of positive films)
or “Logarithmic” (mainly for correction of negative films)
Fixed masking coefficients, see next paragraph.
Operating Instructions - Rev. 1 / 6.2003
4-99
4.4 Film Menu
SDC 2002
Various fixed sets of coefficients are available.
Depending from the selected Film Type (Illumination filter of the Filter wheel)
Fixed sets of
Coefficients
PRINT
Print positive or negative
COLOR
Color positive or negative with orange mask
PT
Primetime negative with orange mask
IMED
Intermediate positive or negative
example for film type Print pos or neg:
new matrix
TCP 5285
delete matrix
TCP LIMX
Comm_01
TCP 5381
Comm_02
Spec_4
Comm_03
Spec_5
Comm_04
Spec_6
Comm_05
Spec_7
Comm_06
Spec_8
Comm_07
Spec_9
Comm_08
Spec_10
Comm_09
Comm_10
Comm_11
Spec_11
Spec_12
Spec_13
Spec_14
Comm_12
Spec_15
Comm_13
Spec_15
Comm_14
Spec_15
All fixed coefficients Special or Comm, see next two tables.
Select Spec(ial)
Selection of different film-dependent masking sets in the format:
XYYZZZZ (X = manufacturer, Y = film type, Z = film identification)
e.g.: KCN5247 = Kodak Color Negative 5247
X
YY
K = Kodak
CP = Color Print
G = Agfa
CN = Color Negative
F = Fuji
IM = Intermediate
T = Test
PT = Primetime
Fixed matrix types, selectable at SDC 2001 and depending on the film type selection:
Intermediate
Print
Primetime
Color
Pos
Neg
Pos
Neg
Pos
Neg
Pos
Neg
TCP5285
-
TIM5244
-
-
TPT5600
-
TCNEXR1
TCPLIMX
-
KIM5244
-
-
TPN5600
-
TCN5279
TCP5381
-
TIP5244
-
-
-
-
-
Matrix coefficients, see next table:
4-100
Operating Instructions - Rev. 1 / 6.2003
SDC 2002
4.4 Film Menu
Fixed masking - coefficients, 1, 3, 5, 8, and 9 for TAF (Telecine Analysis Film) optimized
Item
Matrix Name
(Filter)
1
TCNEXR1
(Filter Color)
2*
TCN5279
(Filter Color)
3
TPT5600
(Filter Primetime)
4*
TPN5600
(Filter Primetime)
5
KIM5244
(Filter Intermediate)
6*
TIP5244
(Filter Intermediate)
7
TIM5244
(Filter Intermediate)
8
TCP5285
(Filter Print)
9
TCPLIMX
(Filter Print)
10*
TCP5381
(Filter Print)
Masking Coefficient
Kodak Film Type
Color Negative TAF log. masking
R’ =
G’ =
B’ =
0.90 R
0.00 R
0.00 R
5279
+ 0.05 G
1.05 G
0.05 G
+ 0.05 B
- 0.05 B
+ 0.95 B
Color Negativ TAF log masking
R’ =
G’ =
B’ =
0.85 R
- 0.05 R
0.10 R
5279
+ 0.05 G
1.05 G
- 0.20 G
+ 0.10 B
- 0.00 B
+ 1.10 B
Primetime Negative TAF log. masking
R’ =
G’ =
B’ =
1.14 R
0.00 R
0.04 R
5600
- 0.13 G
1.04 G
+ 0.16 G
- 0.01 B
- 0.04 B
+ 0.80 B
Primetime Negativ TAF log masking
R’ =
G’ =
B’ =
1.00 R
- 0.03 R
0.17 R
5600
- 0.03 G
1.08 G
0.03 G
+ 0.03 B
- 0.05 B
+ 0.80 B
Intermediate Positive Normal log. masking
(Not TAF, but film scenes optimized)
R’ =
1.05 R
- 0.05 G
G’ =
- 0.05 R
+ 1.10 G
B’ =
0.02 R
+ 0.04 G
0.00 B
- 0.05 B
+ 0.94 B
Intermediate Positive TAF log masking
R’ =
G’ =
B’ =
0.92 R
-0.02 R
0.12 R
- 0.00 G
+ 1.00 G
- 0.12 G
5244
+ 0.08 B
+ 0.02 B
+ 1.00. B
Intermediate Positive TAF log. masking
R’ =
G’ =
B’ =
0.94 R
0.05 R
0.02 R
+ 0.05 G
+ 1.09 G
+ 0.04 G
1.00 R
- 0.05 R
0.00 R
- 0.06 G
+ 1.11 G
- 0.08 G
0.98 R
- 0.05 R
0.00 R
- 0.03 G
+ 1.10 G
- 0.05 G
0.97 R
- 0.13 R
0.03 R
- 0.02 G
+1.20 G
- 0.15 G
5285
+ 0.05 B
- 0.05 B
+ 1.05 B
Print Positive TAF log masking
R’ =
G’ =
B’ =
5285
+ 0.06 B
- 0.06 B
+ 1.08 B
Print Low Contrast Positive TAF linear matrix
R’ =
G’ =
B’ =
5244
+ 0.01 B
- 0.14 B
+ 0.94 B
Print Low Contrast Positive TAF log. masking
R’ =
G’ =
B’ =
5244
5381
+ 0.05 B
- 0.07 B
+1.12 G
* = Masking coefficient exclusive for SDC 2001 and SDC 2000 scanners from serial no.: 200 onwards.
Operating Instructions - Rev. 1 / 6.2003
4-101
4.4 Film Menu
SDC 2002
Masking switched off, the default masking coefficient is set to:
Masking
R’
G’
B’
=
=
=
1.00 R
0.00 R
0.00 R
0.00 G
1.00 G
0.00 G
0.00 B
0.00 B
1.00 B
Selection of different basic sets “COMM”:
Item
Matrix Name
0
Comm 0 = off
1
Comm_1
2
3
4
5
6
7
8
9
10
4-102
Comm_2
Comm_3
Comm_4
Comm_5
Comm_6
Comm_7
Comm_8
Comm_9
Comm_10
Masking Coefficient
R’ =
G’ =
B’ =
Film Type
1.00 R
0.00 R
0.00 R
0.00 G
1.00 G
0.00 G
0.00 B
0.00 B
1.00 B
log masking
R’ =
+1.10 R
G’ =
0.00 R
B’ =
0.00 R
- 0.10 G
1.00 G
0.00 G
0.00 B
0.00 B
1.00 B
log masking
R’ =
+ 1.10 R
G’ =
0.00 R
B’ =
0.00 R
0.00 G
1.00 G
0.00 G
- 0.01 B
0.00 B
1.00 B
log masking
R’ =
1.00 R
G’ =
0.00 R
B’ =
0.00 R
0.00 G
+ 1.10 G
0.00 G
0.00 B
- 0.10 B
1.00 B
log masking
R’ =
1.00 R
G’ =
0.00 R
B’ =
0.00 R
0.00 G
+ 1.10 G
- 0.10G
0.00 B
- 0.10 B
+ 1.10 B
log masking
R’ =
+ 1.10 R
G’ =
0.00 R
B’ =
0.00 R
- 0.10 G
+ 1.10 G
0.00 G
0.00 B
- 0.10 B
+ 1.00 B
log masking
R’ =
+1.10 R
G’ =
0.00 R
B’ =
0.00 R
- 0.10 G
+ 1.10 G
- 0.10 G
0.00 B
- 0.10 B
+ 1.10 B
log masking
R’ =
+1.10 R
G’ =
0.00 R
B’ =
0.00 R
- 0.10 G
1.00 G
- 0.10 G
0.00 B
0.00 B
+ 1.10 B
log masking
R’ =
+1.10 R
G’ =
0.00 R
B’ =
0.00 R
0.00 G
1.10 G
- 0.01 G
- 0.10 B
- 0.10 B
+ 1.10 B
lin masking
R’ =
+1.10 R
G’ =
0.00 R
B’ =
0.00 R
- 0.10 G
1.00 G
0.00 G
0.00 B
0.00 B
1.00 B
lin masking
R’ =
+ 1.10 R
G’ =
0.00 R
B’ =
0.00 R
0.00 G
1.00 G
0.00 G
- 0.01 B
0.00 B
1.00 B
Operating Instructions - Rev. 1 / 6.2003
SDC 2002
11
12
13
14
15
16
4.4 Film Menu
Comm_11
Comm_12
Comm_13
Comm_14
Comm_15
Comm_16
Characteristic
lin masking
R’ =
1.00 R
G’ =
0.00 R
B’ =
0.00 R
0.00 G
+ 1.10 G
0.00 G
0.00 B
- 0.10 B
1.00 B
lin masking
R’ =
1.00 R
G’ =
0.00 R
B’ =
0.00 R
0.00 G
+ 1.10 G
- 0.10G
0.00 B
- 0.10 B
+ 1.10 B
lin masking
R’ =
+ 1.10 R
G’ =
0.00 R
B’ =
0.00 R
- 0.10 G
+ 1.10 G
0.00 G
0.00 B
- 0.10 B
+ 1.00 B
lin masking
R’ =
+1.10 R
G’ =
0.00 R
B’ =
0.00 R
- 0.10 G
+ 1.10 G
- 0.10 G
0.00 B
- 0.10 B
+ 1.10 B
lin masking
R’ =
+1.10 R
G’ =
0.00 R
B’ =
0.00 R
- 0.10 G
1.00 G
- 0.10 G
0.00 B
0.00 B
+ 1.10 B
lin masking
R’ =
+1.10 R
G’ =
0.00 R
B’ =
0.00 R
0.00 G
1.10 G
- 0.01 G
- 0.10 B
- 0.10 B
+ 1.10 B
Mode Linear is mainly used when correcting positive films
(projection-related correction).
Mode Logarithmic is mainly used when correcting negative films
(scene-related correction).
Operating Instructions - Rev. 1 / 6.2003
4-103
4.4 Film Menu
4-104
SDC 2002
Operating Instructions - Rev. 1 / 6.2003
SDC 2002
4.5
4.5 Color Menu
COLOR MENU
4.5.1
Main menu
Submenus
Color
Primary
6 Sector
Col Set
SUBMENU PRIMARY
1
4
2
5
3
100%
6
7
9
8
10
Fig. 408: Main menu “Color”, submenu Primary
Overview
The sub menu “Primary” provides primary color grading functions.
1. Button “Bypass” switches the DataCine’s Primary Color Correction on / off
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4.5 Color Menu
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2. The Color button switches the video signal processing from color to monochrome mode
3. Slider “Master Saturation” controls the overall color saturation
4. Slider “Toe” stretches or compresses the gamma curve in the black / dark parts
of the picture
5. Slider “Shoulder” stretches or compresses the gamma curve of the withe / light
parts of the picture
6. Master “Black” controls the dark parts of the picture
7. Master “Gamma” controls the mid-tones of the picture
8. Master “White” controls the light parts of the picture
9. RGB Black, RGB Gamma and RGB White changes the color balance of the picture
10. Designations of the digipot controls
Function Buttons, Controls & Displays
1.
Button “Bypass” switches the Primary Color Correction on / off.
For images which should not be affected by the Telecine’s Primary Color
Correction the BYPASS key must be switched on.
BYPASS is enabled when the bar on the button is yellow.
2.
To switch on / off the color information.
Color
”off”
”on”
for black/white films
for color films
3. Master
Saturation
This key controls the overall color saturation.
It works in both directions: you can desaturate or enhance saturation.
The default value is 100%.
To operate, use the digipot control or slide directly on the touchscreen.
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4.5 Color Menu
4. Toe Linear
This function stretches or compresses the gamma curve in the blacks/dark
parts of the picture.
There are 5 positions available:
High Compression, Low Compression, Linear, Low Stretch, High Stretch.
Linear is the default.
To operate, use the corresponding digipot or slide directly on the touchscreen.
Apply low or high compression to easily achieve ”print look” when working with
negative film.
Use low or high stretch to brighten up the blacks when working with high contrast Prints.
5. Shoulder
This function stretches or compresses the gamma curve in the whites/light
parts of the picture.
There are 5 positions available:
High Compression, Low Compression, Linear, Low Stretch, High Stretch.
Linear is the default.
To operate use the corresponding digipot or slide directly on the touchscreen.
Apply low or high stretch to bring down the lights of a steep Print.
Use low or high compression to brighten up the lights of a flat material.
Master
6. Black
7. Gamma
8. White
Master BLACK controls the dark parts of the picture.
Master GAMMA controls the mid - tones of the picture.
Master WHITE controls the light parts of the picture.
The combination of these controls and especially bringing GAMMA up or down
makes the picture look softer or harder in contrast.
To operate, use the corresponding digipot or slide directly on the touchscreen.
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4.5 Color Menu
9. RGB
Black Gamma
White
SDC 2002
These controls are used to change the color balance in the Black, White and
Gamma (mid - tone) parts of the picture.
There are two ways of operating: Take a pencil (or your finger) and slide directly on the colored hexagon of the touchscreen.
The more comfortable way is to use the trackball. By clicking on the area
around the hexagon, the control is delegated to the trackball.
Trackball
The currently active control (Black, Gamma or White) is then highlighted. The
cursor inside the hexagon indicates the working position.
Highlighted active control delegated to the trackball
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SDC 2002
4.5.2
4.5 Color Menu
SUBMENU 6 SECTOR COLOR
1
2
3
4
5
6
7
Fig. 409: Main menu “Color”, submenu 6 - Sector
Overview
This submenu allows a selective color correction based on six color sectors:
Red, Green, Blue, Yellow, Cyan and Magenta.
1. Button Bypass switches the secondary color correction on / off
2. Mark key separates a certain color value in solochrome or flashing mode
3. Qualifying scheme and display of the color circle with six color sections
4. Master Chroma 6SC serves for global color saturation
5. Position & Width alter hue and the angle of the selected color
6. Luminance, saturation and hue sliders modify the selected color
7. Qualifying scheme an display of luminance, saturation and hue values for the
selected color
All modifications are weighted with the saturation to avoid noise increase for low
saturated objects.
To perform a smooth transition between modified colors, each sector has a center
hue where all modifications will apply 100%, and a symmetric width with a linear
decrease of the modifications towards zero at the sector boundaries.
To allow a creative color makeup the center position and the sector width can be
modified individually for any of the six sectors, to select a particular color or color
range that is intended to the modified or altered.
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Each sector allows altering of luminance saturation and hue for the sectors selected color range.
Details of 6SC Processor, see next chapter 4.5.3.
4.5.3
Description of 6 Sector Color Processor
Primary
Color Corrector
Thomson film scanning solutions are provided with a standard primary color corrector (RGB) which offers extensive range and latitude combined with precise digital control.
This correction is real-time and resolution-independent, up to 2K. So correction for
any output format is supported, even data, with transparent switching between the
formats.
Secondary
Color Corrector
There are applications where the basic primary functionality need be enhanced
with basic secondary color control, the 6SC Processor.
This option is a cost-effective solution designed to be used with a controller only,
or to enhance the features offered by third party color correctors available on the
market today.
Dailies, best light transfers and the growing adoption of downstream disk-based
color correction systems require a high-quality basic grade before the finishing
touches are applied downstream.
Just like the primary color correction system, the secondary color corrector is realtime, resolution-independent and working with the full film color space and at full
film resolution.
Features
Controls:
Color
Position
Width
Saturation
Hue
Luminance
6SC Limiter
S100-S108
H100-H108
Color Legalizer
avoids
illegal colors
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The basic secondary color processor extends the primary color corrector already
supplied with Thomson film scanners and vastly increases the functionality and
flexibility of the basic telecine system.
Selected colors can be changed in luminance, saturation and hue across a wide
range.
The qualification of the selected color is defined by hue, with six independently applicable sectors: red, yellow, green, cyan, blue and magenta.
To increase creative latitude we also refine the qualification of the color by adjustment of the position and width of each sector. Also provided is a master saturation control.
Another very powerful feature within this option is a limiter and color legalizer.
The limiter works in the luminance channel and can be switched between hard and
soft clipping.
The legalizer (illegal colors) is switchable (on / off) and works in the chrominance
channel.
The color tint (hue) is always maintained but the saturation is reduced in that particular picture element.
The RGB output stage of the telecine and these features are an innovative way to
maintain creative latitude and also ensure that within legal color ranges, the user
is making possible the use of highly saturated colors without having to worry about
illegal colors.
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4.5 Color Menu
Color Selection - Position & Width
“Position” applies to the color selection within a range of 30o
“Width” adjusts the color range from 10o to 230o, default 120o
Selection = Application of modification parameters (lum / sat / hue) for a pixel with a given hue
Selection
Yellow
173o
Red
113o
Magenta
53o
Blue
353o
Cyan
293o
Green
233o
Red
113o
Yellow
173o
Color selection
30o with Position
100%
50%
0%
135o
90o
45o
0o
315o
270o
225o
180o
135o
Hue
Color range: narrow or broaden with Width, 10o - 230o, default 120o
All modifications are weighted with the saturation to avoid noise increase for
low-saturated objects.
Fig. 410: Color selection
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4.5 Color Menu
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Color Modification - Luminance, Saturation & Hue
Luminance
“Luminance” has an effect on the luminance amplitude within a range of 0 400%
white
yellow
cyan
green magenta
red
blue
black
1.0
0.8
Adjust Y- amplitude with
Luminance
e.g red sector
0.6
0.4
0.2
0
-0.2
Fig. 411: Luminance signal
Hue and saturation in vector display
“Hue” changes a center color within a range of 180o of a color circle
“Saturation” changes the selected color gain from 0% - 200%
Adjust color tint with Hue
(R - Y)
0.7
Red
0.6
Adjust color amp. with
0.5
Saturation
0.4
Magenta
0.3
0.2
Yellow
0.1
0.1 0.2 0.3 0.4 0.5
0.6
0.7
- (B-Y)
(B-Y)
-0.7 -0.6
-0.5
-0.4 -0.2 -0.2
Blue
-0.1
-0.2
-0.3
-0.4
Green
-0.5
-0.6
Cyan
-0.7
- (R-Y)
Fig. 412: Color circle
Using
the 2 Controls:
Master
Chroma 6SC
and
Saturation
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Note!
With the option 6SC Processor an additional saturation (chroma) control is provided. Using this saturation adjustment avoid illegal colors.
It is recommended to set color saturation - menu Color - Master Saturation
- in middle position!
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4.5 Color Menu
Limiter Luminance & Chrominance
6SC Limiter Luminance
S100 - S108 soft limited / H100 - H108 hard limited
6SC limiter terminates the RGB amplitude and RGB luminance range from
100% to 108% with a soft (knee) or a hard (clipped) characteristic.
See example below for a red sawtooth signal.
Luminance
120%
100%
80%
e.g. sawtooth signal red
60%
40%
20%
t
Luminance
H108 = 108% hard limit (clipped)
108%
S108 = 108% soft limit (knee)
100%
Fig. 413: 6-SC limiter
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6SC Limiter - Chrominance & Saturation
6-SC limiter “S 100 - 108” or “H 100 - 108” terminates the RGB amplitude of
a selected color in a range of 100 - 108 %. Examples, see below.
Red Color Range
RGB
R
108%
100%
G
Limiter OFF
Hue changes
Limiter 108 ON
Hue is maintained
Example 1
Limiter 108 ON
Hue is maintained
for a red color signal
where Red is clipped at 108%
and Green / Blue do no longer change
50%
B
0%
Saturation
Red Color Range
RGB
108%
100%
Limiter OFF
Hue changes
R
Limiter 108 ON
Hue is maintained
Example 2
Limiter 108 ON
50%
Hue is maintained
for a red color signal
where Blue is clipped at 0%
and Red / Green do no longer change
G
0%
B
Saturation
Fig. 414: 6-SC Limiter
When performing modifications of luminance and saturation, one component of the
RGB signal may reach the border of the allowed signal range and has to be limited.
To avoid a hue change from individual unit of R, G or B, the legalizer will limit all
components of the RGB signal if one component R, G or B reaches the selected
border of the allowed range.
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4.5 Color Menu
Operational Control
Operational control is provided via the popular controllers from DaVinci and Pandora. Thomson also supports full control from the graphical control panels supplied
with the Spirit DataCine. No additional cables are required, all control functions are
embedded within the existing IMCS Cheapernet (10baseT) control interface currently used on these products.
System Integration
The secondary color processing option 6SC fits seamlessly into the internal processing and rack structure of the Spirit DataCine. This option is available for any
Spirit DataCine SDC 2000/2001 previously delivered. Two 6SC boards are required for the Spirit DataCine SDC 2001.
Technology
The design and implementation is 100% digital, and fits seamlessly into our high
speed digital signal processing architecture. It uses up to 16-bit quantization and
operates in real time at up to 2K resolutions. When in unity mode, there is complete
transparency through the system.
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Function Buttons, Controls & Displays - 6 Sector Color
Button “Bypass” switches the secondary Color Correction 6SC on / off.
For images which should not be affected by the 6SC, the BYPASS key must be
switched on.
BYPASS is enabled when the bar on the button is yellow.
This feature separates a certain color which later on can be altered with the
MODIFYING KEYS of the 6 Sector Color Correction.
Different setups (flashing or solochrome) for the 6SC COLOR MARKER can be
selected on the next submenu “Col Set“.
Click on the key to activate the MARK function (enabled when the bar on the
key is yellow).
Qualifying
Scheme
Color Circle 6SC
The color circle, one part of the qualifying scheme, serves for selection the
color and to display its position and width.
The currently chosen sector is highlighted.
Master
Chroma 6SC
This is a saturation control affecting all sectors in the same way.
It is different from the saturation control in the COLOR PRIMARY MENU
as it is located on the secondary 6SC Correction board.
To operate, move the slider on the touchscreen or use the digipot control.
MASTER CHROMA ranges from 0 to 200%, the default value is 100%.
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4.5 Color Menu
Position
& Width
POSITION
alters the hue, e.g. if the red you want to modify is rather on the purple - tinted
or on the orange - tinted side.
To operate, move the slider on the touchscreen or use the digipot control.
POSITION ranges from - 30° to +30°, default is 0°.
The current position is displayed on the qualifying scheme.
WIDTH
defines the angle, i.e. the range of tints that will be affected by the modification.
Big width represents a broad angle, a bigger section of e.g. red tones will be
affected, small width represents a thin angle, only few red tones will be affected.
To operate, move the slider on the touchscreen or use the digipot control.
WIDTH ranges from 10 to 230 degrees, the default value is 60 degrees. The
current angle is displayed on the qualifying scheme.
Luminance
Saturation
Hue
MODIFYING BAR GRAPHS AND MODIFYING KEYS
Once the qualifying is done, the separated color areas can be modified by
changing HUE, SATURATION and/or LUMINANCE.
To operate, move the slider on the touchscreen or use the corresponding
digipot control.
LUMINANCE and SATURATION range from 0 to 200%, default is 100%.
The HUE range is +/ - 180°.
The LSH modifications are visible in the BAR GRAPH display.
The graph which belongs to the activated sector is highlighted and the
colorbar of the MODIFYING KEYS shows the corresponding color.
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Qualifying
Scheme
This scheme in conjunction with the MARK function serves to separate (to
qualify) the color which shall be modified.
Enable the MARK function and select the COLOR SECTOR which comes closest by clicking on it.
The currently chosen sector is highlighted and the bars of the QUALIFYING
and MODIFYING KEYS show the corresponding color.
In dependence of the selected MARK SETUP (Col Set Menu) parts of the picture (on your picture monitor) get in some way highlighted.There are 2 settings
available: SOLOCHROME and FLASHING.
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4.5.4
4.5 Color Menu
SUBMENU COLOR SET
1
2
3
4
5
6
Fig. 415: Submenu Color Set
Overview
This menu provides various setups related to color grading
1. CRT Gamma pre-equalization compensates the CRT characteristic of a display monitor
2. Control Range switches the range of the primary color correction parameters
from normal to extended
3. Test - Test Pattern provides an amount of helpful test signals for monitoring the
signal processing
4. 6SC Limiter provides a built -in legalizing for RGB signals
5. Trackball Orientation refers to the DELTA Controls (hexagons) of the color primary menu (color display: vector scope like or MK III 120o cw rotated)
6. 6SC Color Marker separates a certain color by displaying solochrome or flashing the selected color
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Details of Function Buttons, Controls & Displays - Col Set
1. CRT Gamma
CRT is a gamma function to compensate the gamma of a picture monitor.
