Colormaster Digital Color Analyzers





The "Digital" Film Laboratory
Today we are hearing more and more about the "digital film laboratory" as the new direction for the film processing industry. What precisely do we mean by digital film laboratory? It does not mean, "film is dead, long live digital video."

On the contrary film is the only high quality origination medium with a global standard. This makes film the preferred medium for shooting when a Production is targeting an international market.

The digital film laboratory refers more to the techniques used to assist film operations. Techniques where computers can be integrated with colour analysers to collect scene by scene exposure data and improve colour modelling. Techniques where Keycode numbers can be read automatically by computers to make negative cutting more cost effective.

Techniques, which can integrate negative cutting with off-line video editing. In fact, techniques which apply modern digital electronics and computers to the management of film allowing you to achieve the highest quality results at a lower cost.

This is the environment of the digital film laboratory where Colormaster plays a key role.

There are three main models of Colormaster; at the top of the range is the Prismatic Colormaster. The 2004P allows a full frame moving picture to be seen regardless of film transport speed. This version can be purchased 35/16mm, 35mm only or l6mm only, Automatic and Manual.

Colormasters do not offer the Prismatic feature but provide all other Colormaster facilities, the Automatic using a servo film transport compared with the manual hand winders.

Where budget is tight, the Colormaster kit for Hazeltine chassis can be fitted with a clean and simple conversion to give all the benefits of the Colormaster system...accuracy, stability and computer control.

Grade rushes, grade video, regrade print, cue FCC and grade colour in one simple operation. Use Autograde facility to find optimum grading quickly. Use Framestore to capture reference images, which can be held on disk or hardrive for recalling for comparison.

Cue and grade video rushes exactly as for making film rushes, then rewind negative and make transfer to video with scene by scene colour correction. Use optional time code generator to place VITC timecode on videotape.

View prints on Colormaster for calibrated scene by scene colour correction. View history of up to two generations of colour corrections, playback corrected print for final check of colour continuity.

Grade Make scene by scene light changes on internegative to fine tune release printing. Use Colormaster to match multiple internegatives usinq split screen. CALL FOR DETAILS AND QUOTATION
800-323-7520