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The most complex part of telecine is the synchronization of the mechanical film motion and the electronic video signal. Every time the video (tele) part of the telecine samples the light electronically, the film (cine) part of the telecine must have a frame in perfect registration and ready to photograph.
The term telecine refers both to a film-to-tape transferring machine, as well as the process by which film is transferred to tape (or directly to a digital file). [1] The telecine process is frequently used by filmmakers to transfer production footage to video, which can then be captured by various non-linear digital editing systems (e.g., Final Cut Pro, Avid, etc.).
SDC-2000 Spirit DataCine Film Deck, Lens Gate and Local Control Panel. Spirit DataCine is a telecine and a motion picture film scanner.This device is able to transfer 16mm and 35mm motion picture film to NTSC or PAL television standards or one of many High-definition television standards.
In the United States and other countries where television uses the 59.94 Hz vertical scanning frequency, video is broadcast at 29.97 frame/s. For the film's motion to be accurately rendered on the video signal, a telecine must use a technique called the 2:3 pull down (or a variant called 3:2 pull down) to convert from 24 to 29.97 frame/s.
After a film shoot, the original camera negative (OCN) is sent to a film laboratory for processing. Two or three 400-foot (120 m) camera rolls are spliced together to create a lab roll approximately 1,200–1,500 ft (370–460 m) long. After developing the lab roll, it is put through a telecine to create a rushes transfer tape.
Television systems converters must avoid creating telecine judder effects during the conversion process. Avoiding this judder is economically importance, because much NTSC (60 Hz, technically 29.97 frame/s) resolution material that originates from film will have this problem when converted to PAL or SECAM (both 50 Hz, 25 frame/s).
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