In order to judge a picture content (in terms of gradation) by looking at a monitor, CRT has to be switched on.
When working with Data, the end product is not necessarily video or a TV picture but a picture recorded back on film or a picture which will be projected by
a video beamer. In this case, a Output LUT (lookup table) will be chosen that
replaces the CRT gamma by its own characteristic.
Depending on the selected Output LUT, CRT GAMMA will automatically be
switched on or off.
Note! CRT GAMMA in Data mode is only active with TVLEV and GRLEV.
When CRT Gamma is active, the green bar on the button is lit.
2. Control Range
This button switches the range of Black, RGB Black, Gamma, RGB Gamma,
WHITE and RGB White from Normal to Extended Range.
Pressing Unity leads to different values in Extended Range mode compared to
Normal mode.
In Extended Ranges mode, Master Gamma changes can affect the Blacks and
Whites in your picture, whereas in Normal mode only the gray tones are addressed.
Therefore adjust Gamma first, then do BLACK (Lift) and WHITE (Gain).
Changing from Normal to Extended Ranges within a programmed list requires
re - adjustment of Black, Gamma and White.
Dependent on the grading, Extended Ranges may increase noise.
“Ranges”
Parameter for the ranges of the primary color correction, see also chapter 4.5.5
Selection: Normal / Extended (unity normal) / Extended (unity resistant)
“Normal”
“Extended (unity normal)”
“Extended (unity resistant)”
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standard values of the primary color correction
extended ranges for the primary color correction;
unity normal
extended ranges for the primary color correction;
unity resistant
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SDC 2002
Control Range
4.5 Color Menu
“Toe”
High black compression: e.g. 20% level changes to 5%
Low black compression: e.g. 20% level changes to 12%
Linear level, no changes
Low black stretch: e.g. 20% level changes to 28%
High black stretch: e.g. 20% level changes to 35%
“Shoulder”
High white compression: e.g. 80% level changes to 95%
Low white compression: e.g. 80% level changes to 88%
Linear white, no changes
Low white stretch: e.g. 80% level changes to 70%
High white stretch: e.g. 80% level changes to 61%
3. Test
& Pattern
When Test is enabled, the yellow bar on the key is lit.
By pressing the adjacent pattern key, a drop-down menu opens, containing all
available Test Patterns.
To select a pattern, click on it.
The current selection is shown on the key display. If it reads ”HDNR Pattern”, a
SCREAM Test Pattern is active.
This function is redundant in the Monitoring and in the Home Menu.
4. 6SC
Limiter
There are 6 different limiter settings available:
Soft 108, Hard 108, Soft 102, Hard 102, Soft 100, Hard 100.
”Soft” implies smooth limiting (a knee function is applied),
”Hard” stands for signal clipping.
Value ”100” limits RGB range between 0% and 100%,
value ”102” limits RGB range between 0% and 102%,
value ”108” limits RGB range between - 7% and 108%.
”Off” stands for no limitation.Click on the key and make your choice from the
drop - down menu.
Note that this limiter only affects the signal output of the 6SC Board.
This is not identical to the output signal of the telecine as the RGB signal coming from the 6SC Board is processed further on.
Details, see also chapter 4.5.3 “Description of 6SC”
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Mark Illegal
Colors
If enabled (the green bar on the key is lit) all illegal colors according to the selected limiter mode will be highlighted by an inverted luminance signal.
Note that in case the 6SC Limiter is switched to ”Off”, this key has no function.
5. Trackball
Orientation
This button refers to the DELTA Controls (Hexagons) of the Color Primary
Menu.
The trackball orientation can be switched between VECTOR which means vectorscope like orientation and MK III.
MK III is derived from Rank Mark III machines and it rotates the orientation
clockwise through 120° relative to the vectorscope display.
6. 6 SC Color
Marker
This menu page contains the 6SC Color Marker Setup. You find the switches to
enable the MARKER on the Color/6SC menu.
This feature in conjunction with the QUALIFYING SCHEME makes it easy to
separate a certain color which later on can be altered with the MODIFYING
KEYS of the 6 Sector Color Correction.
There are 2 settings available:
Solochrome and Flashing. With Solochrome enabled only the selected color is
visible in the picture.
E.g. select the blue sector in the 6SC menu and the only visible color in the
picture is blue. The colors corresponding to the other 5 sectors are desaturated.
Now use the POSITION and WIDTH keys in order to refine the color separation
within the blue sector.
With Flashing enabled the luminance part of the selected color is alternately
switched from 0% to 100% (which results in flashing).
Click on the key and - according to your preferences - choose from the drop
down menu. The current selection is shown on the key display.
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4.5.5
4.5 Color Menu
EXTENDED COLOR CORRECTION RANGES
Test & Operating Sequence
Select
test signal
Sawtooth
1. For testing, select menu Color, submenu Col Set
2. Press Pattern
3. Choose test signal Sawtooth 0-14%
4. Press Test button for activate the test signal
Set Unity
5. Set all color parameter to unity
Select
Ext. Ranges
6. Set Control Range to “Extended (Unity normal”
or
Set Control Range to “Extended (Unity resistant!”
Pressing “Unity” leads to different values in Extended Rage mode compared
to Normal mode
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4.5 Color Menu
Extended
Ranges
SDC 2002
“Extended ranges” are now activated with the controls
Black,
Gamma
and White
Black RGB
Black MASTER
Gamma RGB
Gamma MASTER
White RGB
White MASTER
RGB Black
Range from
Range from
Range
Range from
Range from
Range from
- 100% to +100%
- 100% to +100%
60% of Master Range
0 to 2.5
0% to 200%
0% to 1000%
RGB Gamma
RGB White
Master
Attention!
In “extended range” mode, unity results in a different grading comparable to
“normal ranges”;
White changes to 500% of the standard value
and
Gamma changes from 1 to 1.25.
Changing from “normal range” to “extended range”, and in the other way round,
requires a re-adjustment of Black (lift) , Gamma and White (gain).
Details of “Unity” adjustment for extended range, see chapter 4.5.6
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4.5.6
4.5 Color Menu
Grading Recommendation in “Extended Range” Mode
In order to reduce the reciprocal influence of the controls, it is recommended to start
adjustment with Gamma, then do Black and finally White.
Gamma
adjustment
With Master Gamma (0 - 2.5), the peak level of the “saw_14 test signal” can be
changed from 42% up to 100% and down to 7.5%.
RGB Gamma " 60%
MASTER Gamma 0.5 - 2.5
Fig. 416:
In “normal range”, Master gamma addresses only the grey values of a film scene
and changes not the black and white levels.
In “extended range”, Master gamma also changes black and white.
RGB Gamma changes the Master Gamma value between 40% to 160%.
Black
adjustment
After gamma adjustment, it is recommended to adjust the black level with the Black
controls RGB and Master close to 0%. Note that in extended ranges the Black controls also affects the white level.
Both, Black Master and Black RGB can be changed in the range of 100%, but
the sum is limited to 100%.
RGB Black " 100%
MASTER Black " 100%
Fig. 417:
Operating Instructions - Rev. 1 / 6.2003
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4.5 Color Menu
SDC 2002
White
adjustment
Finally adjust the white level of the saw_14 signal with the White controls to the
desired value.
White RGB range
White Master range
0% - 200%
0% - 1000%
RGB White 0 - 100%
MASTER White 0 - 1000%
Fig. 418:
4.5.7
Adjustment of the Unity Values in the “Extended Range” Mode
For the “normal mode” and UNITY for all color corrections, you will see a straight
sawtooth line on the waveform monitor.
When switching color corrections between “normal” to “extended range” mode the
previous settings are not scaled to the other control range and the look of the image
changes!
If the neutral position of “extended mode” is not yet stored on your external telecine
controller, it can be found by the following procedure:
1. Select the 100% sawtooth test signal
Menu Color, Col Set - select Pattern - sawtooth 0-100%
2. Press Test button
Fig. 419:
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4.5 Color Menu
3. Select menu Film - press button Film Type and select - Print Positive
Fig. 420:
4. Set all matching controls to Unity
Menu Color- submenu Col Set -
Set Unity
5. Set all color parameter to unity
Fig. 421:
6. Switch CRT Gamma OFF
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Fig. 422:
7. Select “Control Ranges”
Set Control Ranges to - Extended (unity normal)
Fig. 423:
Adjustment
Unity Values
Pressing unity leads to different values in Extended Range mode compared to
NORMAL mode
If you switch to “Extended Range “ mode, you will get a curved and clipped sawtooth signal.
By using the SDC 2001 color correction controls of the external telecine controller you can now adjust and straighten the sawtooth line again.
Please store Black, Gamma and White controls as UNITY for the “extended
range” mode on the external telecine controller or in the GCP Menu TK Mem.
Unity in
Extended Range
Mode
The menu color displays the “unity values” in “extended mode” as shown in the
next figure.
RGB White 100%
MASTER Black 100%
MASTER Gamma 100%
MASTER White 100%
Fig. 424:
The SDC 2001 specifications do not apply to “extended range” mode.
Using “extended range” may result in lower signal-to-noise distortion,
depending on the adjustments.
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4.5.8
4.5 Color Menu
High Density Range in Print NEG Mode
In PRINT NEG mode, a higher density range on negative film with no orange mask
can be scanned in “extended range” mode.
The density range is extended beyond the standard range (0 - 2) up to 0 - 4.
This feature is activated when “extended range” is selected in the Col Set submenu
M_Burst
10%
90%
60% ARE
Fig. 448:
and the film type PRINT NEG is chosen in the Film menu - Film type
Fig. 425:
Operating Instructions - Rev. 1 / 6.2003
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4.5 Color Menu
4.5.9
SDC 2002
Toe - “Black Stretch / Compression“
With Toe “black stretch/compression” the contrast in dark picture areas can be either enlarged or reduced. Four different characteristics according to the diagram
in figure 427 are available. Unlike Master gamma, bright picture areas are less affected by this adjustment. The black level is kept constant as well.
1. To use Toe - black stretch/compression -, select menu Color, submenu Primary
100%
Fig. 426: Main menu “Color”
2. To select Toe parameter slide directly on the touchscreen or use the digipot
control. The different curves in black are:
High (big) black compression: e.g. 20% level changes to 5%
Low (small) black compression: e.g. 20% level changes to 12%
linear level, no changes
Low (small) black stretch: e.g. 20% level changes to 28%
High (big) white stretch: e.g. 20% level changes to 35%
White
100%
big stretch
small
stretch
small compress
0%
big compress
Black
Fig. 427: Black stretch / compression
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4.5.10
4.5 Color Menu
Shoulder - White Stretch / Compression
With Shoulder - white stretch/compression -, the contrast in bright picture areas can
be either enlarged or reduced. Four different characteristics according to the diagram in figure 429 are selectable. Unlike Master Gamma, dark picture areas are
less affected by this adjustment. Note that white stretch does not lead to any clipping of highlights (luminance levels above 100%).
1. To use shoulder - white stretch / compression, select menu Color, submenu Primary
2. To select Shoulder parameter slide directly on the touchscreen or use the corresponding digipot
Fig. 428: Main menu “Color”, submenu Primary
The different curves in white are:
High (big) white compression: e.g. 80% level changes to 95%
Low (small) white compression: e.g. 80% level changes to 88%
linear level, no changes
Low (small) white stretch: e.g. 80% level changes to 70%
High (big) white stretch: e.g. 80% level changes to 61%
small
compress
100%
White
big compress
small
stretch
big stretch
0%
Black
Fig. 429:
Operating Instructions - Rev. 1 / 6.2003
4-131
4.5 Color Menu
4.5.11
SDC 2002
Toe & Shoulder (Black and White) combined
By combining Toe & Shoulder (black and white) compression, a print film look can
be generated.
1. Select menu Color
Fig. 430: Main menu “Color”, submenu Primary
2. Choose Toe (black) parameter by sliding directly the touchscreen
The different curves for black compression are, see figure 431
High (big) black compression: e.g. 20% level changes to 5%
Low (small) black compression: e.g. 20% level changes to 12%
linear level, no changes
3. Choose Shoulder (white) parameter by sliding directly on the touchscreen
The different curves for white compressed are,
High (big) white compression: e.g. 80% level changes to 95%
Low (small) white compression: e.g. 80% level changes to 88%
linear level, no changes
100%
small white
compress
White
big white compress
small black
compress
0%
big black
compress
Black
Fig. 431:
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Operating Instructions - Rev. 1 / 6.2003
SDC 2002
4.6
4.6.1
4.6 Sharp Menu
SHARP MENU
Main menu
Submenus
Sharp
Contour
Aperture
Expert
SUBMENU “CONTOUR”
1
2
3
Fig. 432: Main menu “Sharp” / submenu “Contour”
Overview
The main menu “Sharp” / submenu “Contour” serves to adjust Focus, Contour
Correction and Peaking Frequency.
1. Focus, to set the film sharpness
2. Contour Correction, working in H- and V direction
Balance for balance adjustment between H and V contour correction, fading
in 7 steps.
Coring prevents a sharp figure of noise details in the video signal
3. Peaking Frequency, for adjusting the range of the horizontal or vertical peak
frequency, separately or together (to switch with the “Gang” button)
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4.6 Sharp Menu
SDC 2002
Function Buttons, Controls & Displays
1. Focus
With this bar graph, the film scanner is focused optically to the film material
used.
It can be done either with the digipot control or by sliding on the touchscreen.
For optimum focus adjustment it is useful to zoom into image and focus on the
grain. For a better detection of the grain, the coring adjustments should be set
to 0% and at least the aperture correction should be set to maximum.
Aid
Focus
Store
Aid
To make focussing easier, hit the Aid button.
This macro function sets zoom and contour to maximum and slows down the
film speed to 6 frames per second.
Thus, film grain will appear as large and clear as possible which helps to find
the optimum focus position.
If the chosen value is very different from the unity setting, this should be saved
as the new default.
Focus Store
Hitting the Focus Store button opens a dialog window. With OK, your new setting will be stored and recalled next time when UNITY is pressed.
The default focus setting is important as this value is used during FPN and affects the quality of the FPN.
2. Contour
For adjusting the contour correction in the luminance channel with associated
+/ - display.
The contour correction starts with ”0” and increases with ”+” values and decreases with ” - ” values. For optimum adjustment Coring should be set first to
0%.
The contour correction contains following grading setup adjustments:
Contour (Gain) Balance, Peaking Frequency H and Peaking Frequency V.
Balance
For balance adjustment between H and V contour correction
(fading in 7 steps).
Selection: H only / H3/V1 / H3/V2 / H3/V3 / H2/V3 / H1/V3 / V only
”H only”
”H3/V1”
”H3/V2”
”H3/V3”
”H2/V3”
”H1/V3”
”V only”
4-134
only H contour correction adjustable
H and V contour correction adjustable
only V contour correction adjustable
Operating Instructions - Rev. 1 / 6.2003
SDC 2002
4.6 Sharp Menu
Coring
To reduce the contour enhancement for fine low contrast details like grain.
The standard value 0% applies the selected amount of contour correction to all
details. For grain reduction an adjustment value around 10% is sufficient.
At 100% coring value, only very high contrast details are enhanced.
3. Peak
Frequency
Horizontal &
Vertical
This function offers contour enhancement in dependence on detail size (spatial
frequency).
In order to enhance small picture details, select a higher value (high values
correspond to high frequencies), to enhance contours of coarse details, select
a low value.
To change the settings, slide on the touchscreen or use the digipot controls.
The controls for vertical and horizontal peaking can be handled separately
but if there is no need for split settings use the Gang function.
Gang
If the button ”Gang” is switched on, the horizontal and vertical peak frequency
can be adjusted together with either one digipot or slider.
E.g. the vertical peak frequency level is changed and the horizontal level follows in the same way.
The ratio between both levels are maintained in this operation mode.
The ranges of the horizontal or vertical peak frequency are:
Selection: 0 / 1 / 2 / 3 / 4 / 5 / 6 / 7
”0”
range of the horizontal or vertical peak frequency set to 0
”1”
contour correction effects on coarse details
”2”
”3”
”4”
contour correction effects on fine details
”5”
”6”
”7”
contour correction effects on very fine details
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4.6 Sharp Menu
4.6.2
SDC 2002
SUBMENU “APERTURE”
1
Fig. 433: Main menu “Sharp” / submenu “Aperture”
Overview
Main menu “Sharp” / submenu “Aperture”
Aperture adjustment serves to adjust gain, peak and coring of the aperture and
compensates system dependent frequency responses of the CCD sensors and the
optics.
Function Buttons, Controls & Displays
FILM APERTURE Gain
Gain adjustment of the aperture correction.
ADJUSTMENT
For optimum adjustment, coring should be set first to 0%.
Peak
Adjustment of the peak frequency of the aperture enhancement.
Set Unity for optimum aperture correction!”
In Unity, the film related correction of the aperture ( fNyquist ~39 linepairs/mm
for 35mm films) is set to optimum linear scanner response:
>6.6 MHz (outband range) for SDTV
>36 MHz (outband range) for HDTV
Coring
Reduces the aperture enhancement for fine low contrast details like film grain.
The standard value 0% applies the selected amount of aperture enhancement
to all details.
At 100% only very high contrast details are enhanced.
To change the setting, slide on the touchscreen or use the digipot control.
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SDC 2002
4.6.3
4.6 Sharp Menu
SUBMENU “EXPERT”
Fig. 434: Main menu “Sharp” / submenu “Expert”
Overview
Main menu “Sharp” / submenu “Expert” provides the controls for the Luminance
Edge Processing.
This function is designed to reduce ringing effects in the luminance channel.
An adaptive filter is able to reduce the ringing effects at sharp transitions, mostly
visible in 4:2:2 outputs.
This function requires the TV Store Boards FY 6311 which are standard in the
SDC 2002.
Function Buttons, Controls & Displays
Special Processing
Luminance
Edge Processing Luminance Edge Processing is enabled when the green bar on the button Special Processing is lit.
Qualification
Selection “Soft Edges” or “Hard Edges”. This qualification allows the luminance filter to react on sharp or soft transitions.
Gain
Gain can be adjusted from 0% (no filter influence) up to 100% (full edge influence)
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4.6 Sharp Menu
SDC 2002
Hints for Operation
SDTV:
Best results of ringing reduction will be achieved with
maximum aperture correction,
edge processing gain 20%...25%
and frequency bandwidth ’high’.
In case of ZOOM variations it is useful to switch bandwidth from ’HIGH’ to
’LOW’.
HDTV :
Hard to achieve a better result with collared pictures.
In case of Black/White material best result was achieved with bandwidth ’HIGH’
and Gain 25% ... 50%.
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Operating Instructions - Rev. 1 / 6.2003
SDC 2002
4.7
4.7 Sizing Menu
SIZING MENU
Main menu
Submenus
Sizing
Reproduction
Blanking
Sizing
4.7.1
SUBMENU “SIZING”
1
2
3
4
1080 60I
24500 x 19000
12250 / 9307
21110 x 19000
18750 9306
21102 x 19000
18750 x 9500
6
5
7
Fig. 435: Main menu “Sizing” / submenu “Sizing”
Overview
The main menu “Sizing” / submenu “Sizing” shows the most important film scanning and film reproduction settings for sizing.
The sizing menu shown above, applies to 35mm/4perf films.
For 16mm films and negative films, the display shows 16mm symbols or inverted
symbols.
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4-139
4.7 Sizing Menu
SDC 2002
The sizing submenu serves to control the following settings:
1. Reproduction Status window
2. Marker, insert markers into monitor picture
3. Size controls H & V change the geometry of the output picture
4. Position controls shift the output picture horizontal or vertical
5. H & V Flip flips the picture in both senses
6. Zoom serves to zoom in or out the picture
7. Rotation / Scan Effects turns, skews or tilts the output frame
Details of Function Buttons, Controls & Displays
1. Reproduction
Window
This window provides no controls, it only shows the settings of the Repro submenu.
2.
Click on the button to insert the marker into the monitor picture.
Marker is active when the yellow bar on the button is lit.
You can see the whole scanned film picture and inside the white lines your defined picture area.
To see how it works, use ZOOM for example and watch the marker lines, then
switch Marker off again.
Note that Marker is not available with 6 perf (Cinerama) and 8 perf (Vistavision).
3. Reproduction
Size
This control changes the geometry of the output picture.
It can be squeezed or stretched by +/ - 100% in horizontal and vertical direction.
Click on the area to activate the digipot control. When active, the sliders are
highlighted.
To change the setting, slide on the touchscreen or use the corresponding digipot control.
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SDC 2002
4.7 Sizing Menu
4. Reproduction
Position
Shifts the output picture horizontally or vertically by +/ - 100%.
Click on the area to activate this function. When active, the sliders are highlighted.
To change the setting, slide on the touchscreen or use the corresponding digipot control.
5. H & V Flip
Click on this button and make your choice from the drop - down menu.
Four selections are available:
Off:
no effect,
H Only: the picture is flipped horizontally (useful in case the film has been
laced up in the wrong sense).
V Only: the picture is flipped upside down. Apart from creative aspects, this
function can be used in case the reel has been laced up at the end.
Both
flips the picture in both senses: horizontal and vertical. Shifts the
output picture horizontally or vertically by +/ - 100%.
6. Zoom
Use this slider to zoom in or out of the film frame.
Zooming happens electronically.
When exiting the selection, the last repro adjustment is stored.
Zoom range:
0.1x to 16x.
To change the settings, slide on the touchscreen or use the digipot control.
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4.7 Sizing Menu
Linear
Nonlinear
SDC 2002
You can switch this zoom control from linear to nonlinear.
Linear:
Turning the digipot changes the adjusted values in linear
1:1 mode.
Nonlinear: The adjusted values change the faster the quicker the
digipot control is turned.
Zoom 100%
7. Rotation
This functions is used for rotating the film frame.
With the adjacent control the picture can be rotated continuously from - 180° to
+180° in both senses (without resolution reduction!).
The picture can be rotated or skewed / tilted.
Click on the Rotate button and make your choice from the drop - down menu.
Scan effects
Three selections are available:
Rotation, Vertical and Horizontal Rhombic Effect.
The picture can be skewed or tilted in the range of +/ - 10% which equals 30°.
Note!
If this function is controlled via the POGLE Platinum or TK mems Scan effects,
Rhombic H or Rhombic V has to be activated over the whole correction list.
Otherwise the effect will not be executed (even if you need this function only in
one event of your list).
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SDC 2002
4.7.2
4.7 Sizing Menu
SUBMENU “REPRODUCTION”
1
2
3
4
5
1920 x 1080
959 x 539
21.11
15.29
18.75
6
Fig. 436: Submenu “Sizing”
Overview
The main menu “Sizing” / submenu “Reproduction” contains scanning and reproduction settings.
Overview
1. Absolute TV Blanking window shows blanking size and position of the output
2. Marker insert markers into the monitor picture
3. Auto Unity sets sizing parameters to unity after new selection of Aspect & Repro
4. Film Scanning window
5. TV Repro window
6. Display of the scanned area of a film frame.
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4.7 Sizing Menu
SDC 2002
Details of Function Buttons, Controls & Displays
1. Absolute
TV Blanking
This window shows in numeric values the section of the output picture which is
read out of the frame store in dependence on both settings, Film and TV Blanking.
The upper line shows values for horizontal and vertical size, the lower line for
horizontal and vertical position.
2.
Click on the button to insert the marker into the monitor picture.
Marker is active when the yellow bar on the button is lit.
You can see the whole scanned film picture and inside the white lines your defined picture area.
To see how it works, use ZOOM for example and watch the marker lines, then
switch Marker off again.
Note that Marker is not available with 6 perf (Cinerama) and 8 perf (Vistavision).
3.
