[QuadList] Reviving the Lenticular Kinescope Thread

Tue Dec 31 07:03:21 CST 2013

One might want to clarify whether that 16mm color film at UCLA was indeed struck from a Lenticular element.

A Lenticular print could have some identifying characteristics from the color filter separation process:

Per the article linked to below:

...(the film) must be capable of recording 
separately the four bands of light imaged 
behind each lenticule. There are 100 
of these bands per millimeter. 

And further:
As seen from the lenticules, the four recording aper- 
tures are then separated by narrow dark lines or “guard bands.’’

UCLA Film Archive now has 2336 x 1752 scanning capability for 16 and 35, which could be a help if viewing via a loupe isn't revealing enough.

Prints could be made, as described  during the 1956 SMPTE Convention in a presentation by C. H. Evans and R. B. Smith, “Color kinescope recording on embossed film,” Jour. SMPTE, 65: 365-371, July 1956:

In part:

The recording equipment consists of an 
ordinary 35mm kinescope recording 
camera fitted with a special lens, and 
working in conjunction with some form 
of combining unit which utilizes the 
principle of geometrical separation. The 
three recording kinescope tubes have 
P-16 phosphor screens with peak 
emission in the near-ultraviolet region, 
and the video signals applied to these 
kinescopes have such a polarity that the 
color-separation images appearing on 
the screens are positives. 
The camera is loaded with blue- 
sensitive embossed film. After the re- 
cording step, the film is developed for 4 
or 5 minutes in a positive type of de- 
veloper and fixed, washed and dried in 
the normal manner. The developed 
images are in the form of color-sepa- 
ration negatives. 
By electronic reversal from negative 
to positive, these original recordings 
are used for time-zone-delayed rebroad- 
cast of the program. Synchronized 
magnetic recording film carries the 
sound portion of the program. After this 
use of the embossed-film negative, it 
may be used directly for preparing 16mm 
reduction prints on Eastman Color 
Print Film, Type 7382. A sound-re- 
cording negative suitable for printing on 
Type 7382 can be prepared by re- 
recording from the original magnetic 
track. The composite 16mm color prints 
can then be televised.

The author previously advised that prints could be made from the lenticular 35m film:
A banded color filter and a special con-
densing lens system replace the ordinary 
illumination system of the printer. The
35mm embossed film passes through the 
printer gate, with its lenticules facing 
the banded filter. While in the film gate, 
the interlaced color-separation records 
become colored, as explained in the dis- 
cussion of the projector. This 35mm 
color picture is then imaged in reduced 
size upon the 16mm gate of the printer, 
where the print stock is exposed. The 
spectral transmittances of the filter bands 
are chosen with proper regard for the 
sensitivities of the print stock, and not for 
their visual effect. Prints have been 
successfully made in this manner, with 
an Acme reduction printer. The special 
illumination system employed had the 
same length as the regular system so that 
no modifications of the body of the 
printer were required. 
According to the polarity of the signals 
applied to the recording kinescopes, and 
depending upon the choice of ordinary 
or of reversal photographic processing, 
the color-separation images recorded on 
the embossed film may be positives or 
they may be negatives. If they are nega- 
tives, the 16mm print stock would be of 
the positive type, such as Eastman Color 
Positive Film; if they are positives, a 
reversal film such as Kodachrome would 
be chosen. 

You could look for specific use of the film stocks mentioned, and any noticeable characteristics or artifacts this process imparts.

Hope this is of some help, and the quotations don't go beyond fair use.

Ted

On Dec 31, 2013, at 3:14 AM, Richard Wirth wrote:

> 
> Thanks, Ted.
> 
> The Lenticular process was 35mm double system as the film stock (at least initially) had no way to record optical to it according to the Broadcasting article.  Kines were double system to maintain quality for the network runs, particularly the TZD's.  Art Schneider talks about syncing sound and picture for the hot kines in his book.  So there had to be a separate mag somewhere.
> 
> The question that still is unanswered for me is how did a 35mm Lenticular color recording end up on 16mm color film?  
> 
> If they did a 16mm back up, it would have been in black and white for TZD.  If they did a 16mm on color film, it wouldn't have been processed in time to make the 3 hour delay.  Could they have made a THIRD kine to 16mm color film for client/sponsor purposes?  Would they have gone to that expense?
> 
> Thanks again,
> Richard
> 
> 
> On Dec 30, 2013, at 9:12 PM, Richard Wirth wrote:
> 
> 
> 
> 
> ______________________________________________
> Please trim posts to relevant info when replying.
> 
> Change subject to reflect thread direction. Thanks.
> _______________________________________________
> 
> Send QuadList list posts to QuadList at quadvideotapegroup.com
> Your subscribe, unsubscribe and digest options are here:
> http://mail.quadvideotapegroup.com/mailman/listinfo/quadlist_quadvideotapegroup.com

Ted

Ted Langdell
Secretary
Skype: 	TedLangdell
e-mail:	ted at quadvideotapegroup.com

-------------- next part --------------
An HTML attachment was scrubbed...
URL: <http://quadvideotapegroup.com/pipermail/quadlist_quadvideotapegroup.com/attachments/20131231/4a34f437/attachment-0005.html>