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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. With the data transfer option a Spirit DataCine can output DPX data files. The Spirit DataCine is made by DFT Digital Film Technology GmbH in Darmstadt, Germany. [1]
Ciné-Kodak Special, film transport section only. Earlier Kodak 16 mm movie cameras, including the Ciné-Kodak Models B, F and K, shared a common design, being rectangular boxes with a top-mounted handle and a lens extending from the smallest side, similar in shape to a briefcase but smaller. [1]
The scanned footage is edited and composited on work stations then mastered back on film, see film-out and digital intermediate. Scanned film frames may also be used in digital film restoration. The film may also be projected directly on a digital projector in the theater. The data film files may be converted to SDTV (NTSC or PAL) video TV systems.
Telecine enables a motion picture, captured originally on film stock, to be viewed with standard video equipment, such as television sets, video cassette recorders (VCR), DVD, Blu-ray or computers. Initially, this allowed television broadcasters to produce programs using film, usually 16-mm stock , but transmit them in the same format, and ...
Film-out of standard-definition video – or any source that has an incompatible frame rate – is the up-conversion of video media to film for theatrical viewing. The video-to-film conversion process consists of two major steps: first, the conversion of video into digital film frames which are then stored on a computer or on HD videotape; and secondly, the printing of these digital film ...
The Ciné-Kodak was the first movie camera for 16 mm, manufactured by the Eastman Kodak Company and introduced in 1923. [1] It was intended for home movie making. Kodak released additional models, including magazine-loading cameras as the Magazine Ciné-Kodak line and a line of 8 mm cameras under the Ciné-Kodak Eight sub-brand.
The work was performed at the Digital Film Lab in Copenhagen, using a Spirit Datacine to transfer the entire film to digital files at 2K resolution. The digital intermediate process was also used to perform a digital blowup of the film's original Super 16 source format to a 35mm output. [7] [8]
The firm introduced its first 16 mm camera and movie projector on August 12, 1923, [1] the same year Eastman Kodak introduced the Cine-Kodak and Kodascope. Victor advertised through his entire career thereafter that he had marketed the first 16mm equipment, but his claim was incorrect by several weeks, since the Cine-Kodak had been introduced ...
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