Auto Unity
Selection: On, Off
With Auto Unity enabled (green bar on the key is lit) you can select a new
Fixed Aspect Ratio or Fixed Repro and automatically all variable settings of the
Sizing and Blanking menus will be switched to unity.
In order to keep these settings after choosing a new Fixed Aspect Ratio, disable Auto Unity.
4. Film Scanning
Window
Fixed Aspect
Fixed Aspect
In this window diverse fixed scan settings are selectable. All these settings
are strictly film related corresponding to DIN/SMPTE etc. standards.
Selection: FA / PROJ / ISO / 2.35 / 2.20 / 1.85 / 1.75 / 1.66 / EXIT
”CA/AC” full aperture film scanning
or ”FA” (CA: camera aperture; AC: ACA emulation; FA: full aperture)
”PROJ” projection window reproduction
”ISO”
reproduction in conformity with ISO 2907
”2.35”
for films with a picture aspect ratio of 1 : 2.35
”2.20”
for films with a picture aspect ratio of 1 : 2.35
”1.85”
for films with a picture aspect ratio of 1 : 1.85
”1.75”
for films with a picture aspect ratio of 1 : 1.75
”1.66” for films with a picture aspect ratio of 1 : 1.66
”EXIT” closes window, returns the user to the sizing menu
Hint:
Invalid ”fixed aspect” formats are displayed on the output monitor as a small
horizontal picture window
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Operating Instructions - Rev. 1 / 6.2003
SDC 2002
4.7 Sizing Menu
ACA Emul
Enables to operate ACA films with super objectives (by adjusting the blanking).
With comopt sound films, we recommend to change the appropriate film gate additionally (option).
The Film gate covers the comopt sound track with an iris frame.
Selection: OFF / ON
Cinemascope
Sizing format enables cinemascope (anamorphic) reproduction of the film frame.
Selection: OFF / ON
”OFF”
cinemascope off
”ON”
cinemascope on
16mm Mode DIN
16mm Mode
Horizontal center correction for 16mm films.
Selection: DIN / ISO
horizontal center correction in conformity with DIN 1602, part 7
“DIN”
and ISO DIS 5768 standard
“ISO”
horizontal center correction in conformity with ISO 5768 (1981)
5. TV Repro
Window
Fixed Repro
Repro makes the picture fit the monitor format (4:3 or 16:9).
This is achieved by zooming in what implies horizontal or vertical losses of
picture information.
The following reproduction formats are selectable:
OFF, 4:3, 16:9 and DATA.
Off:
The picture is reproduced according to the selected aspect ratio.
4:3:
16:9:
Data
The picture is reproduced in 1.33:1 ratio which means full format on a
4:3 monitor.
The picture is reproduced in 1.78:1 ratio which means full format on a
16:9 monitor.
has two meanings: for video the picture is reproduced in 1.85:1 ratio
which is a TV compromise format for Cinemascope (loosing picture
information on both sides in exchange for smaller letterbox bars).
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4-145
4.7 Sizing Menu
Fixed Repro
SDC 2002
For Data application: The picture is reproduced into the Output Image Size
(e.g. 1920x1440).
Click on the button and make your choice from the drop - down menu.
The current setting is shown on the key display.
1920 x 1440
959 x 539
24.45
13.22
17.48
Fig. 449: Menu ”Sizing”, submenu “Repro”, Data Application
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SDC 2002
4.7 Sizing Menu
Fixed Film Formats
Note!
Tolerances for all fixed film formats, caused by the scanner unit, the testfilm
and reading errors may sum up to 0.2 mm.
Exceptions:
At format values marked with *, the tolerances may sum up to 0.5 mm, with
option “Rotation”.
At format values marked with , the tolerances may sum up to 0.5 mm,
without option “Rotation”.
35 mm Scanning Formats, 4 Perf, Full Aperture LGA and Gate
sizing setup
aspect
repro
scanned area
scan width
scan
height
center
line
remark
[mm]
[mm]
[mm]
off
24,45
18,80
17,48
FSB FA35 LGA max. scanning area
CA / AC
4:3
24,45
18,34
17,48
FSB FA35 LGA max. scanning width => 4:3
CA / AC
1,78
24,45
13,75
17,48
FSB FA 35 LGA max. scanning width => 16:9
CA / AC
Data
24,45
13,22
17,48
FSB FA 35 LGA max. scanning width => 1,85:1
PROJ
off
23,50
17,50
17,48
DIN 15502 - 6 projection area
PROJ
4:3
23,50
17,63
17,48
EBU R86 - 1997 (DIN 15502 - 6 width => 4:3)
PROJ
1,78
23,50
13,22
17,48
EBU R86 - 1997 (DIN 1550 - 6 width => 16:9)
PROJ
Data
23,50
12,70
17,48
DIN 15502 - 6 width => 1,85:1
2,35
off
23,50
10,00
17,48
ARRI - 1985 projection area 2,35:1
2,35
4:3
13,33
10,00
17,48
2,35:1 => 4:3 PanScan
2,35
1,78
17,78
10,00
17,48
2,35:1 => 16:9 PanScan
2,35
Data
18,50
10,00
17,48
2,35:1 => 1,85:1 PanScan
2,20
off
23,50
10,68
17,48
ARRI - 1985 projection area 2,20:1
2,20
4:3
14,24
10,68
17,48
2,20:1 => 4:3 PanScan
2,20
1,78
18,99
10,68
17,48
2,20:1 => 16:9 PanScan
2,20
Data
19,76
10,68
17,48
2,20:1 => 1,85:1 PanScan
1,85
off
23,50
12,70
17,48
ARRI - 1985 projection area 1,85:1
1,85
4:3
16,93
12,70
17,48
1,85:1 => 4:3 PanScan
1,85
1,78
22,58
12,70
17,48
1,85:1 => 16:9 PanScan
1,85
Data
23,50
12,70
17,48
ARRI - 1985 projection area 1,85:1
CA / AC
Table 437
Operating Instructions - Rev. 1 / 6.2003
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4.7 Sizing Menu
SDC 2002
Workflow for selecting the correct image area in data mode!
Defining of vertical file size
The following workflow for selecting the correct image area is supported by the
Spirit DataCine film scanner (Menu Sizing):
a) The desired portion of the image area is selected with the sizing controls (fixed
aspect, fixed repro, ACA emulation, cinemascope, zoom H&V, Sizing and Position H&V).
b) At the data output, the file size is selected and the selected image will be
squeezed into this size without cropping any image information.
c) If blanking area within these files should be avoided, than the reproduction ratio
has to be adjusted to the ratio of the selected image.
d) Helpful for defining the correct file size is the description of the fixed file formats
in this chapter.
Here two examples how to calculate file sizes without blanking:
1. Sizing menu selection:
Fixed Aspect CA/AC
Fixed Repro OFF
ACA emul
OFF
1920 x 1080
959 x 539
24.45
18.80
17.48
Fig. 450: Menu ”Sizing”, submenu “Repro”
The table 437 on page 4-147
“35mm scanning formats, 4 perf, Full Aperture LGA and Gate”
lists a size of 24.45mm x 18.80mm => aspect ratio of 1:1.3.
For a desired horizontal file size of 1920 pixels, the vertical file size
without blanking is 1920 x 18.80 / 24.45 = 1476 lines.
Vertical Size
1476 Lines
Fig. 451: Submenu ”Data”
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SDC 2002
4.7 Sizing Menu
2. Sizing selection:
Fixed Aspect CA/AC
Fixed Repro DATA
ACA emul
OFF
1920 x 1080
959 x 539
24.45
13.22
17.48
Fig. 452: Menu ”Sizing”, submenu “Repro”
The table 437 on page 4-147
“35mm scanning formats, 4 perf, Full Aperture LGA and Gate”
lists a size of 24.45mm x 13.22mm => aspect ratio of 1:1.85.
For a desired horizontal file size of 1920 pixels, the vertical file size
without blanking is 1920 x 13.22 / 24.45 = 1038 lines.
Vertical Size
1038 Lines
Fig. 453: Submenu ”Data”
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4.7 Sizing Menu
SDC 2002
35mm Scanning Formats, 4 Perf, Full Aperture LGA, ACA Gate
sizing setup
aspect
repro
scanning area
scan
width
scan
height
center
line
[mm]
[mm]
[mm]
remark
CA / AC
off
21,25
18,80
18,75
FSB 35 LGA = FSB FA35 LGA + FSB 35 GB max.
scanning area
CA / AC
4:3
21,25
16,00
18,75
ISO 2906 height => 1.33:1
CA / AC
16:9
21,25
11,95
18,75
FSB 35 LGA max. scanning width => 1.78:1
CA / AC
DATA
21,25
11,49
18,75
FSB 35 LGA max. scanning width => 1,85:1
ISO
off
20,12
15,09
18,75
ISO 1223, DIN 15502 - 2, EBU R86 - 1997, SMPTE
96M
ISO
4:3
20,12
15,09
18,75
ISO 1223, DIN 15502 - 2, EBU R86 - 1997, SMPTE
96M
ISO
16:9
20,12
11,32
18,75
ISO 1223 width => 16:9
ISO
Data
20,12
10,88
18,75
ISO 1223 width => 1,85:1
1,85
off
21,11
11,33
18,75
ISO 2907 projection area 1,85:1
1,85
4:3
15,11
11,33
18,75
ISO 2907 projection height 1,85:1 => 4:3 PanScan
1,85
16:9
20,14
11,33
18,75
ISO 2907 projection height 1,85:1 => 16:9 PanScan
1,85
Data
20,96
11,33
18,75
ISO 2907 projection height 1,85:1 => 1,85:1 PanScan
1,75
off
21,11
11,96
18,75
ISO 2907 projection area 1,75:1
1,75
4:3
15,95
11,96
18,75
ISO 2907 projection height 1,75:1 => 4:3 PanScan
1,75
16:9
21,11
11,87
18,75
ISO 2907 projection width 1,75:1 => 16:9
1,75
Data
21,11
11,41
18,75
ISO 2907 projection width 1,75:1 => 1,85:1
1,66
off
21,11
12,62
18,75
ISO 2907 projection area 1,66:1
1,66
4:3
16,83
12,62
18,75
ISO 2907 projection height 1,66:1 => 4:3 PanScan
1,66
16:9
21,11
11,87
18,75
ISO 2907 projection width 1,66:1 => 16:9
1,66
Data
21,11
11,41
18,75
ISO 2907 projection width 1,66:1 => 1,85:1
Table 438
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SDC 2002
4.7 Sizing Menu
35mm Scanning Format, 4 Perf, Full Aperture LGA and Gate, Anamorphic
sizing setup
aspect
repro
scanning area
scan
width
scan
height
center
line
[mm]
[mm]
[mm]
remark
CA / AC
off
24,45
18,80
17,48
FSB FA35 LGA max. scanning area
CA / AC
4:3
12,67
18,80
17,48
FSB FA35 LGA max. scanning height => 4:3 PanScan
CA / AC
16:9
16,89
18,80
17,48
FSB FA35 LGA max. scanning height => 16:9
PanScan
CA / AC
Data
17,57
18,80
17,48
FSB FA35 LGA max. scanning height => 1,85:1
PanScan
PROJ
off
23,80
18,34
17,48
FSB FA35 LGA Cinemascope projection area
(Spirit DataCine)
PROJ
4:3
12,23
18,34
17,48
FSB FA35 LGA Cinemascope => 4:3 PanScan
PROJ
16:9
16,30
18,34
17,48
FSB FA35 LGA Cinemascope => 16:9 PanScan
PROJ
Data
16,96
18,34
17,48
FSB FA35 LGA Cinemascope => 1,85:1 PanScan
Table 439
35mm Scanning Format, 4 Perf, Full Aperture LGA, ACA Gate, Anamorphic
sizing setup
aspect
repro
scanning area
scan
width
scan
height
center
line
remark
[mm]
[mm]
[mm]
off
21,25
18,80
18,75
FSB 35 LGA = FSB FA35 LGA + FSB 35 GB max.
scanning area
CA / AC
4:3
12,55
18,80
18,75
FSB 35 LGA max. scanning height => 4:3 PanScan
CA / AC
16:9
16,73
18,80
18,75
FSB 35 LGA max. scanning height => 16:9 PanScan
CA / AC
Data
17,41
18,80
18,75
FSB 35 LGA max. scanning height => 1,85:1 PanScan
2,35
off
21,25
18,21
18,75
derived from ISO 2907 projection area anamorphic
2,35
4:3
12,14
18,21
18,75
ISO 2907 projection height anamorphic => 4:3 PanScan
2,35
16:9
16,19
18,21
18,75
ISO 2907 projection height anamorphic => 16:9
PanScan
2,35
Data
16,84
18,21
18,75
ISO 2907 projection height anamorphic => 1,85:1
PanScan
2,20
off
20,03
18,21
18,75
ISO 2907 projection height anamorphic => 2,20:1
PanScan
1,85
off
16,84
18,21
18,75
ISO 2907 projection height anamorphic => 1,85:1
PanScan
CA / AC
Table 440
Operating Instructions - Rev. 1 / 6.2003
4-151
4.7 Sizing Menu
SDC 2002
35mm Scanning Format, 3 Perf, Full Aperture LGA and Gate
sizing setup
aspect
repro
scanning area
scan
width
scan
height
center
line
[mm]
[mm]
[mm]
remark
CA / AC
off
24,45
14,05
17,48
FSB FA35 LGA max. scanning area
CA / AC
4:3
18,73*
14,05
17,48
FSB FA35 LGA max. scanning height => 4:3 PanScan
CA / AC
16:9
24,45
13,78
17,48
FSB FA 35 LGA max. scanning width => 16:9
CA / AC
Data
24,45
13,24
17,48
FSB FA 35 LGA max. scanning width => 1,85:1
PROJ
off
23,50
13,22
17,48
FSB FA35 LGA 3 Perf projection area (Spirit DataCine)
PROJ
4:3
17,63
13,22
17,48
FSB FA35 LGA 3 Perf proj.height (Spirit DataCine)
=> 4:3 PanScan
PROJ
16:9
23,50
13,22
17,48
FSB FA35 LGA 3 Perf projection width (Spirit DataCine) => 16:9
PROJ
Data
23,50
12,70
17,48
FSB FA35 LGA 3 Perf projection width (Spirit DataCine) => 1,85:1
Table 441
35mm Scanning Format, 3 Perf, Full Aperture LGA, ACA Gate
sizing setup
aspect
repro
scanning area
scan
width
scan
height
center
line
[mm]
[mm]
[mm]
remark
CA / AC
off
21,25
14,05
18,75
FSB 35 LGA = FSB FA35 LGA + FSB 35 GB max. scanning area
CA / AC
4:3
18,73*
14,05
18,75
FSB 35 LGA max. scanning height => 4:3 PanScan
CA / AC
16:9
21,25
11,95
18,75
FSB 35 LGA max. scanning width => 16:9
CA / AC
Data
21,25
11,49
18,75
FSB 35 LGA max. scanning width => 1,85:1
off
20,96
12,63
18,75
Panavision 1987 projection area 1,66:1
PROJ
4:3
16,84
12,63
18,75
Panavision 1987 projection height 1,66:1 => 4:3 PanScan
PROJ
16:9
20,96
11,79
18,75
Panavision 1987 projection width 1,66:1 => 16:9
PROJ
Data
20,96
11,33
18,75
Panavision 1987 projection width 1,66:1 => 1,85:1
1,85
off
20,96
11,33
18,75
Panavision 1987 projection area 1,85:1
1,85
4:3
15,11
11,33
18,75
Panavision 1987 projection width 1,85:1 => 4:3 PanScan
1,85
16:9
20,14
11,33
18,75
Panavision 1987 projection width 1,85:1 => 16:9 PanScan
1,85
Data
20,96
11,33
18,75
Panavision 1987 projection area 1,85:1
PROJ
Table 442
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SDC 2002
4.7 Sizing Menu
35mm Scanning Formats, 2 Perf, Full Aperture LGA and Gate
sizing setup
aspect
repro
scanning area
scan width
scan height
center
line
[mm]
[mm]
[mm]
remark
CA / AC
off
24,45
9,32
17,48
FSB FA35 LGA max. scanning area
CA / AC
4:3
12,43*
9,32
17,48
FSB FA35 LGA max. scanning height => 4:3
PanScan
CA / AC
16:9
16,57*
9,32
17,48
FSB FA35 LGA max. scanning height => 16:9
PanScan
CA / AC
Data
17,24*
9,32
17,48
FSB FA35 LGA max. scanning height =>
1,85:1 PanScan
Table 443
35mm Scanning Formats, 2 Perf, Full Aperture LGA, ACA Gate
sizing setup
aspect
repro
scanning area
scan
width
scan
height
center
line
[mm]
[mm]
[mm]
remark
CA / AC
off
21,25
9,32
18,75
FSB FA35 LGA + FSB 35 GB max. scanning area
CA / AC
4:3
12,43*
9,32
18,75
FSB 35 LGA max. scanning height => 4:3 PanScan
CA / AC
16:9
16,57*
9,32
18,75
FSB 35 LGA max. scanning height => 16:9 PanScan
CA / AC
1,85
17,24*
9,32
18,75
FSB 35 LGA max. scanning height => 1,85:1 PanScan
PROJ
off
20,96
8,99
18,75
SMPTE 257 stereoscopic, symmetrical
PROJ
4:3
11,99
8,99
18,75
SMPTE 257, symmetrical height => 4:3 PanScan
PROJ
16:9
15,98
8,99
18,75
SMPTE 257, symmetrical height => 16:9 PanScan
PROJ
Data
16,63
8,99
18,75
SMPTE 257, symmetrical height => 1,85:1 PanScan
Table 444
Operating Instructions - Rev. 1 / 6.2003
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4.7 Sizing Menu
SDC 2002
16mm Scanning Formats, Super 16mm LGA and Gate
sizing setup
aspect
repro
scanning area
scan
width
scan
height
center
line
center
line
[mm]
[mm]
[mm]
[mm]
remarkk
DIN
ISO
7,52
9
9,15
FSB S16 LGA max. scanning area
10,03
7,52
9
9,15
FSB S16 LGA max. scanning height => 4:3
PanScan
16:9
12,48
7,02
9
9,15
FSB S16 LGA max. scanning width => 16:9
Data
12,48
6,75
9
9,15
FSB S16 LGA max. scanning width =>
1,85:1
PROJ
off
11,64
7,01
9
9,15
ISO 1223 16mm height => 1,66:1 projection
area Spirit DataCine
PROJ
4:3
9,35
7,01
9
9,15
1,66:1 => ISO 1223 4:3 PanScan
PROJ
16:9
11,64
6,55
9
9,15
1,66:1 => 16:9
PROJ
Data
11,64
6,29
9
9,15
1,66:1 => 1,85:1
1,85
off
11,64
6,29
9
9,15
1,66:1 projection width Spirit DataCine =>
1,85:1
1,85
4:3
8,39
6,29
9
9,15
1,85:1 => 4:3 PanScan
1,85
16:9
11,19
6,29
9
9,15
1,85:1 => 16:9 PanScan
1,85
Data
11,64
6,29
9
9,15
1,66:1 projection width Spirit DataCine =>
1,85:1
1,66
off
11,64
7,01
9
9,15
ISO 1223 16mm height => 1,66:1 projection
area Spirit DataCine
CA / AC
off
CA / AC
4:3
CA / AC
CA / AC
12,48
**
1,66
4:3
9,35
7,01
9
9,15
1,66:1 => ISO 1223 4:3 PanScan
1,66
16:9
11,64
6,55
9
9,15
1,66:1 => 16:9
1,66
Data
11,64
6,29
9
9,15
1,66:1 => 1,85:1
Table 445
** = Scan width will be reduced if center position “16mm mode = ISO” (menu Sizing - F12) is selected.
4-154
Operating Instructions - Rev. 1 / 6.2003
SDC 2002
4.7 Sizing Menu
16mm Scanning Formats, Super 16mm LGA, 16mm Gate
sizing setup
aspect
repro
scanning area
scan
width
scan
height
center
line
[mm]
[mm]
[mm]
remark
CA / AC
off
9,75
7,52
7,98
FSB S16 LGA + FSB 16 GB max. scanning area
CA / AC
4:3
9,75
7,31
7,98
FSB S16 LGA + FSB 16 GB max. scanning width
=> 4:3
CA / AC
16:9
9,75
5,48
7,98
FSB S16 LGA + FSB 16 GB max. scanning width
=> 16:9
CA / AC
1,85
9,75
5,27
7,98
FSB S16 LGA + FSB 16 GB max. scanning width
=> 1,85:1
PROJ
off
9,65
7,26
7,98
EBU R86 - 1997 (ISO 359 - 1977, ANSI/SMPTE
233 - 1987 proj.area)
PROJ
4:3
9,65
7,24
7,98
EBU R86 - 1997 (ISO 359 - 1977 width => 4:3)
PROJ
16:9
9,65
5,43
7,98
ISO 359 - 1977 width => 16:9
PROJ
Data
9,65
5,22
7,98
ISO 359 - 1977 width => 1,85:1
ISO
off
9,35
7,01
7,98
ISO 1223, DIN 15502 - 2, EBU R86 - 1997, SMPTE
96M
ISO
4:3
9,35
7,01
7,98
ISO 1223, DIN 15502 - 2, EBU R86 - 1997, SMPTE
96M
ISO
16:9
9,35
5,26
7,98
ISO 1223 scanning width => 16:9
ISO
Data
9,35
5,05
7,98
ISO 1223 scanning width => 1,85:1
1,85
off
9,65
5,22
7,98
ISO 359 - 1977, ANSI/SMPTE 233 - 1987 projection
width => 1,85:1
1,85
4:3
6,96
5,22
7,98
1,85:1 => 4:3 PanScan
1,85
16:9
9,27
5,22
7,98
1,85:1 => 16:9 PanScan
1,85
Data
9,65
5,22
7,98
1,85:1
1,75
off
9,65
5,51
7,98
ISO 359 - 1977, ANSI/SMPTE 233 - 1987 projection
width => 1,75:1
1,75
4:3
7,35
5,51
7,98
1,75:1 => 4:3 PanScan
1,75
16:9
9,65
5,43
7,98
1,75:1 => 16:9
1,75
Data
9,65
5,22
7,98
1,75:1 => 1,85:1
1,66
off
9,65
5,81
7,98
ISO 359 - 1977, ANSI/SMPTE 233 - 1987 projection
width => 1,66:1
1,66
4:3
7,75
5,81
7,98
1,66:1 => 4:3 PanScan
1,66
16:9
9,65
5,43
7,98
1,66:1 => 16:9
1,66
Data
9,65
5,22
7,98
1,66:1 => 1,85:1
Table 446
Operating Instructions - Rev. 1 / 6.2003
4-155
4.7 Sizing Menu
SDC 2002
16mm Scanning Formats, Super LGA and Gate, Anamorphic
sizing setup
aspect
scanning area
repro
scan
width
scan
height
center
line
center
line
[mm]
[mm]
remarkk
[mm]
[mm]
DIN
ISO
9
9,15
FSB S16 LGA max. scanning area
CA / AC
off
12,48 **
7,52
CA / AC
4:3
5,01
7,52
9
9,15
FSB S16 LGA max. scanning height => 4:3
PanScan
CA / AC
16:9
6,68
7,52
9
9,15
FSB S16 LGA max. scanning height => 16:9
PanScan
CA / AC
Data
6,95
7,52
9
9,15
FSB S16 LGA max. scanning height =>
1,85:1 PanScan
Table 447
** = Scan width will be reduced if center position “16mm mode = ISO” (menu Sizing - F12) is selected.
16mm Scanning Formats, Super 16mm LGA, 16mm Gate, Anamorphic
sizing setup
aspect
repro
scanning area
scan
width
scan
height
center
line
[mm]
[mm]
[mm]
remarkk
CA / AC
off
9,75
7,52
7,98
FSB S16 LGA + FSB 16 GB max. scanning area
CA / AC
4:3
5,01
7,52
7,98
FSB S16 LGA + FSB 16 GB max. scanning width
=> 4:3
CA / AC
1,78
6,68
7,52
7,98
FSB S16 LGA + FSB 16 GB max. scanning width
=> 16:9
CA / AC
Data
6,95
7,52
7,98
FSB S16 LGA + FSB 16 GB max. scanning width
=> 1,85:1
2,35 CA
off
8,82
7,47
7,98
SMPTE 65 - 1991: 2,35:1 ACA 35mm => 16mm
cont.dupli. NEG area
2,35 CA
4:3
4,98
7,47
7,98
2,35:1 CA scanning height => 4:3 PanScan
2,35 CA
16:9
6,64
7,47
7,98
2,35:1 CA scanning height => 16:9 PanScan
2,35 CA
Data
6,91
7,47
7,98
2,35:1 CA scanning height => 1,85:1 PanScan
2,35
off
8,59
7,31
7,98
Spirit DataCine projection area 2,35:1
2,35
4:3
4,88
7,31
7,98
2,35:1 => 4:3 PanScan
2,35
16:9
6,50
7,31
7,98
2,35:1 => 16:9 PanScan
2,35
Data
6,77
7,31
7,98
2,35:1 => 1,85:1 PanScan
Table 448
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Operating Instructions - Rev. 1 / 6.2003
SDC 2002
4.7 Sizing Menu
TV Repro
Window
SDTV Ratio
Selection: 4:3 / 16:9
Picture aspect ratio for the SDTV output can be switched from 4:3
to 16:9.Click on the button and make your decision from the drop down menu.
