by Swiss Effects

Swiss Effects guarantees that it's printing system will expose all the relevant material from videotape in its entirety and with high quality resolution

In taking note of some technical considerations, the quality of the video images can be substantially optimized.

The following considerations during production and postproduction will decidedly improve the quality of the transfer.

Production

• The choices of format
• 4:3 = 1:1.33
• 1:1.66
• 16:9 = 1:1.77
• 1:1.85
• Maximum use of the horizontal image resolution- for the cinema format 1:1.66 or 1:185 where possible using the video format 16:9 - particularly for telecine. See also Special Telecine
• Special camera setup for all digital video formats (DV, Digital Betacam)
• Avoid fast camera movement when the object itself is not moving.
• Keep note of the projection field (during projection the picture edges will be cropped by approximately 5%).
• Do not increase the shutterspeed of the camera (sharper half frames cause a worsening of field interpolation).

Postproduction

• All postproduction treatment on a component system with uncompressed material (Beta-SP,Digital Betacam,D1,D5,DCT,Mll).
• Amateur and semi-professional formats should be further processed with a Y-C converter.
• Use only high quality equipment such as Alchemist from Snell and Willcox to convert composite signals e.g NTSC productions.
• All animation and speed changes like slow motion and high speed as well as roll titles should be animated in frame mode.
• Synch marks in picture and sound (start and beep) 48 frames before the programme start.
• eg. Synch mark TC 00:00:58:02
• Programm start TC 00:01:00:00
• The projection in the cinema at 24 frames per second lessens the sound frequency by 4%. This can be compensated for during the sound transfer using a harmonizer.

24 fps increases the programme length in a cinema (28:20 video seconds = 30 film seconds).

• The maximum scene length able to be processed in the laboratory is 590 metres. This translates into 20'30" for 35mmm and 52"for 16mm.

Using video formats in theatrical representation

1:1.33 (4:3) cut = 1:1.66	1:1.33 (4:3) curtain = 1:1.66
1:1.77 (16:9) cut = 1:1.66	1:1.77 (16:9) cut = 1:1.85	1:1.77 (16:9) curtain = 1:1.85

Image: DANS LE PETIT BOIS by Mamouda Zekrya-Boulé, Switzerland 1995. DoP: Felix von Muralt.

DV VX-1000 Preferences for FAZ

The following settings a propositions and by no means rules. Different style and taste can result in other settings.

Shutter	off
D Zoom	off
Custom Set-Up	on
Set	on
Colour LV
Sharpness	or
WB Shift
AE Shift
Gain Shift	-3 dB

Setup Card Digital Betacam 1/9 (16:9 Mode)

The following settings a propositions and by no means rules. Different style and taste can result in other settings.

Menu	Min.	Max.
Detail Level	-5	-12
V Dtl Level	0	0
H Dtl Freq	0	+4
V Dtl Black Clip	0	0
Dtl Wht Clip	0	+3
Dtl Black Clip	0	+18
Crispening	0	0
Level depend	0	0
Knee Aperture	0	-3
Aperture Level	0	+2

Special Telecine 1:1.66

A note for those making a Telecine when a FAZ- Master is to be made using the format 1:1.66. Using the same process as with 16:9 whereby the picture is vertically "stretched" (utilizing every bit of horizontal resolution), it is also possible to use the same technique with the 1:1.66 format. This provides an optimal video master with the exact framing as the original material. However it must be stressed that this video as a result of the "stretching" is not able to be broadcast. It is entirely for the purpose of making a video to film transfer.