FW: [SHADO] Re: SHADO BLACK & WHITE MONITOR SCREENS

***THAT’S _film_ rear-projectors***

 

HOPE this is an interesting add… I understand that Stanley Kubrick used
neither matte, video or chroma-key techniques for the console/video displays
in 2001… he used _individual_ rear-projectors for _each_ represented screen
that were centrally synchronized from a control panel…

Michael Blake

San Antonio, TX

From: [hidden email] <mailto:SHADO%40yahoogroups.com>
[mailto:[hidden email] <mailto:SHADO%40yahoogroups.com> ] On Behalf
Of
griffwason
Sent: Friday, March 12, 2010 10:41 AM
To: [hidden email] <mailto:SHADO%40yahoogroups.com>
Subject: [SHADO] Re: SHADO BLACK & WHITE MONITOR SCREENS

Hi,

UFO and Star Trek used two very different techniques.

In UFO, the individual 35mm film frames exposed by the camera (a Mitchell)
shutter were electronically synchronized with the frame refresh of the black
and white monitors, so that no banding or picture rolling took place. VERY
CLEVER for its time. Synching Colour TV is a whole order of magnitude
harder!

Even now there are still problems in TV production when a scene is shown
with a live TV in situ, especially now that there are multi-frequency TV's
possibly occupying the same scene: 50Hz, 100, and higher... With most TV
production cameras now in HD, there is a multiplying/division factor which
has to be taken into account. Worse, in other countries the TV scan
frequencies and frames do not exactly multiply/divide and in some cases
fudged, or whole scan lines excised.

You may have a situation in a scene where an older 50Hz TV picture or even
computer monitor is exactly synch'd to the scene (no rolling or banding, but
a higher rate TV is out, or more likely now the other way round.

Star Trek production 'faked' active colour screens (such as the main viewer)
using a matte, where at the time of film transfer, the filmed scene (i.e.
The Enterprise bridge) had the main viewer display optically merged at the
time of transfer, giving the effect of a 'live feed main viewer' when in
actual fact there was probably just a blank wall there for the actors to
marvel at.

According to the Star Trek production information I have, there wasn't much
'colour keying (blue or green screen)' used in Star Trek at all... it was
nearly ALL matte work.

Hope this helps,

Griff

--- In [hidden email] <mailto:SHADO%40yahoogroups.com>
<mailto:SHADO%40yahoogroups.com> , Brian
Serridge <brianserridge@...> wrote:
>
> I'm curious about something Gerry Anderson said in his commentary on the
Carlton DVD boxed set. He mentioned that it was technically very difficult
to have colour TV monitor screens at SHADO, which is why they are in black &
white. What puzzles me is how they managed to achieve this in "Star Trek"
the original series. The monitors and main viewing screen were in perfect
quality colour. Why couldn't Gerry adopt their method of doing this? I'm
sure there's a valid reason why it wasn't possible, but I can't figure it
out.
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