The current setting is shown on the key display.
TV Repro
Window
Sizing Base
Selection: Analog Out / Digital Out
Sizing Base affects the pixel geometry.
This function tries to cover the gap between analog and digital standards.
The analog standard defines: active video line is approx. 52s.
The digital standard CCIR 601defines 720 pixels per line with a clock rate of
74ns per pixel (13,5 MHz pixel clock).
As a result the active video line is 53,28s.
Now in order not to extend the active video line of 52s
(corresponding to the analog standard), the pixels are squeezed horizontally.
This is what happens when Sizing BAse is switched to analog, it looks like a
change in horizontal size (x - Zoom).
The standard setting is digital.
6. Display of the
scanned area
of a film frame
This depends on the following settings:
Fixed Aspect, ACA Emulation, Cinemascope, Fixed Repro,
Film Perforation, and Film Format (35, 16 or 8 mm).
The scanning range is displayed by an orange rectangle.
The chosen Aspect setting is displayed above the film picture.
All possible Repro settings are marked as dotted line.
The actual Repro setting is displayed in bold letters.
The smiley in the center of picture indicates whether the picture is projected
uncompressed, compressed (Cinemascope) or rotated (8 perf films).
Operating Instructions - Rev. 1 / 6.2003
4-157
4.7 Sizing Menu
4.7.3
SDC 2002
SUBMENU “BLANKING”
1
2
3
4
1920 x 1080
959 x 539
5
Fig. 449: Main menu “Sizing” / submenu “Blanking”
Overview
The main menu “Sizing” / submenu “Blanking” contains Film and TV controls.
The user adjusts in this submenu the film and TV blanking or resets the blanking
to standard values.
1. Absolute TV Blanking of size and position
2. Marker insert markers into monitor picture
3. Film blanking controls determine the frame which is written into the film store
4. TV blanking controls determine the frame which is read out of the film store
5. TV Monitor symbol serves to display the actual blanking in the active film frame
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SDC 2002
4.7 Sizing Menu
Details of Function Buttons, Controls & Displays
1. Absolute
TV Blanking
WIndow
It shows in numeric values the section of the output picture which is read out of
the frame store in dependence on both settings, Film and TV Blanking.
The upper line shows values for horizontal and vertical size, the lower line for
horizontal and vertical position.
2.
Click on the button to insert the marker into the monitor picture.
Marker is active when the yellow bar on the button is lit.
You can see the whole scanned film picture and inside the white lines your defined picture area.
To see how it works, use ZOOM for example and watch the marker lines, then
switch Marker off again.
Note that Marker is not available with 6 perf (Cinerama) and 8 perf (Vistavision).
3. Film Blanking
WIndow
Click on the “Film” button to delegate the digipots to Film Blanking adjustments.
The Film Blanking adjustments (Size and Position) determine the section of the
picture which is written into the frame store.
Film Blanking becomes part of the picture (with black content). E.g. when you
zoom or rotate the picture also the blanking will be zoomed or rotated.
All controls range from - 100 to +100%.
To change settings, slide on the touchscreen or use the corresponding digipot
control.
The actual Film Blanking adjustments are displayed on the “TV Monitor” symbol.
The reproduced (resulting) picture is the orange marked area (the overlapping
section of the Film and the TV rectangle).
4. TV Blanking
WIndow
Click on the “TV” button to delegate the digipots to TV Blanking adjustments.
The TV Blanking adjustments (SIZE and POSITION) determine the section of
the picture which is read out of the frame store.
TV Blanking is not part of the picture, it behaves like an external Blanking rendered by a production switcher.
E.g. you can zoom or rotate your picture and the TV blanking will not be affected by it.
All controls range from - 100 to +100%. To change settings, slide on the touchscreen or use the corresponding digipot control.
The actual TV Blanking adjustments are displayed on the “TV Monitor” symbol.
The reproduced (resulting) picture is the orange marked area (the overlapping
section of the Film and the TV rectangle).
Operating Instructions - Rev. 1 / 6.2003
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4.7 Sizing Menu
4-160
SDC 2002
Operating Instructions - Rev. 1 / 6.2003
SDC 2002
4.8
4.8 Audio Menu
AUDIO MENU
Main menu
Submenus
Audio Levels
Audio Config
Audio
4.8.1
SUBMENU AUDIO LEVELS
1
3
2
4
6
5
Fig. 450: Submenu Audio Levels
Overview
Submenu Audio Levels covers all sorts of Audio reproduction levels.
1. Input source window
2. Setup Selection
3. Audio Output Level Controls left & right
4. Monitor Selection left & right
5. Monitoring Attenuator left & right
6. Headphone Attenuator
Operating Instructions - Rev. 1 / 6.2003
4-161
4.8 Audio Menu
SDC 2002
Details of Function Buttons, Controls & Displays
1. Input Source
The signal sources for the two audio channels shown on this display are selected in main menu ”Audio Config.”
Display channel 1
with following signal sources:
magnetical, optical, ext 1, test, off
Display channel 2
with following signal sources:
optical, ext 1, test, off
2. Setup
Setup
Studio Level
The studio level shows the output level in dBu which corresponds to a level of
0 VU in the film scanner.
It is possible to select studio levels of - 3 dBu, 0 dBu, 4 dBu and 8 dBu.
Click on the Studio Level button and make your choice from the drop-down
menu
Setup
Channel 1 / 2
Balanced and unbalanced
With the studio levels of 4 dBu and 8 dBu, the Audio output final stage is
switched to floating mode if the load is unbalanced.
With this, the output level is reduced by 6 dB.
At - 3 dBu and 0 dBu, the output is always floating.
Setup
Monitor
This function key has the same function as setup Channel 1/2, but applies to
the monitor outputs.
Setup
Dolby
This function key has the same function as Setup Channel 1/2, but applies to
the monitor outputs.
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SDC 2002
4.8 Audio Menu
3. Audio Output
Level Controls
These keys control the Audio Output Level for the left and right channel.
To modify, slide on the touchscreen or use the digipot control.
Audio range is from - 48 dB fs to +6 dB fs (fs = full scale).
A level meter shows the current level and a peak value of your current program sound.
4. Monitoring
Selection
For Monitoring left and Monitoring right, four selections are possible:
Off, Channel 1, Channel 2, Both.
The display refers to the two monitor output sockets MONITOR OUT L & R .
Click on the button and make your choice from the drop-down menu.
5. Monitoring
Attenuator
These keys control the Monitor output level for the left and right channels.
To modify, slide on the touchscreen or use the digipot control.
To adjust left right together switch the Gang button.
The range is from - 48dB to +6dB.
The current settings are shown on the key displays.
Note that AUDIO is an option on your DataCine!
Operating Instructions - Rev. 1 / 6.2003
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4.8 Audio Menu
SDC 2002
6. Headphone
Attenuator
This key controls the headphone output level.
To modify, slide on the touchscreen or use the digipot control.
The range is from 0 to 100%.
The current setting is shown on the key display.
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SDC 2002
4.8.2
4.8 Audio Menu
SUBMENU “AUDIO CONFIG”
2
3
7
4
8
1
5
9
6
10
11
12
Fig. 451: Audio configuration menu
Overview
Submenu ”Audio Config” is selected by pressing dialog key ”Audio Config” on the
GCP.
This main menu serves to set the configuration of the two audio channels. The
channels 1 and 2 form a channel pair.
Audio channels
The Telecine has two digital audio channels which can be used at the output alternatively in an analog or digital form. The digital audio interface ”AES” corresponds
to the AES/EBU standard.
Audio data format
AES/EBU audio data format
A block of the digital audio output signal consists of 192 audio frames.
The audio frame consists of the subframes A and B with 32 bits each (1 audio
frame = 20.83 µ s).
1. Submenu “Audio Config” selection
2. Audio Source selection
3. Pre-Adjust (equalizer & gain)
4. Dolby selection
Operating Instructions - Rev. 1 / 6.2003
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4.8 Audio Menu
SDC 2002
5. Lowpass filter selection
6. A/D convert synchronization
7. Pre-emphasis selection
8. Channel mode (mono or stereo)
9. Audio delay selection
10. Test tone 1 / 10 KHz Generator
11. D/A conversion
12. Display of the Audio Outputs (symbolized output sockets)
Two analog and one digital (AES/EBU) outputs.
Details of Function Buttons, Controls & Displays
Menu button “A Config”
1.
A Config
opens dialog “Audio Configuration”
2. Source
“Channel 1 / 2 source” selection
Click on this section to open the Source selection window.
There you will find a Source Selection key for each channel.
Click on these keys and make your choice from the drop down menu.
The selections for Channels 1 and 2 are different:
Channel 1 can be switched to Off, Magnetical (only for 16mm films), Optical,
Ext 1 and Test Tone;
Channel 2 can be switched to Off, Optical, Ext 2 and Test Tone.The current
settings are shown on the key display.
”Off”
”Magnetical”
”Optical”
”External 1”
“Test”
Optional muting of an audio channel that is not needed.
Selection of magnetical audio for 16mm films.
Selection optical audio for 16mm and 35mm films.
Selection of an external audio source via socket EXT. 1 IN.
Internally, digitally produced sine wave tone
(1 kHz/10 kHz, 0 VU) for test purposes.
Audio Scanner 1 - COMMAG 16 - can be released
disable
Audio Scanner will be lifted up, audio track will not be scanned
enable
Audio Scanner 1 will be released, ready for operation
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SDC 2002
3. Pre-Adjust
4.8 Audio Menu
Note!
Adjustments for service personnel only.
This window serves to adjust the film audio input levels and the input equalizers.
4. Dolby
“Dolby” selection
Click on this section to open the Dolby selection window. There you will find a
Dolby selection key and a Dolby Level control for each channel.
Click on the keys and make your choice from the drop down menu.
The actual choice is between None and Dolby SR. Dolby A is not selectable.
Dolby SR (Spectral recording) refers to an external decoder unit as there is no
internal decoder.
Channel 1/2 Noise Red Level control is used to adjust the Dolby output level.
Switch on the Dolby test tone of your external device and compare the deflection (see level meter) with what is coming out when you play the Dolby test
tone section of your film copy.
Adjust this level until it shows the same reading as the test tone coming from
the decoder unit.
To adjust, slide on the touchscreen or use the digipot control (the range is from
0 to 100%).
The current settings are shown on the key displays.
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4.8 Audio Menu
5. Low Pass
SDC 2002
“Low Pass” selection
This pull down menu serves to switch on or off lowpass filters in the respective
audio channel depending on the film sound.
The two lowpass filters attenuate higher frequencies from 5 kHz.
Selection of the lowpass filter for audio channel 1.
The following adjustments are possible:
”Flat (standard setting)”
Film audio channel is not filtered.
Use with good film sound quality.
”5kHz”
Film audio channel is filtered.
Use with bad film sound quality.
6. A/D Convert
“A/D Convert” selection
This pull down menu serves to internally or externally lock the audio A/D converter.
The following adjustments are possible:
“Internal Video“
Locking internally.
Locking of the audio A/D converters is made on the internal video signal (standard setting).
“External 48 kHz“
Locking externally.
Use when playing the film sound into an external digital audio studio which is
clocked with 48 kHz.
7. Pre-emphasis
“Audio Pre-emphasis” selection
This pull down menu serves to set the preemphasis for both audio input signals
(preemphasis: peaking of frequency components before A/D conversion, for
improving the signal-to-noise ratio).
In the digital AES signal, only a preemphasis information is entered in the
channel status.
In the analog signal, the frequency response is equalized after D/A conversion
in the output stage.
The following adjustments are possible:
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“Off“
No preemphasis
“On“
Switching on the CD-type preemphasis (EQ time constant: 50/15 µ s).
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SDC 2002
8. Channel mode
4.8 Audio Menu
“Channel mode” selection
This pull down menu serves to define mono or stereo mode (two-Channel).
The following adjustments are possible:
“Mono“
One channel operation (only subframe A in the digital signal used)
16mm films have always mono audio tracks.
35mm films may have mono or stereo audio tracks depending on the type.
If a stereo film has to be played in mono mode, both channels are mixed with
each other, their levels automatically adapted and distributed to the two audio
channels.
Mono mode should only be used with stereo signal sources selected (e.g.
OPT1 and OPT2 in case of 35mm stereo film or EXT1 and EXT2 in case of
external stereo devices). With one input switched to OFF (not connected),
mono mode is not applicable, i.e. channel routing changes to two-channel
mode.
“2 channel (stereo)“
2-channel operation with following allocation of the channels.
Socket
Socket
DIGITAL AES/EBU OUT
ANALOG AUDIO 1 OUT
Socket
ANALOG AUDIO 2 OUT
Channel one Subframe A
Channel one (Left channel with
stereo sources)
Channel two (Right channel with
stereo sources)
If a mono film is played in the two--channel mode, the 2nd channel can
be used for instance with an external SEPMAG signal via ”External 1, 2”.
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9. Audio Delay
“Audio Delay” selection
Click on this section to open the Audio Delay window.
The audio delays which are adjustable in this window compensate picture signal processing time caused by external devices (such as secondary color correctors, noise reducers, etc.).
The range is from - 60 to +1000 ms in steps of 10 ms.
Internal audio delays, different for each film format (in dependence on the pitch
between picture and audio scanners), are corrected automatically by the Datacine.
To adjust the delays, slide on the touchscreen or use the corresponding digipot
controls.
To exit the window, click on the Close button.
10. Test Tone
“Test Tone” selection
Click on this section to open the Test Tone window.There are 2 different audio
test signals available:
1 kHz (standard setting) and 10 kHz.
This feature can be used for quick check of all involved audio components.
To select, click on the corresponding key.The current setting is shown on the
key display.
To exit the window, click on the Close button.
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11. D/A
Conversion
4.8 Audio Menu
“D/A” Convert
Symbolized the position of digital to analog conversion.
12. Audio
Outputs
“Audio Outputs” Display
Symbolized the Audio outputs sockets of terminal panel Rack1.
Two analog and one digital (AES/EBU) outputs.
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Operating Instructions - Rev. 1 / 6.2003
SDC 2002
4.9
4.9 Special Menu
SPECIAL MENU
Main menu
Submenus
Scream
Extern D
Steadiscan
Ref Store
Special
4.9.1
SUBMENU SCREAM
Menu button “Scream ”
opens dialog “Scream - Grain Reducer”
2
3
7
1
4
9
8
6
5
Fig. 452: Menu Scream
Overview
The SCREAM grain reducer has to be looped in between Rack 2 and Rack 3
connection. If a Pandora MegaDef system is present, the SCREAM has to be
installed prior to the MegaDef unit.
The grain reduction functionality of SCREAM is only available in play mode, not
in stop mode. The SCREAM is a resolution and format independent grain reducer.
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1. Film Type Display
2. Bypass
3. Film Stock Selection
4. Processing Sensitivity
5. Blur Effect
6. High and Low Light
7. Split Screen
8. Grain Reduction RGB Sliders & Gang
9. Test & Setup
Details of Function Buttons, Controls & Displays
1. Film Type
Display
Informs about the film material which is currently laced up on your telecine.
Note: In case the SCREAM is not connected or switched off, the display
turns red and it reads ”not connected”.
2. Bypass
If you want to be sure to look at a picture which is not affected by the
SCREAM, click on the Bypass button. Bypass is enabled when the bar on
the key is yellow. The delay of SCREAM does not change when you are in
Bypass mode. It remains at 1 film frame delay.
3. Film Stock
The Film Stock menu enables to select different film stocks of Kodak and
Fuji for 35mm films and 16mm films.
Each film stock has different granularity characteristics in the different dye
layers and requires a relative weighting of the amount of grain reduction applied to the 3 channels.
The Scream has these adjustments preprogrammed for the most popular
film types. Film grain reduction is automatically adjusted for all 3 channels
and can subsequently also manually be changed.
This is particularly useful for blue or green screen transfers where a higher
degree of noise reduction may be desirable in the background key colors
(blue of green).
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4.9 Special Menu
4. Processing
Sensitivity
The threshold of the Recursive filter processing can be modified with
the Processing Sensitivity key.
Three different settings are selectable: Low, Normal, High.
Click on the key and make your choice from the drop-down menu. The current setting is shown on the key display.
Low stands for low motion thresholds (i.e. high suppression of the filtering).
Motion detection in this setting works very sensitively and therefore effectively suppresses grain reduction in dependency on the picture content.
The more movement in the picture, the less grain reduction is applied in order to avoid artifacts.
Normal stands for well-balanced grain filtering and suppression by the motion detector.
High stands for high motion thresholds (i.e. low suppression of the filtering).
Motion detection in this setting is quite insensitive, therefore grain reduction
works very effectively although there is movement in the picture.
Be careful with this setting as artifacts may occur!
5. Blur Effect
If this button is enabled, indicated by a yellow bar, the internal motion detector is switched off.
This feature should not be used in standard operation as it causes smearing
artefacts at moving objects in the image and is therefore exclusively to be
applied for artistic effects.
In case of no movement in the picture (e.g. packshot) Blur can be applied to
achieve a high performance filtering.
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6. High & Low
Light
As signal to noise ratio of film related material is not constant with respect to
the level two additional controls for fine tuning the noise reduction are provided:
High Light:
This control modifies the strength of noise reduction in bright areas of the
image. Possible settings are cut (decrease of noise reduction) flat (no
change) and boost (increase of noise reduction) to adjust noise reduction in
bright areas.
Low Light:
This control modifies the strength of noise reduction in dark areas of the
image. Possible settings are cut (decrease of noise reduction) flat (no
change) and boost (increase of noise reduction) to adjust noise reduction in
dark areas.
7. Split Screen
A horizontal (H-Spilt) or vertical (V-Split) screen split function can be activated with this button.
This function is a tool to compare the filtered half (right or bottom) of the picture with the non-filtered half (left or top).
Click on the button and make your choice from the drop-down menu.
Of course your choice will depend on the picture content. The current setting
is shown on the key display.
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4.9 Special Menu
8. Grain
Reduction
& Gang
The RGB sliders form a new feature for even more specific grain reduction.
The strength of grain reduction can be set here individually for each color
channel.
The range is from 0 to 15 in steps of one.
To modify, slide on the touchscreen or use the soft pot control.
The current setting is displayed as a bar graph with the corresponding values
on top. There may be need for such specific settings as film material consists
of layers containing silver halogenous grains sensitive for red, green and blue
light.
Later on they react with the corresponding dyes (yellow, cyan and magenta) to
create a colored picture.
Different layers may respond in different ways to sensibilization, exposure and
processing and therefore the impression of granularity may differ from one
layer to another.
With the SCREAM there is no need for grain filter type selection (Transversal,
Recursive, etc.).
According to the filter strength setting of the RGB channels, grain filter selection is automatically performed.
TRANSVERSAL FILTER (roughly) works according to the following method:
The output pixel is averaged (median value) from the same pixels of three
successive pictures and the vertically adjacent pixels of the center frame.
This filter works with a constant quality, no matter how far away from a scene
change event.
RECURSIVE FILTER (roughly) works according to the following method:
The averaging of the output pixel here is a process, involving pixels of all preceding pictures after the last scene change up to the current picture.
The output pixel averages the current pixel with the same, already averaged
pixel of the previous picture which itself already is the average of the previous
recursion.
That is why this filter of course works much stronger than the Transversal Filter (be careful: in some cases maybe even too aggressive for your desired
application) but with increasing effect the further you get from the last scene
change.
Gang
This button concertedly controls a group of keys. With GANG activated (green
bar on the key is lit) the strength parameter slider of grain reduction in all three
channels (RGB) is modified by touching only one of the controls.
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9. Test & Setup
When Test Pattern is enabled, the yellow bar on the key is lit.
By pressing the adjacent Pattern Key, a drop-down menu opens containing
all available test patterns (here: Color Bars, Multiburst, Black and Sawtooth).
To select a pattern, click on it. The current selection is shown on the key display. If it reads ”TK Pattern”, a telecine test pattern is active.
Test signal speed is only available in conjunction with the Sawtooth pattern. It controls the horizontal movement of the Sawtooth pattern. To change
the speed, slide on the touchscreen or use the digipot control.
Scene Cut Sensitivity
With this key, the sensitivity of the built-in scene change detector can be
modified.
The standard setting is Normal.
In case the film material you are working with consists in a number of scenes
which hardly vary, it is recommended to switch the sensibility to HIGH.
In this case even small changes in picture content will be considered.
When ”taking” old print films with flicker and jumping transitions rather
choose Low to avoid events where there aren’t any.
To change, click on the key and choose from the drop-down menu. The current setting is shown on the key display.
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4.9.2
4.9 Special Menu
SUBMENU EXTERN D (DEVICES)
Menu button “Extern D ”
opens dialog “Extern Devices”
1
2
3
4
5
Fig. 453: Submenu “Extern D”
Overview
This menu contains various setups which are needed in combination with external
devices.
1. Scan Mode (Pandora MegaDef selection)
2. SepMag Coupling
3. SepMag Coupling Source
4. TC Generator Out Coupling
5. Editor Out Coupling
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Details of Function Buttons, Controls & Displays
1. Scan Mode
Scan mode can be switched between Variable and Fixed.
This setup is needed in particular for the MegaDef Color Corrector from Pandora.
The standard setting is Variable but with a MegaDef plugged in between
Rack 2 and Rack 3 it has to be switched to Fixed.
Fixed assures that the number of scanned lines is constant, no matter
whether you are working with a 50Hz or with a 60Hz standard (video or
data).
Click on the key and select from the drop down menu.
2. SepMag
Coupling
Biphase signals are generated internally by dividing down pulses coming
from the sprocket wheel.
Here the Biphase signal is used to synchronize external SepMag units.
It can be switched between 2x Biphase (48/50Hz), 10x Biphase
(240/250Hz) and 1x Biphase (24/25Hz), referring to the SEPMAG OUT connector of Rack 2.
To find out the correct setting, check manual of connected device.
To modify, click on the key and select from the drop down menu.
The current setting is shown on the key display..
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4.9 Special Menu
3. SepMag
Coupling
Source
SepMag players can either be synchronized on BiPhase or Timecode signals
generated by the DataCine.
Audio Delay is set to ’Zero’ in case a SepMag player is coupled via Timecode
with the DataCine and the audio outputs from the player are connected to “Audio In” of the SDC.
The audio output of the DataCine then has a correct timing to the video signal.
To modify, click on the key and select from the drop down menu. The current
setting is shown on the key display.
4. Timecode
Generator Out
Coupling
Biphase signals are generated internally by dividing down pulses coming from
the sprocket wheel.
Here the Biphase signal is used to synchronize external time code units (e.g.
keycode reader).
It can be switched between 2x Biphase (48/50Hz), 10x Biphase (240/250Hz)
and 1x Biphase (24/25Hz), referring to the TC GEN OUT connector of
Rack 2.
To find out the correct setting, check manual of connected device. To modify,
click on the key and select from the drop down menu. The current setting is
shown on the key display.
5. Editor Out
Coupling
Biphase signals are generated internally by dividing down pulses coming from
the sprocket wheel.
Here the Biphase signal is used to synchronize external editor units (e.g.
Pogle).
It can be switched between 2x Biphase (48/50Hz), 10x Biphase (240/250Hz)
and 1x Biphase (24/25Hz), referring to the Editor Out connector of Rack 2.
To find out the correct setting, check manual of connected device.
To modify, click on the key and select from the drop down menu.
The current setting is shown on the key display.
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4.9.3
SDC 2002
SUBMENU STEADISCAN
Menu button “Steadi S ”
opens dialog “Steadiscan”
1
3
2
4
5
running
4 frames
6
7
8
9
Fig. 454: Submenu Steadiscan
Overview
This submenu serves to set the Steadiscan parameters.
Note! The Option “Steadiscan” a film staedines improvement system is
required.
For installation details , refer to the separate user manual “Steadiscan”
1. Steadiscan operation mode button
2. Frame store delay and operation status field
3. Button “Adjusting” displays the rulers of the reference perforation hole
4. Button “Auto” performs perf hole vs. vertical ruler offset adjustment
& Slider for vertical perf hole vs. vertical ruler offset (manual adjustment)
& Slider for horizontal center position of the rulers vs. perf hole
5. Slider for illumination level control of the perforation hole
6. Bar graphs for H & V correction values
7. Selection of Steadiness - Correction H & V and Display all holes
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4.9 Special Menu
8. Buttons for Reference Set & Reset
9. Area of film type refence hole (P or N) and selection of reference perforation
hole for a 35mm image
Detailed descriptions see the next paragraphs!
Details of Function Buttons, Controls & Displays
1. Operation
mode
Operation
Selects Steadiscan operation mode
Pausing
no Steadiscan correction is performed
Running
Steadiscan is working
2. Status
Operating
&
Frame Store
Delay
4 frames
Operating status
shows the Steadiscan operating status:
pausing
no Steadiscan correction is performed
running
Steadiscan is working
adjusting
appears during adjustment of perf offset or ruler area
not initialized
appears during Steadiscan initialization
Frame store delay
shows the SDC signal delay
1 frame without Steadiscan operation
4 frames if Steadiscan is running
The frame store delay, compensating the computing time of Steadiscan, is automatically switched on and off by the Film Deck Controller depending on wether
Steadiscan is running or not.
Frame store delay depending on Steadiscan- and SDC operation:
frame store delay
(field 2 )
1 frame
4 frame
Operating Instructions - Rev. 1 / 6.2003
Steadiscan op - status
(field 3)
pausing
running
SDC
op - modes
stop, reverse
film speed 6.25 fps forw.
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3. Adjusting
Ref hole
Adjusting
Displays the rulers of the refence hole
at the VGA monitor
Rulers
2
4. Auto
Vertical
Perf Hole Offset
Hor. center
position
Auto
Auto adjustment on / off for vertical perf hole offset vs. vertical rulers.
Vertical Perf Hole Offset
Manual adjustment of the vertical perforation hole vs. vertical rulers on top &
bottom.
Performing via touching the slider or use the corresponding digipot control.
Horizontal center position
adjustment of horizontal rulers (left & right) vs. perf hole.
Performing via touching the slider or use the corresponding digipot control.
5. Illumination
Illumination
level control of the perforation hole.
The illumination slider controls the light source which is installed in the film
gate.
For adjusting, slide on the touch screen or use the corresponding digipot control.
Details , see also chapter 4.9.3.1 “Illumination level adjustment” in this manual.
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4.9 Special Menu
6. H & V
Correction
Values
This bars show the amount of the measured and compensated unsteadiness.
7. Correction
Correction
selects H or V Steadiscan correction
Horizontal
on / off
Vertical
on / off
Correction is active when the green bar on the button is
lit.
Display all holes
on / off
In this mode, the program shows all perforation holes,
but does not perform Steadiscan correction. This mode
can left by typing the button again or selecting a
Ref - Hole. In this case, initialization starts again.
8. Reference
Reference
“Reference Set”
sets the position of the actual frame as reference for the (relative) Steadiscan
correction vectors.
“Reference Reset”
sets the default reference center points of the horizontal and vertical rulers.
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9. Hole Type
&
Reference
Hole
Hole Type
Selection of film type refence hole: Positive or Negative.
The system is able to handle type N (BH = Bell & Howell) and type P (KS =
Kodak System) perforation holes.
If pressed during measurements, operation is aborted and the system will be
re-initialized.
Ref. Hole
selection of reference perforation hole for a 35mm image
(1, 2, 3, 4; - 2= Mitchell hole)
4.9.3.1
STEADISCAN ADJUSTMENTS
Ruler
Adjustment
During initialization the rulers left and right can be adjusted via horizontal
cursor keys. This may be necessary in the horizontal direction when another film
has been threaded.
First press “Adjusting” button
The rulers of the perf hole are displayed at the VGA monitor
2
Rulers
Bottom and top rulers are fixed symmetrically to the center of the displayed frame.
In case of local control via PC, press ENTER when finished and the new ruler position will be stored on disk.
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4.9 Special Menu
Perforation offset
adjustment
Adjustment of perforation offset is performed via the digipot controls and is also
controllable via the PC keyboard (cursor-, ctrl-, return-key used). The position is
displayed on the VGA monitor.
Adjustment of vertical offset (also called perforation framing) can be done during
initialization in both, display mode as well as in run mode.
In the latter, the system pauses the measurement when the adjust-offset-key is
pressed and goes into adjust mode indicated by displaying the rulers representing
the measurement areas over the perforation hole. After a time-out of two seconds
it continues the measurement.
Self-calibration of the perforation framing is done if adjust-mode is “AUTO”.
Adjust mode ”AUTO” - is useful for unattended longform transfer and defining perforation offset.
Changes in film framing are compensated automatically by changing the perforation framing. During adjustment, Steadiscan correction is interrupted.
If perforation offset is obviously out of range, press “AUTO” button.
Perforation offset will be optimized by the system after op-status (field 1) “running”
is reached.
4 frames
Press again the “AUTO” button to de-select auto mode. This avoids an automatic
re-adjustment of the perforation offset, e.g. during transportation of the film leader.
Reference
frame setting
The H/V-correction-values, sent to the SDC spatial processor, are relative to the
position of a reference frame. They represent the deviation of the current frame
from the reference frame.
The position of the reference frame has to be set by the user
(via Reference SET - or locally by the ’R’ key)
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during measurement after the servo of the SDC 2000/2001 is absolutely stable (60
frames after servo has locked).
To ensure that the first frames, following the leader, are corrected properly, the rulers have to be adjusted with the beginning of the film and not with the leader.
To start the correct film transfer, rewind into the leader section and start the transfer
mode. This minimizes the constant offset which is contained in correction values.
Please notice, if several pieces of film shall be scanned sequentially and overlaid
afterwards, that setting the reference shall be done only once with the first film.
Otherwise, there are displacements in the overlays because of the different offsets
in the scanning sessions.
All user parameters are saved on harddisk and restored at program initialization.
Illumination
adjustment
Perforation hole illumination adjustment
If white dots or white vertical stripes , caused by camera saturation, appear in the
displayed hole image, reduce the illumination level until dots and stripes disappear.
Perform adjustment by sliding on the touchscreen or use the digipot.
If vertical stripes of various colors appear in the VGA display, the illumination window has to be cleaned. See chapter “Maintenance” in the separate Steadiscan
manual.
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4.9.4
4.9 Special Menu
SUBMENU REFERENCE STORE
Menu button “Ref Store ”
opens dialog “Reference Store”
1
2
3
Fig. 455: Submenu Ref Store
Overview
Submenu Ref Store allows to store a scanned image in a reference store.
This image can be a film, data or television frame in HD or standard definition resolution.
Splitted Screen
with H & V wipe of the
reference stored image
Fig. 456: Split screen
The operator can wipe horizontally and vertically between the stored reference
frame and the live frame for color matching.
Select a defined image in STEP mode and store this into the reference buffer by
pressing the button ’Grab Frame’. This function is not programmable via an external editor.
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1. Grab Frame serves to store a film frame into the refence store
2. Split Screen serves to provide a two image presentation in one frame
3. Toggle Position
Details of Function Buttons, Controls & Displays
1. Grab Frame
Operation
Press the button Grab Frame to store a scanned frame. It is visible at
the appropriate outputs HDTV or SDTV alternatively at the Data Out.
2. Split Screen
Split Screen
Button Split Screen activates the two frames presentation depending from
the horizontal and vertical Split Position sliders.
Split Position Horizontal & Vertical
Adjust the horizontal and vertical wipe. To modify, slide on the touch screen or
use the corresponding digipot control.
PR Tr. 250
Restrictions!
In some “image sizes”, the film frame (grabbed or current scanned image depending of the toggle position) does not achieve 100% “split position”.
3. Toggle
Position
Toggle Position
exchanges the stored frame with the actual frame.
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4.10
4.10 Menu Memo
MENU MEMO
Main menu
Submenus
Memo
TK Mems
Cue
Menu button “TK Mems”
opens dialog “TK Memories”
/4.10.1
SUBMENU TK MEMS
2
1
3
4
Fig. 457: Submenu ”TK Mems”
Overview
The submenu TK Mems serves to store DataCine settings. Each user can store up
to 128 settings. The GCP file system allows user as many as you like.
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1. Window “Current User”
2. TK Memories (setups) 1 - 128
3. Store, Rename, Delete buttons to perform a setting
4. Undo / Redo button
Details of Function Buttons, Controls & Displays
1. Current user
This window shows the current user of the TK Mems.
The user can be defined and selected in the login menu.
Press the “On” button to open the login menu.
Actuate the User button in the Login menu.
On
User
To select or set a new user make the corresponding choice (new user, delete user, Factory reset).
A two lined keyboard and the concerning action buttons will be opened.
Type in the name for the new user and confirm by pressing the OK button
at the bottom of the dialog.
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4.10 Menu Memo
2. TK Mems
The currently selected TK Mem is shown with an orange frame. Select
another Tk Mem with the designated digipot.
They are recalled by touching the Mem on the screen, either the number
(1-128) or the name. The last recalled Mem is indicated by a green bar above
the number.
To set a new TK Mem select a free TK Mem button.
Actuate the Store button and set a comment to the corresponding TK Mem
free Mem
A two lined keyboard and the concerning action buttons will be opened to set a
comment.
Type in the comment for the new TK Mem and confirm by pressing the OK button at the bottom of the dialog.
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3. Redo / Undo
With the Undo / Redo button the user can toggle between the recalled Mem
and the previous Tk settings.
4. Action
buttons
Store
Tk Mems are stored with the Store button. A dialog appears where the user
can change the default name of the Tk Mem. The Tk Mem is stored after
pressing the Ok button.
Rename
Tk Mems are renamed with the Rename button. A dialog appears where the
user can change the name of the Tk Mem.
Delete
Tk Mems are deleted with the Delete button.
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/4.10.2
4.10 Menu Memo
SUBMENU CUE
Menu button “Cue”
opens dialog “Cue”
1
3
2
Fig. 458: Submenu ”Cue”
Overview
Submenu “Cue” provides Cue, Loop and Freeze functions.
In this menu, film frame search can be selected and saved.
1. Counter Mode window
2. Cue 1 / 2 in setting and Freeze
3. Loop mode buttons
1. Counter Mode
Window
Here the user can switch the counter between Timecode, Feet+Frames and
Film Frames.
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2. Cue1 / 2
settings
Cue moves your material directly to a preselected position.
There are different ways of programming a Cue point. Move the material to
the desired position and hit IN 1. The corresponding counter position will be
entered and displayed above.
Instead of physically playing the material you can also just type it in. Therefore click on the counter display and a numeric keyline will appear on top of
the page.
Type in the Cue timecode and confirm by pressing the OK button.
Hitting the function KEY 1 or 2 cues your material to the programmed position. This is done with shuttle or play depending on the current position of
your film material.
Between the cue points 1 and 2, the selected mode applies. From outside or
by hitting a function key twice, always Shuttle mode is performed.
Freeze
Freeze mode suppresses every frame between the programmed freeze and
defreeze points.
As long as your programmed freeze lasts, the last frame prior the freeze start
will be shown.
Freeze and defreeze can be programmed as described under Loop mode.
Once entered, notice that the bar on the film roll display will be highlighted in
yellow.
Hitting the Freeze button will execute this function if you play your material in
Forward mode starting from somewhere before the freeze in-point.
Note that this function is not available in Play Reverse mode.
Note:
Freeze and Loop functions are not applicable at the same time.
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4.10 Menu Memo
3. Loop mode
The Loop button is a switch to enable or disable the Loop function.
The adjacent buttons are to select Play or Shuttle mode to move the film between the loop start and end points.
The Loop function allows you to repeatedly have a look at the same part of
the material (e.g. for color matching purposes).
The material is moved from a programmed start to a programmed stop point
and back again.
There are different ways of programming a loop.
Move the material to the desired start/end points and press In 1 / In 2.
When pressing In 1 or In 2, the corresponding counter position will be entered and displayed above.
Instead of physically playing the film, you can also program start/end points
by typing them in.
Therefore click on the counter display and a numeric keyline will appear on
top of the page. Type in the desired values and confirm by pressing the OK
button.
Adjacent to the Loop button, Play or Shuttle mode can be selected.
Hitting the Loop button will perform your programmed loop until you hit Loop
again.
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4.11. MonitoringMenu
SDC 2002
.
4.11
MONITORING MENU
Main menu
Submenus
Test Pnt
Setup
Diagnosis
Monitoring
Submenu button “Test Pnt”
opens dialog “Testpoint Selection”
4.11.1
SUBMENU TEST POINT SELECTION
1
2
3
5
4
Fig. 459: Main menu “Testpoint Selection”
Overview
The menu contains Test Point and Test Pattern selection and serves to select the
monitoring video signals for reproduction via different oscilloscopes, vectorscopes
and color monitors.
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4.11 Monitoring Menu
1. Test Point Selection Scheme
2. Auto Test Point Selection
3. Auto Test Point Snap Back Time
4. Test Pattern on / off & Pattern
5. Channel select
Details of Function Buttons, Controls & Displays
1. Test Point
Selection
Scheme
1
2
3
4
5
6
7
This scheme roughly shows the path of signal processing in the DataCine
Click on the white points below or inside the scheme to switch the Test Point
to the desired position.
The signal you are looking at on a waveform monitor corresponds to what a
video signal would look like measured at that point.
This is an emulation, such signals do not exist in reality as there is only data
processed inside the machine.
Therefore this function cannot really be used in terms of troubleshooting
but is an essential tool for color matching.
A rough guideline where to look at:
Test point 1: Signal source AiH, Illumination Adjustment
Test point 2: Color Negative Matching
Test point 3: Color grading Gain & Lift
Test point 4: Color Grading Masking 6 CRT Gamma
Test point 5: Spatial processor with sizing, matrix and contour correction
Test point 6: RGB Output Digital
Test Point 7: RGB Output Analog
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.
2. Auto
Test Point
Selection
This function is very helpful for the colorist (especially if there are not enough
waveform monitors on-hand to cover all important test points at the same
time).
It automatically swaps over the test point selection according to the control
the colorist currently uses.
The function can be switched On and Off.
3. Auto
Test Point
Snap back
Time
Serves to set the current testpoint back to the preselected testpoint.
Snap back time 5s, 10s, 20s, 30s;
The function is enabled if “Auto Testpoint selection” is on (Operator use).
4. Test &
Pattern
Switches the test pattern ( - signal) on or off. The preselection of the test signal
(staircase, sawtooth, color bar ...) is made in the dropdown menu “Pattern”.
ON:
test signal
OFF: film signal
When Test is enabled, the yellow bar on the key is lit.;
This function is redundant in the Home Menu and in the Color Menu.
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Pull down menu
Pattern
4.11 Monitoring Menu
This pulldown menu serves to select the test signals.
Overview
The meanings of the individual test signals are explained below.
”Staircase”
Test signal
”Sawtooth_100”
Test signal
”Colorbar”
Test signal
”Sawtooth_14”
Test signal
“Multi-Burst”
Test signal
“10% Video Level”
Test signal
”staircase”
”sawtooth 0 -100%”
”color bar”
”Ramp 0 -14%”
“Multiburst “
“10% video level, for monitor adjustment” *
“90% Video Level”
Test signal
“90% video level, for monitor adjustment” *
*
To achieve this video levels, set following parameters:
Color correction - unity; CRT gamma - on; film type - Print pos.;
HDNR Pattern
”60% Video Level”
Test signal
”Black”
Test signal
“Color Fade”
”FPN Positive”
Test signal
“FPN Data”
Test signal
”FPN Negative”
Test signal
”FPN Itermediate”
Test signal
“FPN Read Data”
Test signal
”FPN Primetime”
Test signal
“60% video level (area)”
“black”
6-Sector Color Correction test signal
“positive FPN correction signal”
“last stored FPN correction data”
“negative FPN correction signal”
“Intermediate FPN correction signal”
“last stored FPN correction data”
“Primetime FPN correction signal”
The current selection is shown on the key display. If it reads ”HDNR Pattern”, a
SCREAM Test Pattern is active.
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4.11. MonitoringMenu
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.
5. Channel
select
To switch separate signals/channels in the measuring path of a connected oscilloscope or vectorscope.
Click on the key and make your choice from the drop-down menu.
The following selection can be made: R/CR, G/Y, B/CB, SUPER, PARADE and
VECTOR.
SUPER stands for ”Superimposed”, RGB / Y CR CB signals are displayed one
upon the other.
Operation PARADE mode displays the signals side by side (sequentially).
VECTOR stands for switching over the oscilloscope to vector display mode
(only available for coded signals, Y CR CB operation).
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4.11 Monitoring Menu
Submenu button “Setup”
opens dialog “Waveform Monitor Setup”
4.11.2
SUBMENU SETUP
7
8
1
2
3
4
5
6
Fig. 460: Submenu “Setup”
Overview
This menu serves to select various wave form monitoring basic settings.
1. Preset Waveform Monitors
2. Sequence settings
3. H-Blanking setup
4. Display mode
5. Clamp Local
6. Clamp Remote
7. Remote Control keys 1-4
8. Master WFM definition
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4.11. MonitoringMenu
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.
Details of Function Buttons, Controls & Displays
1. Preset WFM
Click on this key to open the waveform monitor preset window.
Here you can enter and store the preset settings for your different waveform
monitors.
Click on the SELECTION key to chose the (REMOTE CONTROL) interface
from the drop-down menu. The type of monitor connected is automatically displayed in the window below.
Now you can choose one of four function buttons to select the display mode
of the WFM. When active, the green bar on the button is lit.
At the same time a popup appears in the window below telling you to enter
correspondent settings on the local panel of the WFM. Then click the STORE
button.
To exit the window, click the Close button.
Parade
for sequential display of the channels
Superi 1H / 2H for superimposed display of the channels (2 channel lines or
1 channel in sequence each)
Vector
for switching over the oscilloscope to vector display
(only in YCR CB operation)
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4.11 Monitoring Menu
2. Sequence
Setting
Defines the sequence of the displayed RGB signals.
Click on the key to select one of the possible settings: RGB or GBR.
The standard setting is RGB and normally there is no reason to change it.
3. H-Blanking
Switches the horizontal blanking of the monitoring signals on or off.
Click on the key to select one of the possible settings.
4. Display Mode
Defines the sequence of the displayed RGB signals.
Click on the key to select one of the possible settings: RGB or GBR.
The standard setting is RGB and normally there is no reason to change it.
5. Clamp Signal
Setup
Switches the clamping of the monitoring signals ANALOG OUT RGB (rear
of Rack 2) on or off.
Click on the key to select one of the possible settings.
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4.11. MonitoringMenu
SDC 2002
.
6. Clamp
Remote
Switches the clamping of the monitoring signals REM ANALOG OUT RGB
(back of Rack 2) on or off.
Click on the key to select one of the possible settings.
7. Remote
Control 1-4
MONITORING
EXTERN
J1
REM CTRL 1 REM CTRL 2
J2
J 10
REM CTRL 3 REM CTRL 4
There are 4 waveform monitor interfaces (REM CTRL 1-4) on the terminal
panel of Rack 2.
J3
J 11
REM ANALOG OUT
CH4 R
CH5 G
J4
CH6 B
J 112
S REM 3/4
J5
J 113
The 4 keys “Remote Control 1-4” serve to assign a certain waveform monitor
to the respective MONITORING REMOTE CONTROL interface.
The following waveform monitors are selectable:
WFM 300, WFM 300A, PT 5464, 1730HD, 1735HD (Tektronix), PM 5664
(Philips).
ANALOG OUT
CH1 R
CH2 G
J6
CH3 B
J 114
S REM 1/2
J7
J 115
CFR IN
CFR OUT
Click on the key and select from the drop-down menu (according to your connected device).
Fig. 454: Connection unit rack 2 (only monitoring part)
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4.11 Monitoring Menu
Selection: 300 / 300A / 5464 / 1730 / 1735 / 5664
”300”
Tektronix WFM 300 / 1740 / 1750 / 1760 connected *
”300A”
Tektronix WFM 300 A connected
“5464”
Philips PT 5464 HD connected
”1730”
Tektronix 1730 HD connected
”1735”
Tektronix 1735 HD connected
“5664”
Philips PM 5664 (SD) connected **
Important Notes!
* WFM TEK 1740 - 1760
Waveform monitor series TEK 1740-1760 has to be configured as WFM 300.
Storing the presets via menu MONITORING F11 preset WFM “Preset for WFM
300” F10 STORE is not supported. Use front control panel for storing presets.
Create a special control cable for WFM series TEK 1740-1760 as follows:
15 pin D-SubmIn male
SDC 2001 Rack 2
25 pin D-Submin male
TEK 1740 - 1760
Function
Pin 9
Pin 14
GND
Pin 5
Pin 18
Recall 2 Superimposed
Pin 6
Pin 19
Recall 3 Vector
Pin 7
Pin 17
Recall 1 Parade
** WFM Philips PM 5664
Disconnect pin1 and 2 on each side from the control cable PM5664, otherwise
the remote control functions are disturbed.
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4.11. MonitoringMenu
SDC 2002
.
Table of supported Waveform Monitors
Manufacturer
& Type
Leader
LV5100
Leader
LV5152
Philips
TEK
PT5464 1735HD
TEK
TEK
TEK
TEK
Philips
1730HD WFM300A WFM300 1740-1760 PM5664
yes
yes
yes
no
no
yes
no
no
no
yes
yes
yes
no
no
yes
no
no
yes
yes
t.b.d.
yes
no
no
no
no
no
no
no
t.b.d.
no
yes
yes
no
yes
yes
yes
yes
t.b.d.
yes
yes
yes
yes
yes
yes
yes
no
t.b.d.
no
yes
yes
yes
yes
yes
yes
yes
yes
yes
no
no
yes
yes
yes
yes
yes
yes
yes
yes
yes
no
no
no
yes
yes
t.b.d.
yes
no
no
yes
yes
yes
yes
User action nec- no
essary for
changing
TV - Standard
t.b.d.
no
yes
yes
no
no
no
no
525 Lines
supported
625 Lines
supported
1080 Lines
supported
1125 Lines
supported
1250 Lines
supported
720 Lines
supported
yes
no
yes
yes
yes
yes
yes
yes
yes
yes
no
yes
yes
yes
yes
yes
yes
yes
yes
yes
yes
yes
yes
no
no
no
no
yes
no
yes
yes
yes
no
no
no
no
no
no
yes
yes
yes
no
no
no
no
no
yes
no
no
no
no
no
no
no
Store presets
from WFM
Frontpanel
Recall presets
from WFM
Frontpanel
Store disabel
via WFM Frontpanel
Store from
Remote
connector
Recall from
Remote
connector
Store disabel
Remote
connector
Vectormode
YCrCb
1line/2lines control via remote
Automatik TV Standard detection
Further WFM Recommendation!
The scopes type LV 5100 and LV 5152 of the manufacturer “Leader” may be
used without remote control from the Spirit DataCine, which normally is not required.
In addition an HD / SD Scope with SDI inputs connected to an external Secondary Color Corrections is helpful.
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4.11 Monitoring Menu
The HD scope WFM700 is useful to check the output of the Spirit DataCine,
if connected to the serial HD Link A output.
An serial HD scope cannot be connected to the test point selection output for
monitoring the signal path before.
The best monitoring solution for both SDTV and HDTV is a HD Scope with analog RGBS inputs connected to the Spirit DataCine Monitoring Outputs at the
Terminal Panel Rack 2, see Fig. 454: , page 4-206
.
8. Master WFM
MONITORING
EXTERN
Key “Master WFM” defines which waveform monitor is the master WFM.
J1
REM CTRL 1 REM CTRL 2
J2
The master WFM can be operated always from the user interface of the
menu Monitoring submenu Test Point
J 10
REM CTRL 3 REM CTRL 4
J3
J 11
REM ANALOG OUT
CH4 R
CH5 G
J4
CH6 B
J 112
S REM 3/4
J5
J 113
ANALOG OUT
CH1 R
CH2 G
J6
CH3 B
J 114
S REM 1/2
J7
J 115
CFR IN
CFR OUT
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4.11. MonitoringMenu
SDC 2002
.
4.11.3
SUBMENU DIAGNOSIS
1
4
6
2
3
5
7
8
Fig. 461: Submenu “Setup”
Overview
This menu serves to
1. Diagnosis Status Window
2. Reset Function Keys
3. Operating Status
4. Software Status
5. Life Time
6. Board Status
7. TK Error Messages Window
8. Diagnosis Messages Window
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4.11 Monitoring Menu
Details of Function Buttons, Controls & Displays
1. Diagnosis
Status
Window
This window contains various system information such as:DataCine/Telecine
serial number, the connected machine control units and their status, genlock
status;date, time and the software and firmware versions of this panel (GCP).
2. Reset
Function Keys
The Spirit DataCine is provided with 4 reset buttons:
IMCS RESTART:
restarts the IMCS communication between the GCP and
the DataCine.
TK RESTART:
performs a software restart of all machine control units of
the DataCine.
AIH RESTART:
performs a software restart of the Analog Imaging Head
(the scanner unit of the Spirit DataCine).
RELEASE FOCUS: gets the AIH scanner block in the upmost position.
This is an emergency recovery function.
E.g. in case there was a filter in the focus path,
the focus initialization process is disturbed and the AIH
is blocked on his way down (without having reached the
downmost position, AIH is not able to move up again).
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4.11. MonitoringMenu
SDC 2002
.
3. Operating
Status
Click on this key to open the operating status window.
The operating status of certain parts of the DataCine/Telecine is displayed.
Example:
AIH STATUS:
running
ILLUMINATION STATUS:
shutter closed
GENLOCK STATUS:
internal sync ok
FPN STATUS:
off
WETGATE STATUS:
no wetgate
To exit the window, press the Close button.
4. Software
Status
Click on this key to open the Software status window.
Here you can check the software versions of the machine control units (processors).
Version numbers, date, protocol and control status information are displayed.
E.g.:
FDC: V. 4.60 Dec - 7 - 2002 14:10
5
Running
To exit the window, press the Close button.
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5. Life Time
4.11 Monitoring Menu
Click on this key to open the operating status window.
Here you can check the operation hours (”Life Time”) of certain parts in your
DataCine and you can see after how many hours (Life Cycle”) they should be
replaced.The following units figure:
DataCine (in total), Projection lamp, Capstan lamp, Audio 16 lamp (optional),
Audio 35 lamp (optional).
In case a unit is replaced, the LIFE TIME display can be reset by pressing the
corresponding RESET button.
To exit the window, press the Close button.
6. Board Status
Click on this key to open the Board status window.
Here you can check which boards are mounted in Rack 1, Rack 2 and Rack
3 of your DataCine.
If existing, they figure with slot number, identification letters and number, software and firmware versions.
To exit the window, press the Close button.
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4.11. MonitoringMenu
7. TK Error
Messages
Window
SDC 2002
.
Error messages sent from the DataCine/Telecine are displayed in this window.
Example for a typical message:
”Standard error from FDC 2001.5.17.../remote select rejected, door is open”.
It is possible to scroll through the messages by dialing the adjacent digipot.
To delete all error messages, hold down the UNITY button and click to the Error Messages Window.
8. Diagnosis
Messages
Window
4-214
Error messages from the GCP panel itself, e.g. provoked by wrong handling,
are displayed in this window.
Not yet implemented.
Operating Instructions - Rev. 1 / 6.2003
SDC 2002 / GCP
4.12
4.12 GCP-EVL
GCP-EVENTLISTOPTION
Main menu
Submenus
GCP-EVL
File
List
Seup
Pressing the hardkey “EVL”
opens dialog “GCP-Eventlist”
EVL
EVL
Fig. 455: GCP EVL menu
4.12.1
EVL FEATURES
Event list adds a timeline-based color correction functionality to the GCP.
Different enhancements applying to different sections (scenes) of one piece
of film can be stored on a scene by scene base (events).
A chain of events makes up a list.
Anytime lists can be recalled or modified. They are used to play back the material in a programmed way.
Changes in parameter settings are executed frame accurately.
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4.12 GCP-EVL
SDC 2002
.
4.12.2
MENU STRUCTURE EVL
1. Press the hard key “Event List Menu” of the control panel to change from a
main menu (e.g. Home) to the Event List menu.
Event List Menu
Rack Version
Fig. 456:
The main menu Event List appears.
Fig. 457:
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4.12 GCP-EVL
2. Click Open to select an existing event list
or
press New to create a new event list.
STYLE_GREEN
Fig. 458:
3. Once a list is selected or a new list is opened you are automatically swapped
to the submenu “List“.
Fig. 459:
Operating Instructions - Rev. 1 / 6.2003
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4.12 GCP-EVL
SDC 2002
.
4. Click on “Setup” to enter the Setup menu.
Fig. 460:
Menu Setup contains different setups for functions, hard- and softkeys in conjunction with event list / timeline works.
Key Assignment
Different functions can be assigned to the GCP hardkey where the arrowhead
is pointing at.
Choose Enter or Enter & Mark to delegate these functions on this hardkey; it
saves you from toggling to the EVL List menu while working on GCP telecine
main menus.
The currently active function (Enter or Enter & Mark) is shown on the button
display.
T = 1 sec specifies the function of Enter & Mark (if enabled). If switched on (the
green bar on the button is lit) events will only be added to your timeline in case
the hardkey gets pressed for at least a second.
If T = 1 sec is disabled events will be added to your timeline no matter how long
the hardkey is pressed.
If EVL Togl is enabled (the green bar on the button is lit) pressing the hardkey
for at least a second will toggle the GUI from GCP telecine main menus to EVL
or vice versa.
If EVL Togl is disabled the toggle function of the hardkey is switched off.
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4.12 GCP-EVL
Scene Change Detection
Events can be added manually to the timeline by pressing Enter & Mark on the
List menu, by pressing the dedicated hardkey (please refer to key assignment)
or automatically by using an external scene change detector.
E.g. SCREAM, the Thomson grain reducer features a built - in scene change
detector which needs no additional cabling.
If enabled the green bar on the button is lit. When using an external device once
check the timing before you start taking in order to avoid mistakes.
Detected scene changes will be added at the end of the list as well as inserted.
To avoid undesired inserts switch it off.
In order to adjust the timing of the automatic scene change detection use the
adjacent setup button. To modify the timing (in frames) use the corresponding
digi-pot or click on it to open the typewriter.
Confirm by hitting OK. The range allows for - 10 to +10 frames, the current setting is shown on the key display.
Counter Mode
To change the current counter mode click on this button and chose from the
drop down menu. Timecode, Feet & Frames and Frames is selectable. This
selection affects the timeline display in the list menu. Start scene and scene
duration will be displayed according to the current selection.
Cue Position
This setup determines the frame within an event on which the telecine stops
when in Goto mode.
Click on the button to select from the drop down menu. On first frame, on
frame number.., in center, on last frame is selectable.
If on frame number is selected the adjacent number button gets activated.
To modify the value (in frames) use the corresponding digi-pot or click on it to
open the typewriter.
Enter & Mark determines...
This setup determines wether the TK position has to be on the first or on the
last frame of a scene to enter an event / mark.
No matter which mode is selected the mark will always be on the same position.
The only reason to change this setting is to work in the way your are used to.
Note: In the list display the timecode of the start scene frame is displayed, not
the timecode of the event position.
In first frame mode both are the same but in last frame mode the displayed timecode varies by one frame !
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.
4.12.3
BACKUP EVENT LIST DATA
1. Pressing twice the GCP Power On/Off button during operation opens the
Copy dialog.
Fig. 461: “Copy” dialog
The Copy dialog can be used to copy Event Lists to an external storage device.
Data can also be reloaded from an external store or copied to a different directory on the external or local store/disk.
As an external store, a so-called USB Memory Key (DiskonKey) is used. For
more information, see section “Connecting the USB Memory Key (DiskonKey)
to the GCP” in the GCP Customer’s Manual FU 0104.
The Copy dialog contains two option menus (Device 1 and Device 2).
Each can be delegated either to the GCP HardDisk or to the DiskonKey.
The directory tree of the chosen disk is shown in the adequate display of Device
1 and 2.
The directory Users contains a sub-directory for each user configured, titled
with the name of the respective user.
These User directories contain user settings like Panel Settings, Masking
Mems, Tk Mems or Event Lists.
The directory EVL contains the event list files.
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4.12.4
4.12 GCP-EVL
EVL WORKFLOW
Basic Description to get started
1. Log in the GCP under your user to make sure all setups and slider-sensitivities
are recalled according to your settings.
Enter User Login
Select
Event List Menu
Login & Setup GCP
Fig. 462:
2. Press the hard key EVL Menu to enter the event list menu.
The main menu EVL appears.
Select EVL
Fig. 463: Main menu EVL
Operating Instructions - Rev. 1 / 6.2003
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4.12 GCP-EVL
File Menu
SDC 2002
.
3. Click on File to enter the list management page.
To continue working on an already existing Project/List click Open and select
from the window.
Fig. 464: Menu File - Event list window
Select a List
4. To create a new Project/List hit New. Click on the input field to open the typewriter in order to name your new list. For more details please refer to the online
help files.
5. Lace up your material on the telecine and place it on a frame which is easy to
remember or punch in a hole. Go to the TK Config / Timecode menu and set
the timecode to a typical value like 01:00:00:00 e.g.
Fig. 465: GCP Menu TK Config - submenu Time Code
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List Menu
4.12 GCP-EVL
6. Move to the EVL List menu page and start building up your list. Anytime you
hit (Enter & Mark) a new event is created.
Fig. 466:
Remark!
Marks normally are placed on the first frame of a scene.
Existing events are displayed in the list defined by event number, start timecode, eventually name, duration and eventual transitions.
Current settings are stored within one event by hitting Enter. Select
the corresponding menu pages in order to alter settings like color enhancement, sizing or whatever needs to be done to the current scene.
4.12.4.1
ENHANCED LIST FUNCTIONS
Functional Groups
The following functional groups can be programmed separately:
FD
= “Filmdeck” contains settings of the TK menu
MA
= “Matching” contains settings of the Film menu
CO
= “Color” contains settings of the color / 6SC menu
SI
= “Size” contains settings of the Sizing menu
AU
= “Audio” contains settings of the Audio menus
Operating Instructions - Rev. 1 / 6.2003
4-223
4.12 GCP-EVL
SDC 2002
SP
.
= “Special” contains settings of the Special ( Scream / Edge Proc)menus
Properties
Properties of an event are Name and / or Transition Type.
Hit Properties if you want to name or rename an event and to set a transition
type.
The emerging menu page contains a “Name” input box. Click on it to open the
typewriter, type in the name and confirm by pressing OK at the bottom of the
dialog. Hit Close to come back to the List menu page.
A simple and handy way to open Properties is to double-click on the event
line in the list (right on the touch-screen).
Hit Properties to change transition types for certain or all functional groups.
Select the group by clicking on its dedicated button and choose the desired
transition type from the drop-down menu. Hit Close to come back to the List
menu page.
Name and transition type will now be displayed inside the list window.
Name
Transition
Fig. 467:
4-224
Operating Instructions - Rev. 1 / 6.2003
SDC 2002 / GCP
4.12 GCP-EVL
Transitions types
Transition Type
Pass
settings do not change
Transition Type
Cut
settings change immediately
Transition Type
Fade
settings change continuously
Transition Type
Linear continued
settings change
continuously over “n” events
Transition Type
S - characteristics
Fig. 468: Transitions
Tweak TC
Tweak Timecode can be used to enter an event numerically (left window) or to shift
events (right window).
Shift the Event
Enter an Event
Fig. 469:
Hit Twk TC if you want to enter an event numerically. The emerging menu page contains a Timecode input box. Click on it to open the typewriter. Once the input is finished you automatically get back to the List menu page.
Operating Instructions - Rev. 1 / 6.2003
4-225
4.12 GCP-EVL
SDC 2002
.
Note!
The input appears as Timecode, Frames or Feet & Frames dependent on what
is selected in the Setup.
Hit Twk TC if you want to shift one event (the current event is default), a group of
events or the whole list on the timeline.
Tweak TC (right window) contains three input boxes, the top right one applies to
the amount of frames event(s) to be shifted. Click on it to open the typewriter....
The input boxes below (From / To) are needed to define the range of events to be
shifted.
If nothing is entered here only the current event (whose number is entered by default) will be shifted.
If you want to shift a group of events enter the number of the first event to be shifted
(From) and the number of the last event to be shifted (To).
If you wish to shift the whole list enter ”0” to ”999”
(even if you don’t know the exact number of your last event, just input some high
value, it will automatically be corrected).
Having confirmed by hitting OK you automatically get back to the List menu page.
Cancel aborts the action.
Tweak Data
This submenu offers tools for enhanced copy actions.
Hit Twk Data if you want to copy only one (or more) parameter(s) from some event
into your current event or into a group of events or into the whole list.
Activate
a functional Group
Fig. 470:
4-226
Operating Instructions - Rev. 1 / 6.2003
SDC 2002 / GCP
4.12 GCP-EVL
All parameters contained in one event split up in six (functional) groups which are
the following:
FD stands for Filmdeck (such as Tk speed)
MA stands for Matching (contains lamp settings, negative matching, filterwheel,
position and masking),
CO stands for Color (color primaries and secondaries corrections),
SI stands for Sizing (aspect ratios, zoom, position, rotation),
AU stands for Audio
SP stands for Special (Scream grain reduction, edge processing).
Activate the functional group of which the desired parameter is part of by clicking
on the dedicated button (red bar is lit if active).
Specify an event range where the chosen group settings are to be copied to.
Hit the From button to open a numeric keyline on top of the page.
Enter the number of the first event.
Hit the To button, enter the number of the last event.
If nothing is entered here the copy action will only apply to the current event (whose
number is entered by default). If you wish the copy action to cover the whole list
enter ”0” to ”999” (even if you don’t know the exact number of your last event, just
input some high value, it will automatically be corrected).
Having confirmed by hitting OK you automatically get back to the List menu page.
Cancel aborts the action.
Different copy modes are available:
Delete correction Data Set cancels all data modifications.
Replace Correction Data Set (this is probably the most common mode), previous settings will simply be replaced by the ones which are copied.
Additive modification of Correction Data Set means that the copied settings are
added to the previous settings.
Replace transition type allows to replace the transition type of the selected functional groups all at once.
Make your choice by clicking on the dedicated button (green bar is lit if active).
Operating Instructions - Rev. 1 / 6.2003
4-227
4.12 GCP-EVL
SDC 2002
.
Setup Menu
Events can be entered manually or automatically by using an external scene
change detector.
Select the Setup menu and switch on Scene Change Detection.
Fig. 471: Scene Change Detection
Scream required!
Note!
As the scene change detector is part of Thomson’s Scream Grain Reducer,
this function is only accessible if a Scream is installed. A third party Scene
Change Detector may be used alternatively.
7. In order to avoid toggling permanently back and forth from the EVL menu pages
assign Enter to a hard key. This assignment is done on the EVL Setup menu.
Fig. 472: Setup menu
For more details refer to item 4. chapter 4.12.4.1 “EVL Menu Structure” on page
4-218.
4-228
Operating Instructions - Rev. 1 / 6.2003
SDC 2002 / GCP
4.12 GCP-EVL
Changes in parameter settings are executed instantly when a mark is crossed
but situations may arise where a dynamic change of settings is required (e.g.
example a camera travel from inside to outside).
Therefore a transition can be applied. Generally transitions can be applied to
all, some or just one functional group(s).
Fig. 473: Submenu Properties - Transition Effects for functional groups
For more details please refer to chapter 4.12.4.1 “Enhanced List Functions on
page 4-223)
It is possible to copy settings from any event to the current event, e.g. in case
a certain scene appears repeatedly.
8. Place the list cursor on the event which contains the desired settings (these will
immediately be applied to your picture) and hit Enter to copy them.
Fig. 474:
Proceed in the same way to copy settings from a TK Mem
- GCP menu Memo -to your list.
Operating Instructions - Rev. 1 / 6.2003
4-229
4.12 GCP-EVL
SDC 2002
.
Select GCP menu “Memo”
Activate the desired TK Mem
Press the soft/hardkey (which is assigned with EVL function Enter,
see also item 4. chapter 4.12.2 “EVL Menu Structure” on page 4-218.
Select TK Mem
Fig. 475: TK Mems
Toggling between two conditions for comparative reasons is possible between
stored and not yet stored settings.
Therefore use Undo/Redo. Undo leads to the settings ”as it was before”, Redo
brings back your current modification.
In order to remove an event from your list hit Delete.
Fig. 476: Function buttons of the event list menu
4-230
Operating Instructions - Rev. 1 / 6.2003
SDC 2002 / GCP
4.12 GCP-EVL
Please note!
If an event is to be deleted, position the telecine on that event and hit Delete.
If deleted, the previous event becomes longer and the settings of the previous
event are maintained.
List Undo brings back any list modifications.
Goto serves to shuttle the telecine to a defined position.
Place the list cursor on the desired event and hit Goto.
The telecine then shuttles to a timecode position which corresponds to the selected event timecode.
Once your event list is finished move to the File menu page to actively save this
list.
Save will simply overwrite an already existing session file, Save as offers the
possibility to save a (modified) list several times under different names.
Fig. 477:
Note!
The GCP EVL contains a permanent backup function, so no worries in case of
power breakdown, your list is saved automatically at any moment.
In any such cases you will be prompted to load the unsaved list in order to recover
it the next time you enter the File menu page.
Please refer to the online help files to see how enhanced list functions are handled.
Those can be accessed under Properties, Tweak Data and Tweak Timecode on
the List menu page.
Operating Instructions - Rev. 1 / 6.2003
4-231
4.12 GCP-EVL
SDC 2002
.
4-232
Operating Instructions - Rev. 1 / 6.2003
5. Operation
SDC 2002
5.
OPERATION
Front doors opened
Film operation up to a fixed speed of maximum 50 frames per second is possible.
Front doors closed
All operation modes are possible.
Attention:
Opening the front doors effects that a high shuttle speed is reduced to 2 times play
speed!
Front doors locked:
With a certain shuttle speed (>2 times play) closed front doors are locked additionally. The front doors are unlocked as soon as the shuttle speed is reached again.
5.1.
REPRODUCTION (PLAY)
There are four reproduction modes - Play, Jogging, Vario Motion and Shuttle.
The following sections will give an overview of their features and applications.
5.1.1.
PLAY
Play mode for film image reproduction at normal speed.
Reproduction in this mode is started by pressing key ”Play ” on the control panel.
5.1.2.
JOGGING
Select Jogging mode if you want to view a scene in slow motion frame by frame.
Reproduction in this mode is started by pressing key ”Jog” on the control panel.
In this mode the trackball can be used as Jog speed control.
5.1.3.
VARIO MOTION
Select Vario Motion mode if you want to play back a scene in slow motion.
The film speed can be set with the trackball in the range of the SAS speed in forward
and reverse direction.
Vario Motion mode is started by pressing key ”Var” on the control panel.
Operating Instructions - Rev. 1 / 6.2003
5-1
5. Operation
5.1.4.
SDC 2002
SHUTTLE
Select Shuttle mode if you want to reach a distant film position within shortest time
(also rewind).
The film speed is set with the trackball in the range of +/- 10 times the normal speed
(with 35mm).
Reproduction in this mode is started by pressing key ”Shtl”.
Note!
The maximum film speed is reduced near the end of the film.
In ”Shtl” mode, the video picture can serve for orientation purposes.
5-2
Operating Instructions - Rev. 1 / 6.2003
5. Operation
SDC 2002
5.2.
AUTOMATIC SWITCHING-OFF
The film scanner includes three automatic switching - off functions.
1. Film end switching-off
5.2.1.
2.
Film break switching-off
3.
Thermal switching-off
FILM END SWITCHING-OFF
In the Play or Play mode, the film is spooled out completely and the film drive
is stopped automatically when the end of film is reached.
In the Shtl or Shtl mode, the film speed is reduced from maximum to normal
speed and then stopped when the end of film is reached.
Pressing the Shtl key once more spools the film out completely and the film drive is
stopped automatically.
The end-of-film switching-off function is enabled again by pressing the Stop key on
the film deck panel.
5.2.2.
FILM BREAK SWITCHING-OFF
In the Play , Play and Shtl or Shtl modes, the film drive is stopped immediately in case of a film break.
After a short time, the pilot light of the Standby key on the Local Control Panel goes
out and the Stop key lamp on the control panel flashes.
The FPN correction is preserved, the last picture is not frozen.
5.2.3.
Thermal switching off
To avoid overheating problems caused by to high a temperature of outgoing cooling
air, a thermal switch is installed into the SDC 2002.
The mains voltage will be switched off by means of this sensor when the exhaust air
exceeds a temperature of 55°C ± 4°C (131oF ± 39oF).
Thomson guarantees SDC 2002 operation at an ambient temperature of maximum
35°C (95oF). The temperature of the exhaust air is normally by 10°C (50oF) higher
than the intake air. If the ambient temperature rises up to 40°C (104oF) and higher,
damage to a running SDC 2002 is possible.
In such a case the machine is disconnected from the mains and further operation is
only possible after the ambient temperature was reduced.
The thermal switch is performed with a hold function and the mains voltage can only
be switched on via a reset button of this switch (see figure 501: ).
In case the SDC2001 cannot be repowered:
Set the power switch in position ”off”
Open the rear doors
Check the power connection to the SDC 2002:
- Mains voltages at the Mains Terminal Board FH 1031 (FH 1033)
- 3 (2) phase circuit breaker
Push the reset button of the internal SDC 2002 thermal switch (figure 501: ).
Operating Instructions - Rev. 1 / 6.2003
5-3
5. Operation
SDC 2002
Close the rear doors
Switch on the machine
Thermal switch incl. housing
Á
Á
Á
Push here for reset
the thermal switch
Fig. 501: : SDC 2002 with thermal switch
5.3.
Manual emergency switching-off
In an emergency case, the film scanner can be switched off immediately with the
Power switch (on the right upper side of the film scanner cabinet) from all operation
modes without any risk for the film scanner or the film.
5-4
Operating Instructions - Rev. 1 / 6.2003
6. Maintenance
SDC 2002
6.
MAINTENANCE
Modern film scanner units stand out for high life expectancy and low maintenance
expenditure.
Nevertheless, preventive maintenance will be the basis to ensure reliability in service and to preserve the value of the film scanner.
This document provides the instructions needed for fast and competent carryingout of maintenance works.
Materials and aids for maintenance can be bought from
Thomson Local National Sales Organisations
or
BTS Media Solutions GmbH D-64331 Weiterstadt Germany
under the following order numbers:
• Cleaning fluid for the capstan roller (isopropyl alcohol) . . . . .
• Audio head demagnetization (220 V) . . . . . . . . . . . . . . . . . . . .
• Audio head demagnetization (110 V) . . . . . . . . . . . . . . . . . . . .
• Dustaway (compressed-air cleaning means) . . . . . . . . . . . . .
• Cleaning cloths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
• Filterset
Intervals
5 108 701 008
3 121 216 011
3 121 216 010
5 108 601 021
5 001 310 280
2 128 102 112
Thomson recommends the following cleaning and maintenance intervals:
Cleaning and
maintenance intervals
prior to each
film threading
every
4 - 8 weeks
Light gap and film-guiding
edges (optical block)
X
6.2.1.
Capstan roller
X
6.2.2.
quarterly
semi- annually
every
3 - 5 years
see
section
Film drive mechanism
X
6.2.
COMMAG audio head
X
6.2.3.
Projection lamp
X
6.3.1.
2 Condenser lenses
(film scanner)
X
6.3.2.,
6.3.7.
Infrared filter (film scanner)
X
6.3.3.
Heat absorbing filter
(film scanner)
X
6.3.4.
Light control
(film scanner)
X
6.3.5.
Filters of the filter wheel
(film scanner)
X
6.3.6.
Condenser
(optical block)
X
6.4.1.
6.4.2.
Integration cylinder
(film gate)
X
6.4.3.
Entrance and exit lens
(optical block)
X
6.4.4.
Front area of light splitter
(film scanner)
X
6.3.8.
Operating Instructions - Rev. 1 / 6.2003
6-1
SDC 2002
6. Maintenance
Cleaning and
maintenance intervals
prior to each
film threading
every
4 - 8 weeks
quarterly
COMOPT sound optics
every
3 - 5 years
X
LGA air filter change
6.8.
6.8.,
6.9.
X
Backup battery
see
section
6.6.
X
Filter mats, blowers
6.1.
semi- annually
X
6.10.
SAFETY INSTRUCTIONS
Attention!
Before performing maintenance and service routines, switch off the film
scanner SDC 2002 and disconnect it from the mains by switching off the circuit breaker at the Power Terminal Unit (3-Phase) FH 6030 or (1-Phase)
FH 1032!
Prior to starting cleaning routines on the drive mechanism, optical block, capstan
roller or audio scanner, make sure that no film is threaded.
For cleaning, always wear gloves and use clean, lint-free
cleaning cloths (order no. 5 001 310 280)
and isopropyl alcohol (order no. 5 108 701 008)
If work is required close to the xenon projector lamp housing, do not start working before it has cooled down for 30 minutes - risk of getting burnt.
Ultraviolet
Radiation
Caution!
High intensity ultraviolet energy exists within the illumination path, generated by the Xenon arc lamp.
Protect eyes and skin.
For cleaning the capstan roller use isopropyl alcohol only, never acetone!
Please see also the safety instructions of the customer’s manual.
6-2
Operating Instructions - Rev. 1 / 6.2003
6. Maintenance
SDC 2002
6.2.
CLEANING THE FILM DRIVE MECHANISM
All film-contacting parts - such as sprocket wheel, optical block, audio scanner,
capstan roller and deflection rollers (see the figure below) - should be cleaned regularly to avoid dirt and emulsion deposits.
It is advisable to perform these cleaning routines at the intervals indicated on the
table of section 6.
Sprocket wheel
Optical block
Capstan roller
Audio scanner (option)
Deflection rollers
Fig.601: Film drive mechanism
1.
Switch off the film scanner. Remove the film from the film deck.
2.
Remove the emulsion deposits from sprocket wheel and deflection rollers using isopropyl alcohol and a cleaning cloth.
Operating Instructions - Rev. 1 / 6.2003
6-3
SDC 2002
6. Maintenance
6.2.1.
CLEAN ILLUMINATION SLIT AND FILM GUIDING OF THE FILM GATE
A dirty illumination slit causes vertical dark stripes in the picture signal.
Note:
Dirty film guides can lead to dirt deposits in the integration cylinder and may cause
scratches on the film.
For cleaning the illumination slit and the film guides the film gate has to be removed
and the integration cylinder has to be cleaned.
Remove the film gate, see section 6.4.1.
Clean the integration cylinder, see section 6.4.3.
Carefully clean the illumination slit, the film guides and all film-contacting surfaces
(use a cleaning cloth and isopropyl alcohol).
Also clean the ceramic film positioner of the optical block.
Horizontal
film positioner
(ceramic)
Illumination slit
Film guide surfaces
Fig.602: Illumination slit and film guiding
Clean the film guide surfaces if necessary with the polisher or scraper from the
standard accessory. Never use the coarse (red) part of the polisher!
Film guide surfaces
Removed Film Gate
Polisher
5 001 910 366
Scraper
1 128 500 059
Fig.603: Cleaning film guiding parts
6-4
Operating Instructions - Rev. 1 / 6.2003
6. Maintenance
SDC 2002
6.2.2.
CLEAN THE CAPSTAN ROLLER
Caution!
Clean the capstan roller only in stop mode! Risk of injury!
Audio scanner: option
Capstan roller
Fig.604: Capstan roller
A dirty capstan roller causes picture instability.
1.
Remove the film from the film deck.
2.
Switch off the film scanner
3.
Clean the complete capstan roller surface thoroughly removing all deposits
with a isopropyl alcohol moistened cleaning cloth.
Avoid excessive force on the roller surface!
As a cleaning agent, use only isopropyl alcohol and a lint-free cleaning
cloth!
Attention!
Removing the capstan or changing its position affects the picture steadiness,
therefore any work on the capstan should be done by Thomson service personnel
only.
Operating Instructions - Rev. 1 / 6.2003
6-5
SDC 2002
6. Maintenance
6.2.3.
CLEAN AND DEGAUSS THE COMMAG AUDIO HEAD (OPTION)
Note!
A dirty or magnetized COMMAG audio head impairs the audio quality.
Cover of the audio scanner
(audio scanner: option)
COMMAG audio head
COMOPT scanning
elements in the
capstan roller
Capstan roller
Fig.605: Audio scanner
1.
Switch off the film scanner. Remove the film from the film deck.
2.
Unscrew and pull off the cover of the audio scanner.
Clean COMMAG
audio head
3.
Thoroughly clean the surface of the COMMAG audio head to removing deposits using isopropyl alcohol and a cleaning cloth.
Degauss COMMAG
audio head
4.
Switch on the degaussing coil and touch it to the COMMAG audio head.
5.
Then remove the degaussing coil delay switching it off, until it is at least 30
cm away from the audio head.
Clean COMOPT
scanning elements
6.
Remove dust from the COMOPT scanning elements of the capstan roller with
a compressed air jet (Dustaway spray).
7.
Fasten the cover of the audio scanner unit.
6-6
Operating Instructions - Rev. 1 / 6.2003
6. Maintenance
SDC 2002
6.3.
CLEAN THE LIGHT PATH
The figure below shows the light path in the film scanner and provides an overview
of the required maintenance parts.
Due to mechanical setup and accessibility it is advisable to perform the following
service routines in the order of the section numbers.
Cleaning of the light path is always required when the available light output has
decreased perceptibly.
Chroma CCD
Detail CCD
FILM SCANNER
ABC
Condenser lens 2
Safety shutter
Light control
Filter wheel
OPTICAL
BLOCK
Heat absorbing filter
Infrared filter (slanted position)
Condenser lens 1
Lamp housing
(Xenon lamp)
Light splitter
Sizing optics
Film
Condenser
Integration cylinder
Fig.606: Light path
Attention!
Switch off the film scanner before cleaning the light path, and allow it to cool
down for 30 minutes (risk of getting burnt in the proximity of the lamp housing!).
Note!
For order numbers of spare filters and lenses see chapter 8 “Spare Part” in
the manual “Servicing Instructions”.
Caution!
High intensity ultraviolet energy, generated by the Xenon arc lamp, exist
within the illumination path
Operating Instructions - Rev. 1 / 6.2003
6-7
SDC 2002
6. Maintenance
6.3.1.
CLEAN THE PROJECTION LAMP (XENON LAMP)
1.
Switch off the film scanner. Remove the film from the film deck.
2.
Open the rear cabinet doors of the film scanner.
Caution!
Perform all lamp housing routines only with protective goggles and protection gloves. Implosion hazard!
Caution!
Allow it to cool down for 30 minutes before opening the lid.
Lamp housing
Knurled knobs
T 3196/20
Fig.607: Film scanner rear, position of the lamp housing
Note!
6-8
3.
Loosen the two knurled knobs of the lamp housing.
4.
Pull the lamp housing upwards (out of its guide pins) and remove it.
5.
Check the front side of the xenon lamp for dust accumulation.
Blow the dust away with an compressed air yet (Dustaway).
Allow it to cool down for 30 minutes!
Leave the lamp housing out, thus allowing better accessibility to the remaining optical elements.
Operating Instructions - Rev. 1 / 6.2003
6. Maintenance
SDC 2002
6.3.2.
CLEAN CONDENSER LENS 1
6.
Press the locking spring of condenser lens 1 to the left and pull up and out
(later mounting position is defined).
7.
Clean the condenser with a cleaning cloth (order no. 5 001 310 280).
Filter wheel
Light control
Locking spring
Heat absorbing filter
Infrared filter
Condenser lens 1
T 3196/22
Fig.608: Condenser lens 1, infrared filter, heat absorbing filter
Note:
6.3.3.
Leave the condenser lens out, thus allowing better accessibility to the remaining
optical elements.
CLEAN THE INFRARED FILTER
8.
Press the locking spring of the infrared filter to the left and pull up and out
(later mounting position is defined, infrared layer towards the light).
9.
Note!
Clean the infrared filter with a cleaning cloth.
Leave the infrared filter out, thus achieving better accessibility to the remaining optical elements.
Operating Instructions - Rev. 1 / 6.2003
6-9
SDC 2002
6. Maintenance
6.3.4.
CLEAN THE HEAT ABSORBING FILTER
10. Press the locking spring of the heat absorbing filter to the left and pull it up and
out (later mounting position is defined).
11. Clean the heat absorbing filter with a cleaning cloth.
12. Insert condenser lens 1, infrared filter and heat absorbing filter, avoid finger
prints.
6.3.5.
CLEAN THE LIGHT CONTROL (FAST APERTURE)
13. The iris of the light control can be manually turned into the light path. For this
purpose, put one finger into the upper left opening of the light control and rotate the iris coupler (see Fig.609: ).
14. Check the iris of the light control for dust accumulation.
Remove dust with a cleaning cloth or a compressed air (Dustaway).
6.3.6.
CLEAN THE FILTERS OF THE FILTER WHEEL
Filter wheel
Fastening bracket
Filter
Iris coupler
Iris
Light control
(Fast aperture)
Fig.609: Light control (fast aperture) and filter wheel
15. Turn the filter wheel by hard to give access to the filter to be cleaned.
16. Move the two fastening brackets of the filter to the side and remove the filter
(note the mounting position as the edges are different).
17. Clean the filter with a cleaning cloth.
18. Insert the filter, avoid finger prints.
The fastening brackets have to lock in with an audible click.
19. Repeat above procedure until all filters are clean.
6-10
Operating Instructions - Rev. 1 / 6.2003
6. Maintenance
SDC 2002
6.3.7.
CLEAN CONDENSER LENS 2
Note:
Condenser lens 2 is directly behind the filter wheel.
19. Press the locking spring of condenser lens 2 to the left and pull it up and out
(later mounting position is defined).
Condenser lens 2
(behind filter wheel)
T 3196/23
Fig.610: Condenser lens 2
20. Clean the condenser lens with a cleaning cloth.
21. Insert the condenser lens, avoid finger prints.
Operating Instructions - Rev. 1 / 6.2003
6-11
SDC 2002
6. Maintenance
6.3.8.
CLEAN THE FRONT AREA OF THE LIGHT SPLITTER
Note:
The front area of the light splitter is directly located over the optical block.
22. Remove the optical block (see section 3.4.1.).
Front area of the light splitter
(directly over the optical block)
T3187/25a
Fig.611: Front area of the light splitter
23. Clean the front area of the light splitter with a cleaning cloth, avoid finger
prints,
24. Insert the optical block.
6-12
Operating Instructions - Rev. 1 / 6.2003
6. Maintenance
SDC 2002
6.4.
CLEAN THE OPTICAL BLOCK
6.4.1.
CLEAN THE CONDENSER FRONT SIDE AND INTAKE PORT OF FIBRE OPTIC 2
1.
Remove the film gate (as described before).
2.
Clean the condenser front side with a cleaning cloth.
3.
Clean the surface of intake port from fibre optic 2 with a cleaning cloth
Front side
of the condenser
Surface Intake Port
Fibre Optic 2
Fibre optic 2
Surface Exit Port
Fibre Optic 2
(behind the optical block
on the film deck)
Fig. 612: Condenser front side and fibre optic 2 of the optical block
Operating Instructions - Rev. 1 / 6.2003
6-13
6. Maintenance
6.4.2.
SDC 2002
CLEAN CONDENSER REAR SIDE AND EXIT PORT OF FIBRE OPTIC 2
1.
Remove the optical block (see operating instructions, section 3.4.1.).
2.
Put the optical block on a table with an anti-slide pad and turn the rear side
upwards.
3.
Clean the condenser rear side with a cleaning cloth.
4.
Clean the surface of exit port from fibre optic 2 with a cleaning cloth.
Condenser rear side
Exit Port of
Fibre Optic 2
Fig. 613: : Rear side of the optical block
6-14
Operating Instructions - Rev. 1 / 6.2003
6. Maintenance
SDC 2002
6.4.3.
CLEAN THE INTEGRATION CYLINDER AND FIBRE OPTIC 1
Attention!
Observe the cleaning instructions in
the Tech-Info
TI-S2000-001
1. Remove the film gate (see section 6.4.1.).
The integration cylinder is situated below the split of the film guiding part.
2. Blow away the dust in the integration cylinder with a compressed air jet (Dustaway).
Caution!
Avoid high pressure!
3. For this purpose, blow the air jet alternately through all openings of the integration cylinder until no dust is left.
4. Clean exit port of fibre optic 1 with a cleaning cloth
Film support surfaces
Integration cylinder
(below film guiding part)
Exit Port of
Fibre Optic 1
Openings for the
cleaning air
Fig. 614: : Film gate block
5. Clean the film support surfaces if necessary with the polisher or scraper from
the standard accessory kit, see also chapter 6.2.1. “Clean the film guide of the
gate”.
6. Insert and lock the film gate again.
Operating Instructions - Rev. 1 / 6.2003
6-15
6. Maintenance
6.4.4.
SDC 2002
CLEAN THE ENTRANCE AND THE EXIT LENS OF THE SIZING OPTICS
Clean
entrance lens
1.
Remove the optical block (see section 3.4.1.).
2.
Put the optical block on a table with a anti-slide pad.
3.
Remove the film gate (see section 6.4.1.).
4.
Clean the light entrance lens with a cleaning cloth.
Entry lens of the sizing optics
Exit lens of the sizing optics
Fig. 615: : Optical block
Clean
exit lens
6-16
5.
Clean light exit lens of the sizing optics with the cleaning cloth.
6.
Assembly of the removed parts is made analogously in reversed order.
Operating Instructions - Rev. 1 / 6.2003
6. Maintenance
SDC 2002
6.5.
CHANGE THE PROJECTION LAMP
Note!
Please follow the rules and instructions described in the technical information TI-S-2001-002 “Xenon Lamp Illumination - Operation, Maintenance, &
Exchange” added at the end of this manual.
Safety Hazards concerning the Xenon Lamp!
1. EXPLOSION
High internal pressure in the Xenon lamp can cause explosive failure
resulting in serious bodily injury.
2. HIGH VOLTAGE
Ignition voltage of the Xenon lamp is high and can be deadly.
3. UV RADIATION
Ultraviolet radiation generated by the Xenon lamp can cause burns
and eye damage.
4. HOT SURFACE
Portions of the Xenon lamp can reach temperatures of several
hundred degrees centigrade and cause serious burns if touched.
Safety Instructions!
1. Switch off the film scanner before doing any cleaning or maintenance.
To do this, open the rear doors and disconnect the film scanner from
the mains by switching off the circuit breaker at the Power Terminal
Unit.
2. Prior to cleaning the drive mechanism, optical block, capstan roller or
audio scanners, make sure that no film is threaded.
3. Keep the xenon lamp housing closed for 30 minutes to ensure the
lamp cools down before starting work on the lamp (burn hazard).
Operating Instructions - Rev. 1 / 6.2003
6-17
6. Maintenance
SDC 2002
1st possibility of change:
The first possibility of changing the projection lamp is to change the complete lamp
housing.
See section 6.3.1., which explains the required operational steps.
Order no.:
Lamp housing, cpl. FH 1921
0 128 192 110 new version
0 128 192 190 exch. version
(incl. Xenon-projection lamp)
2nd possibility of change:
change the projection lamp with heat sink
(order n o. 3 119 100 267)
1.
Remove the lamp housing (see section 6.3.1.).
Caution!
Lamp housing
Allow to cool for 30 minutes before removing the door.
Connection cables
Door
Spring-loaded latch
Projection lamp
Heat sink
Direction of projection
29855
Fig. 616: : Lamp housing (opened)
ATTENTION:
6-18
The following works must not be carried out without protective goggles
and protection gloves. Danger of implosion!
2.
Open the spring-loaded latches of the lamp housing and tilt the case lid upwards (see Fig. 616: ).
3.
Remove both connection cables from the heat sinks.
Note the mounting position of the heat sinks.
4.
Pull the heat sinks together with the projection lamp out of the case.
Operating Instructions - Rev. 1 / 6.2003
6. Maintenance
SDC 2002
Projection lamp
Heat sink
Fig. 617: : Projection lamp with heat sinks (order no. 3 119 100 267)
5.
Change the unit. Further assembly is made analogously in reverse order.
Operating Instructions - Rev. 1 / 6.2003
6-19
6. Maintenance
SDC 2002
3rd possibility of change:
Change the projection lamp (order no. 0 128 690 710)
1.
Perform the operational steps 1 to 4 of the before described 2nd possibility
of changing the projection lamp.
Knurled knob
Ventilation pin
of the projection lamp
Fastening screws
of the projection lamp
order no. 0 128 690 710
Fig. 618: : Changing the projection lamp
2.
Remove the three fastening screws of the projection lamp on the heat sink
rear with a hex-socket wrench and pull the heat sink off the projection lamp.
3.
Open the knurled knob of the front heat sink.
4.
Remove the projection lamp.
Disposal of defective
Xenon Lamp
Attention!
Ventilate the defect projection lamp in a suitable
leather protection bag by cutting the ventilation pin
and subsequently dispose the projection lamp!
5.
Heat derivation
Apply thermal conduction compound to the contacting areas between the new
projection lamp and the front heat sink.
Attention!
Never forget to use silicone heat conduction paste!
Otherwise the operation temperature can be exceeded
and shorten the life span of the xenon lamp.
6.
Insert the lamp into the front heat sink, however, do not yet close the springloaded latch.
7.
Screw the rear heat sink onto the projection lamp.
8.
Align both heat sinks in parallel and close the spring-loaded latch.
Thus, the projection lamp is aligned and needs no additional adjustments.
9.
Reassemble the unit in reverse order.
Important!
Use only the thermal compound delivered with the BTS spare part Xenon
lamp!
Avoid putting thermal compound on the face of the bulb!
6-20
Operating Instructions - Rev. 1 / 6.2003
6. Maintenance
SDC 2002
6.6.
CLEAN THE COMOPT SOUND OPTICS (OPTION)
Fastening screw
of the audio scanner cover
35mm COMOPT sound optics
16mm COMOPT sound optics
16mm COMMAG sound head
29882
Fig. 619: Audio scanner of the film scanner
1.
Remove the fastening screw of the audio scanner cover and remove the
cover.
2.
Clean the dirty COMOPT sound optics (light entrance lens as well as light exit
lens) with an air jet (Dustaway spray).
Operating Instructions - Rev. 1 / 6.2003
6-21
6. Maintenance
6.7.
SDC 2002
THE COMOPT SOUND LAMP
The audio scanner of the film scanner is equipped with one 6V / 20W halogen
COMOPT sound lamp each (1 pc order no. 002 126 696 001) for 16mm and 35mm
COMOPT films.
The corresponding COMOPT sound lamp will be switched on automatically (depending on the optical block in use), when COMOPT is selected.
Plug of the
COMOPT sound lamp
Locking angle
35mm COMOPT sound lamp
16mm COMOPT sound lamp
Centering pin
35mm COMOPTsoundoptics
16mm COMOPTsoundoptics
16mm COMOPT audio head
29881
Fig. 620: Audio scanner of the film scanner (opened)
Change COMOPT
sound lamp:
1. Remove the fastening screw of the audio scanner cover and pull off the cover.
2. Pull the plug of the COMOPT sound lamp out of its socket.
3. Turn both locking angles at the lamp holder to the side and pull the defective
lamp out of the lamp holder (note mounting position).
4. Slide the new lamp all the way into the lamp holder (watch the centering pin,
avoid finger prints), close both locking angles and refit the lamp plug.
When changing a COMOPT sound lamp, slight input level losses are possible in
the respective audio channel.
This slight level loss can be compensated (if necessary) as follows:
6-22
Operating Instructions - Rev. 1 / 6.2003
6. Maintenance
SDC 2002
Graphical Control Panel
Preparation:
1. Thread a 16mm or 35mm comopt sound signal level film in the film scanner.
16mm comopt signal level film, 400 Hz
35mm comopt signal level film, 1000 Hz
order no.: 0 000 993 498
order no.: 0 000 993 503
2. Press menu button ”Audio Levels” on the graphical control panel.
The Audio Levels menu is displayed.
3. Press key ”SETUP”.
Window ”Studio Level Setup” is opened.
4. Select button “Studio Level” and adjust -3 dBu.
Attention!
note actual adjustment for later readjustment.
Press button Close to exit.
Fig. 621: Audio Level menu with window ”Audio Level Setup”
Select COMOPT
sound operation:
5. Press key ”Audio Config” on the control panel.
The Audio Config menu is displayed.
6. Touch “Source“ section
Window ”SOURCE Channel 1/2” is opened.
Operating Instructions - Rev. 1 / 6.2003
6-23
6. Maintenance
SDC 2002
7. Press source channel 1/2 and select “Optical” mode for both channels.
Compensate
audio level losses:
8. Touch “Pre-Adjust” section.
Window ”Pre-Adjust” is opened.
9. Start play on the film scanner.
Fig. 622: Audio Config menu with window ”Source Pre-Adjust”
6-24
Operating Instructions - Rev. 1 / 6.2003
6. Maintenance
SDC 2002
Activate
service mode:
10. Press button “Manufacturing only”
A numeric keypad menu is displayed.
Enter ”1996” on the numeric keypad of the control panel. The service
mode is active now.
11. Select “Channel 1/2 Level“
Compensate the level loss of the COMOPT sound using the adjust dial on the
control panel.
With 35mm adjust to 0 dBu
and with 16mm adjust to +4 dBu
at the film scanner output AUDIO 1/2 (terminal panel rack 1).
Subsequently press “Close” button to store the adjustments as unity values
(default values).
Select section “Pre-Adjust again for the following equalizer adjustment.
Adjust
the equalizer:
12. Thread a 16mm or 35mm comopt sound frequency response film in the film
scanner.
16mm comopt frequency response film
35mm comopt frequency response film
order no.: SMPTE P16-MF
order no.: SMPTE P35-MF
13. Start play on the film scanner.
14. After selecting “Channel 1/2 Equalizer” adjust with the digipot control the frequency response to optimum at the film scanner output AUDIO 1/2.
adjust with 16mm to 2 dB
and adjust with 35mm to 1 dB
Subsequently press button “Close” to store the adjustments as unity values
(default values).
15. Adjust to the original used studio level again.
That means readjust the adjustment of item xxxx to the original value.
Operating Instructions - Rev. 1 / 6.2003
6-25
6. Maintenance
6.8.
SDC 2002
CLEAN THE AIR FILTERS
Outgoing Air
Air Exhaust Option 2 128 500 010
Outlet 2 x 250 mm ∅
Fan Unit
Rack 1
Fans
ÉÉÉÉ
ÉÉÉÉ
3
Filter Gateblast
1
Ventilation
Shaft
Fan Housing
2
Fan Unit
Rack 2
ÄÄÄÄÄÄÄ
ÇÇÇ
ÉÉÉÉ
ÄÄÄÄÄÄÄ
ÄÄÄÄÄÄÄ
ÄÄÄÄÄÄÄ
ÄÄÄÄÄÄÄÄÄÄ
ÄÄÄÄÄÄÄÄ
ÄÄÄÄÄÄÄ
ÄÄÄÄÄÄÄÄÄÄ
ÄÄÄÄÄÄÄÄ
ÄÄÄÄÄÄÄ
ÄÄÄÄÄÄÄÄÄÄ
ÄÄÄÄÄÄÄÄ
ÄÄÄÄÄÄÄÄ
ÄÄÄÄÄÄÄ
ÄÄÄÄÄÄÄÄ
ÄÄÄÄÄÄÄÄÄ
ÄÄÄÄÄÄÄÄ
ÄÄÄÄÄÄÄÄÄ
ÄÄÄÄÄÄÄÄ
ÄÄÄÄÄÄÄÄÄ
Filter 1
7
Rear Fan Unit
of Rack 3
Filter 4
Filter 3
Filter AIH
Filter 2
Fan Unit Rack 3
Incoming Air
Fig. 623: : Air filters of the film scanner cabinet
Air filters in the film scanner cabinet: Filters 1, 2 (Rack 2 & 3 front side)
Filters 3, 4 (cabinet rear side)
Filter AIH (cabinet front side)
Filter Gateblast (cabinet rear side)
contained in the Filter Set 2 128 102 112
Check air filters at least within a period of one to three months depending on the
environmental conditions, for dirt deposits and where appropriate, clean or change
them. Only clean filters ensure good cooling and optimum operation.
6-26
Operating Instructions - Rev. 1 / 6.2003
6. Maintenance
SDC 2002
Filter 1*
Rack2
1.
Pull on the front side of the film scanner at the gripping ledge of the air filter
and remove it. The gripping ledge is located below the rack 2.
The air filter consists of a filter mat which is fitted into a flat frame.
Filter 1
Rack 2
Fig. 624:
Filter 2
Rack3
2.
Remove the filter mat from the frame. Cautiously blow out the filter mat or
wash it in warm water (approx. 40 °C), if required add a commercial soft agent.
Clean the filter mat never with a sharp water jet or compressed air jet!
1.
Pull on the front side of the film scanner at the gripping ledge of the air filter
and remove it. The gripping ledge is located below the Rack 3.
Blow out the filter.
Filter 2
Rack3
Fig. 625:
Operating Instructions - Rev. 1 / 6.2003
6-27
6. Maintenance
Filters 3, 4*:
SDC 2002
1.
Open the rear doors of the film scanner cabinet.
Filter mats 3,4
Fig. 626: Spirit rear view
An air filter is located directly behind rack 2 (or rack 3) in the bottom frame of
the film scanner.
(measure 240 x 450)
2.
Remove the filter mat from the frame, blow out, wash or change it.
* Filters are included in the filter set, order no.: 2 128 102 112.
6-28
Operating Instructions - Rev. 1 / 6.2003
6. Maintenance
SDC 2002
Very Important!
”Change AIH filter & Rack 2 filter mat regularly!”
Danger of heat damage to the CCD sensors!
Filters
AIH* & Rack 2*
It is strongly recommended to change the air filter for the AIH (that one between
Racks 2 and 3) and the Rack 2 air filter regularly, at least within a period of one to
three months depending on the environmental conditions, to ensure that a good
air flow is maintained through the Spirit DataCine. A clogged AIH air filter causes
the CCD sensors to run hot; this can seriously shorten the life of the sensors!
Exchanging the AIH air filters
1. Open the front doors of the Racks 2 and 3.
Cover of AIH filter
Fig. 627:
2. Unscrew the cover of the AIH filter.
3. Remove AIH filter and exchange it for a new one.
AIH filter
Fig. 628:
4. Pay attention to the AIH filter air flow direction. It is marked with an arrow on
the filter edge, see Fig. 629:
Operating Instructions - Rev. 1 / 6.2003
6-29
6. Maintenance
SDC 2002
Attention!
Do not re-install used or cleaned filter back to front, because dust particles
can be sucked into the illumination channel!
Fig. 629: AIH filter with airflow indication
Filter Gateblast*
(for film gate):
1.
Switch off the film scanner. Open the rear door of the cabinet.
Filter
Fig. 630: Gateblast unit
The gateblast filter unit is fastened on the middle of the filmdeck frame.
6-30
Operating Instructions - Rev. 1 / 6.2003
6. Maintenance
SDC 2002
2.
First unscrew the air filter housing, then unscrew the air filter and change it.
Gateblast filter is included in the filter & battery set 2 128 102 112.
Note:
Check periodically for condensation in the air filter housing, drain it at position ”max”. For draining use a suitable vessel and open the screw at the bottom of the air filter housing.
To prevent short circuits, avoid getting condensation on surfaces
Spare Parts
Use new filters from the Filter Set:
2 128 102 112
This set contains:
4 pcs AIH air filter
4 pcs Gateblast air filter
6 pcs Rack2 air filter mats
Operating Instructions - Rev. 1 / 6.2003
6-31
6. Maintenance
6.8.1.
SDC 2002
ADJUST COMPRESSED AIR OF THE GATEBLAST UNIT
Gateblast unit
Pressure reducer
additional throttle
in the hose
ÉÉÉÉ
Air filter 3 m
with water draining
Magnetic valve
adjust air pressure
to 0.3 bar (4 lb/sq. in.)
3
1
2
ÉÉÉ
ÇÇ
ÉÉÉ
ÇÇ
ÄÄÄÄÄ
ÄÄÄÄÄ
ÄÄÄÄÄ
ÄÄÄÄÄÄÄ
ÄÄÄÄÄÄ
ÄÄÄÄÄ
ÄÄÄÄÄÄÄ
ÄÄÄÄÄÄ
ÄÄÄÄÄ
ÄÄÄÄÄÄÄ
ÄÄÄÄÄÄ
ÄÄÄÄÄÄ
ÄÄÄÄÄ
ÄÄÄÄÄÄÄ
ÄÄÄÄÄÄ
ÄÄÄÄÄÄÄÄ
ÄÄÄÄÄÄ
ÄÄÄÄÄÄÄÄ
ÄÄÄÄÄÄ
ÄÄÄÄÄÄÄÄ
ÄÄÄÄÄÄÄÄ
7
External air compressor
• 2.5 - 7.5 bar (35 - 100 lb/sq.in.)
• pre - filtered air (max. 40 m)
• < 80% relative air humidity
• required air quantity 40 l / min
• oilfree
Fig. 631: Gateblast unit of the film scanner
The gateblast unit consists of the a magnetic valve, an air filter with water draining
and a pressure reducer.
When the film scanner is switched off or when mains failure occurs, the magnetic
valve of the gateblast unit switches off the air supply.
6-32
1.
Switch the film scanner to play and open the rear doors.
2.
Adjust the air pressure at the gateblast unit to 0.3 bar (4 lb/sq.in.).
Pull the knob of the pressure reducer, adjust the air pressure and press the
knob again for locking.
Operating Instructions - Rev. 1 / 6.2003
6. Maintenance
SDC 2002
6.9.
CLEAN THE BLOWERS
For the film scanner, cleaning of the ventilators is confined to the available fresh air
and exhaust air blowers of film scanner cabinet and monitoring cabinet (for the
position of the blowers see Fig. 632: ).
The blowers of the internal devices do not require cleaning since they are
constantly provided with filtered air and therefore have only slight dirt deposits.
Film scanner cabinet (rear)
1
ÂÂ
ÂÂÂ
ÂÂ
Â
ÂÂÂ
ÂÂ
Â
ÂÂÂ
ÂÂÂ
*
ÂÂÂ
ÂÂÂ
ÂÂÂ
ÂÂÂ
ÂÂÂ
ÂÂÂ
ÂÂÂ
*
*
*
*
*
Rack 3
Rack 1
*
*
*
*
*
Rack 2
2
3
Position of the blowers
1
2,3
Exhaust air film scanner cabinet
*
Internal device blowers (no cleaning required)
Fresh air film scanner cabinet
Fig. 632: Blowers in film scanner cabinet
Check the blowers for dirt deposits and where appropriate clean them semi-annually. Only clean blowers guarantee good cooling and optimum operation.
Operating Instructions - Rev. 1 / 6.2003
6-33
6. Maintenance
Clean blower:
SDC 2002
1.
1
For cleaning the blowers in the film scanner cabinet, loosen the 10 fastening
screws A of the blower cover on the cabinet top.
(exhaust air
film scanner cabinet)
A
A
A
screws A
Cover
Plate
A
A
A
A
A
A
Fan Motors
SDC 2002 Cabinet
Fig. 633:
Clean blowers:
2
3
2.
Remove the cover.
3.
Clean the blower assembly with a suitable vacuum cleaner and a dust brush.
1.
Open the rear door of the film scanner.
The blower unit for fresh air is located below rack 2, rack 3.
(fresh air
film scanner cabinet)
Earth Connector
Power Plug
Fan Motors
Fixing screws
Fig. 634:
6-34
Operating Instructions - Rev. 1 / 6.2003
6. Maintenance
SDC 2002
2.
Pull off the power plug, unscrew the earth connector.
3.
To remove the blower assembly, loosen the four fastening screws on the front
and pull out the blower assembly.
4.
Pull off and clean the air filter (see section 6.8.).
5.
Clean the blowers with a suitable vacuum cleaner and a dust brush.
6.10.
CHANGE THE BACKUP BATTERY
6.10.1.
CHANGE THE BACKUP BATTERY IN THE FILM SCANNER
According to the manufacturer, the lithium battery used on p.c. board FY 1105
within Rack 1 (5th pcb. from left) has a life time of approx. 10 years.
In order to ensure no loss of time/date settings in the off-state, Thomson recommends as a precaution to exchange the lithium battery after 5 years of operation.
A spare battery can be ordered from the market under the type designation VARTA
CR1/2 AA.
Backup battery ASC Controller Board FY 1105
Fig. 635: Position of p.c. board FY 1105.11 in rack 1
Exchange
To replace, switch off the film scanner and pull out the plug-in card.
The lithium battery is soldered on the p.c. board.
Note the polarity of the battery when installing (danger of explosion)! The mounting
position is marked accordingly on the p.c. board.
Operating Instructions - Rev. 1 / 6.2003
6-35
6. Maintenance
SDC 2002
The film scanner loses the current time/date setting and returns after a battery
change to a standard setting.
For new time/date setting see section LEERER MERKER
Caution!
Danger of explosion if battery is incorrectly replaced (reverse polarity).
Replace only with the same or equivalent type recommended by the
manufacturer. Dispose of used batteries according to the manufacturers instructions.
Protect the environment!
Dead batteries do not belong in the garbage. Hand the used batteries over
to a local disposal facility!
6.10.2.
CHANGE THE BACKUP BATTERY IN THE FUNCTIONAL CONTROL PANEL
The backup battery in the Functional Control Panel should be replaced by
Thomson / BTS service personnel only.
6-36
Operating Instructions - Rev. 1 / 6.2003
6. Maintenance
SDC 2002
6.11.
CLEAN OR REPLACE THE PTR
PT rollers (particle transfer rollers) are used in the filmdeck to clean the film during
play on both sides of dirt, dust and lint.
Fig. 636: : Film threading path with PT roller
1.
For replacing or cleaning remove the PT rollers by withdrawing the snapcap
of the holder.
Holder Set (2 pcs) 2 128 102 117
Hub
PTR Roller Set 4 pcs
3 149 900 882
Snap cap
Fig. 637:
Operating Instructions - Rev. 1 / 6.2003
6-37
6. Maintenance
SDC 2002
2.
Clean the PT rollers in cold water with a rate of 2 - 4 drops mild detergent per
liter.
Caution!
Do not use dishwasher detergent!
Do not use hot water as it can cause PTR’s to become very sticky and
cause excessive adhesion and potential damage to the film.
Do not use packaging or other tapes to clean a PTR after it has been
washed!
Packaging tape will transfer some of its adhesive to the PTR and cause
excessive adhesion of the film to the PTR, resulting in damage to the film.
Simply wash the PTR’s and allow them to dry thoroughly before reinstallation.
If cleaned properly, PTRs should roll off one another when stuck together.
Rollers that stick together without falling off must be rewashed in cold water with a mild detergent.
3.
6-38
Dry the rollers and re-mount them.
It makes no difference which way the rollers are placed on the hub end for end.
Spare PT Roller Set (4 pcs)
order no.: 3 149 900 882
Spare PTR Holder Set (2 pcs)
order no.: 2 128 102 117
Operating Instructions - Rev. 1 / 6.2003
7. Trouble Shooting
SDC 2002
7.
TROUBLE SHOOTING
What to do, when
.... the key STOP on the Control Panels is blinking and the film scanner is not
ready for operation.
Local Control Panel
Shuttle
Step
Step
Play
Play
Stop
Fig. 1: FCP
Graphical Control Panel
JOG
VAR
Step
Step
Play
STL
Stop
Play
Fig. 2: GCP
Check if the selected reference is available:
Menu Setup, F7 ”Setup genlock”
F1
INT
Film scanner is synchronized internally
F2
”EXT 1”
Input EXT REF SYNC1 (terminal Rack 3)
F3
”EXT 2”
Input EXT REF SYNC 2
F4
”EXT 3”
Input EXT REF SYNC 3
F5
”SERREF”
Input Ser Ref
Operating Instructions - Rev. 1 / 6.2003
7-1
7. Trouble Shooting
SDC 2002
Check if overtemperature causes problems.
Check ventilation and all fans.
What to do, when
..... the SDC2001 cannot be repowered
Set the power switch in position ”off”
Open the rear doors
Check the power connection to the SDC 2001:
- Mains voltages at the Mains Terminal Board FH 1031 (FH 1033)
- 3 (2) phase circuit breaker
Push the reset button of the internal SDC 2001 thermal switch (figure 3).
Close the rear doors
Switch on the Film scanner
ÁÁ
ÁÁ
ÁÁ
Thermal switch incl. housing
Á
Á
Push here for reset
the thermal switch
Fig. 3: SDC 2001 with thermal switch
7-2
Operating Instructions - Rev. 1 / 6.2003
8. Index
SDC 2002
8.
INDEX
4:3 / 16:9, - select TV ratio, 3-21
6 Sector Color Correction, 4-109
- Description, 4-110
- Limiter, 4-121
- Marker, 4-122
6/8perf mode, 4-97
A
AES/EBU audio data format, 4-165
Air filters, clean, 6-26
Analog, - Coding Format, 4-25
Aperture, 4-136
Audio
- Audio channels, adjust, 3-52
- Audio outputs to Studio inputs, adapt, 3-66
- Audio sources, pre-equalize, 3-54
- Audio sources, select, 3-52
- digital audio channels, synchronize, 3-58
- Dolby noise reduction, adjust, 3-55
- Film audio paths, check, 3-63
- Headphone volume, adjust, 3-67
- Level adjust, 4-6
- Levels, 4-161
- Lip-synchronous film sound, adjust, 3-62
- Lowpass filter, select, 3-57
- Menu, 4-161
- Mono/stereo operation, select, 3-60
- Preemphase, select, 3-59
- Sepmag coupling, 3-68
- Studio level, adjust coarsely, 3-65
Board Status, 4-213
C
Capstan roller, clean, 6-5
Check, - reference, 7-1
Cinerama 6 perf, 4-97
Cleaning and maintenance intervals, 6-1
Color
- Control Range, 4-120
- Limiter, 4-113
- Master Black, Gamma, White, 4-107
- Master saturation, 4-106
- Menu, 4-105
- RGB Black, Gamma, White, 4-108
- Shoulder, 4-107
- Toe Linear, 4-107
COMMAG audio head, clean and degauss, 6-6
COMOPT sound lamp, change, 6-22
COMOPT sound optics, clean, 6-21
Condenser lens 1, clean, 6-9
Condenser lens 2, clean, 6-11
Contour, 3-50, 4-134
Control and display elements, 2-1
Control Panel, 2-3
- Configuration, 3-3
- Control and display elements, 2-1
Cores diameter, 4-20
Auto stop, 4-21
Coring, 3-50, 4-135
Automatic switching-off, 5-3
- manually, for emergency, 5-4
- upon film break, 5-3
- upon film end, 5-3
CRT Gamma, 4-65
Automatic switchover, - from remote to Local
Control Panel, 2-3
B
Cue Menu, 4-195
D
Data Mode, 4-33
Data Output, 3-1
Data Transfer, 4-31
Backup battery, change, 6-35
Date&Time, 4-8
Balance, 4-134
Digital, - Coding Format, 4-25
Basic adjustments of the film scanner, 3-3
DTV, Selection, 4-27
Blanking, 4-25, 4-144, 4-158
Blowers, clean, 6-33
Operating Instructions - Rev. 1 / 6.2003
8-1
8. Index
SDC 2002
E
Flip Function, 4-141
Focus, - adjust, 3-30, 4-5, 4-20
Edge Processing, 4-137
FPN, - Perform FPN correction, 3-22
Effect Filter, optical, 3-8
Frame line, adjust, 3-29
Eventlist, 4-215
Extended Range, 4-123
Framing, 4-21
adjust, 4-5
Extern Devices, 4-179
Freeze, 4-196
F
Film
- 6/8 perf, 4-97
- Adjust Film Masking, 3-39
- Analog signal basic gain, adjust, 3-43
- Illumination, 3-41
- Black level, adjust, 3-46, 3-48
- Color pos, neg, 4-96
- Film reels, mount, 3-26
- Film type, define, 3-37
- Fixed film scanning format, select, 3-31,
4-147
- Fixed reproduction format, select, 3-33
- Formats, 4-147
- Gray level (gamma), adjust, 3-49
- Horizontal and vertical blanking, adjust, 3-35
- Intensity of film illumination, adjust, 3-41
- Intermediate, 4-96
- Matching to different color and monochrome
film types, 3-37
- Menu, 4-93
- Perforation, 4-95
- Primetime, 4-96
- Print pos, neg, 4-96
- Reproduction format, adjust variably, 3-34
- Setup film, 3-20
- Setup film deck, 3-20
- Sizing format, adjust, 3-31
- Speed, 4-22
- Speed, select, 3-21
- Thread film correctly, 3-24, 3-28
- Type, 4-96
- User-specific configuration of the film scanner, 3-6
- White level (and black level), adjust, 3-44
- Winding direction, define, 3-24
- Winding plates, mount, 3-25
Film deck mechanism, clean, 6-3
Filmgate, - change, 3-7
Front area of the light splitter, clean, 6-12
G
Gain, 4-95
Gamma CRT, 4-65
GCP Eventlist, 4-215
Genlock Ref, 4-9
Grain Reduction, 4-177
Graphical Control Panel, 2-6, 3-2, 4-1
- Menu, 4-2
GSN I.F., 4-31
- Packing Mode, 4-35
- Phantom TE, 4-31
- Status, 4-33
- VGA Preview, 4-66
H
Hardware conditions, 3-1
HDTV
- Coding Format, 4-28
- HOA Filter, 4-30
- Selection, 4-27
Heat absorbing filter, clean, 6-10
I
Illumination, 3-41
- adjust, 4-6
Image Size, 4-34
Infrared filter, clean, 6-9
J
Jogging, 5-1
Filter of the filter wheel, clean, 6-10
Fixed Aspect, 4-144
Fixed Film Formats, 4-147
Fixed Repro, 4-145
8-2
Operating Instructions - Rev. 1 / 6.2003
8. Index
SDC 2002
K
Keycode Reader
- Head Offset, 4-86
- Numbering, 4-87
- Setup, 4-82
O
Operating Status, 4-212
Operation, 5-1
Operational preparations, 3-1
Life Time, 4-213
Optical block
- change, 3-6
- clean, 6-13
- Entrance and exit lens of the sizing optics,
clean, 6-16
- Integration cylinder, clean, 6-15
Lift, 4-94
Option code, 4-16
Light control, clean, 6-10
Options, 4-16
Light gap and film-guiding edges of the optical
block, clean, 6-4
Output
- LUT, 4-36
- Wordlength, 4-25
L
License Code, 4-18
Light path in the telecine, clean, 6-7
Local control panel FH 6500, 2-3
Lookup Table, 4-36
- C - PD, 4-51
- DXR, 4-43
- DXR- G, 4-48
- GRLEV, 4-40
- LOG, 4-58
- Overview, 4-59
- TV - G, 4-42
- TV - PD, 4-41
- TVLEV, 4-39
- VGA, 4-72
M
Maintenance, 6-1
Masking, 4-99, 4-101
Matching
- Gain, 4-95
- Lift, 4-94
P
Peak Frequency, 4-135
Phantom TE, 4-31
Play, 5-1
Power-up, 3-2
Projection lamp
- change, 6-17
- clean, 6-8
PT roller, - Cleaning, 6-37
R
Rack 2 - 3 delay, 4-10
Reference Store, 4-189
Remote Control, 4-13
Remote Control Monitoring, 4-206
Matrix coefficient, 4-101
Reproduction, 4-143
Memo Menu, 4-191
Reproduction (play), 5-1
Menu
- Audio, 4-161
- Color, 4-105
- Film, 4-93
- Home, 4-3
- Memo, 4-191
- Monitoring, 4-198
- Sharp, 4-133
- Sizing, 4-139
- Special, 4-173
- TK Config, 4-19
Reset, - Function Keys, 4-211
Monitoring Menu, 4-198
Operating Instructions - Rev. 1 / 6.2003
Rotation, 4-142
S
Safety instructions, 6-2
SAS, - Filmspeed, 4-22
Scream NR, 4-173
SDTV
- Ratio, 4-25
8-3
8. Index
SDC 2002
- Selection, 4-24
- Steadiscan, 4-182
- Testpt Selection, 4-198
- Timecode, 4-76
- TK Mems, 4-191
SepMag, - Coupling, 4-180
Setup, - submenu, 4-7
Setup film, 3-20
Setup film deck, 3-20
T
Sharp Menu, 4-133
TC Menu, 4-76
Shuttle, 5-2
- speed, 4-21
Testpattern, 4-10
Sizing Menu, 4-139
Software, - Software state, 1-1
Software Status, 4-212
Special Menu, 4-173
Split Screen, 4-176, 4-190
Steadiscan, 4-182
- adjust, 4-186
- Ref Hole, 4-186
Submenu
- 6 SC Corr., 4-109
- Aperture, 4-136
- Audio Config, 4-165
- Audio Levels, 4-161
- Blanking, 4-158
- Color Set, 4-119
- Contour, 4-133
- Cue, 4-195
- Data, 4-31
- Diagnosis, 4-210
- Expert, 4-137
- Extern Devices, 4-179
- Filmdeck, 4-19
- HDTV, 4-26
- Masking, 4-99
- Matching, 4-93
- Overview, 4-3
- Reference Store, 4-189
- Reproduction, 4-143
- Scream, 4-173
- SDTV, 4-23
- Setup, 4-203
- Setup Home, 4-7
- Sizing, 4-139
8-4
Testpoint Selection, 4-199
Thermal switch, 7-2
Timecode, - setup, 4-12
TK Mems, 4-191
Trouble shooting, 7-1
TV, - TV standard, select, 3-4, 4-26
U
User-specific configuration of the film scanner,
3-6
V
Vario motion, 5-1
VGA
- Characteristic, 4-69
- Masking, 4-69
- Panning, 4-72
- Preview, 4-66
- Resolution, 4-65
- User Setup, 4-66
Video, Gain, 3-43
Video Level, 3-42
Vistavision, 4-97
Vistavision 8perf, 4-97
Z
Zoom, 4-141
Operating Instructions - Rev. 1 / 6.2003
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