The only machines Be ever shipped were dual-603. They may have been planning a 5way box but it never even made out of the lab (if it was ever there to begin with). The dual-603 BeBox never even shipped for real as it never got FCC approval before it was killed. The only people that were able to get thier hands on them were developers.
In a motion picture camera the shutter is a disk with a pie shaped slice taken out of it. This disk spins in front of the film gate as the film is pulled down into the gate. The alngle of the pie shape can be changed on some cameras but is generaly used at 175 degrees. This angle combined with the speed that the disk spins gives you the shutter speed of the camera. If the angle is smaller than 175 degrees you would get a faster shutter speed at the same frame rate. This effect is sometimes used in music videos and comercials where an unreal quality is desired. A faster shutter speed at 24fps produces a less motion blur and causes the persistance of vision that is essential to motion pictures to be less pronounced.
You are confusing a few things about different film print stocks and formats. A 70mm theatrical film and Imax are not the same thing. While Imax uses 70mm print film it is a specialized format. The Imax film is run horizontaly in the projector, a theatrical 70mm print is run virticaly the same as a 35mm theatrical print (whereas 35mm still film goes horizontaly in the camera). Imax also does not have a built in sound track. The image runs from sprocket to sprocket and there is a magnetic sync track on the outside of the sprockets that provides syncing to a 35mm magnetic sound track on a separate machine. The area of an Imax frame is roughly the same size as the area of 2 1/4 still film. The area of a 70mm release print is roughly twice the size of a 35mm release print. Imax is also shot at a higher framerate (i think 48) thus producing a crisper more stable image. At 24fps the shutter speed of a camera is 1/50 of a sec at 48fps the sutter is closer to 1/100 thus making a sharper picture with less motion blur.
The technique you are refering to is called Super35. When shooting traditional 35mm (either Academy or wide 1.85:1) there is space left on the side of the negative to allow for the optical (or mag) soundtrack of the finished print. When shooting wide-screen formats 2.35:1 a 65mm negative is used and the print is made on 70mm stock. 65mm cameras are rare, big and expensive. In the 60's several companies (Panavision ToddAO and others) began to push for shooting with anamorphic lenses. These lenses compress the image onto a 35mm negative. Another lens is used in the projector to uncompress the image and you get a 2.35:1 film that doesnt require special projectors, just a change in the projecting lens. The problem with anamophic is that it makes the job of photography harder for the camera-person. The image they are looking at in the lens is also compressed. In the 70's the idea came along to use all of the 35mm negative (from sprocket to sprocket) to get the 2.35:1 ratio on the negative. Then when the film is printed it is optically compressed making a standard anamorphic print that can be shown in existing projectors. This in no way removes the ability of a projectionist to scratch, break or otherwise mangle the film print.
There are a few things that need top be cleared up here.
1) LaserDisc is vastly superior to VHS. 2) DVD is inferior to LaserDisc but superior to VHS DVD uses a lossy video compression that can quickly screw up a good movie in the hands of a bad engineer. Look closely at static shots in movies on DVD especially on a large screen and you will notice dithering just like in Quicktime movies (only not as bad). 3) MiniDisc is inferior to CD and was never designed as a replacement but an enhancement. Again it uses a lossy compression CODEC. 4) Commercial broadcasters are required to be broadcasting in digital (DTV) by 2002. This is not the same as HDTV. It is ment to lay the ground work for HDTV signals in the future. All it really means is that they need to replace/upgrade the last segment of the chain (the bradcast eqiupment) they are already captureing editing and playing digital signals.
Slashdot Mirror
The only machines Be ever shipped were dual-603. They may have been planning a 5way box but it never even made out of the lab (if it was ever there to begin with). The dual-603 BeBox never even shipped for real as it never got FCC approval before it was killed. The only people that were able to get thier hands on them were developers.
3 ds.html
http://www-classic.be.com/products/bebox/dual60
In a motion picture camera the shutter is a disk with a pie shaped slice taken out of it. This disk spins in front of the film gate as the film is pulled down into the gate. The alngle of the pie shape can be changed on some cameras but is generaly used at 175 degrees. This angle combined with the speed that the disk spins gives you the shutter speed of the camera. If the angle is smaller than 175 degrees you would get a faster shutter speed at the same frame rate. This effect is sometimes used in music videos and comercials where an unreal quality is desired. A faster shutter speed at 24fps produces a less motion blur and causes the persistance of vision that is essential to motion pictures to be less pronounced.
You are confusing a few things about different film print stocks and formats. A 70mm theatrical film and Imax are not the same thing. While Imax uses 70mm print film it is a specialized format. The Imax film is run horizontaly in the projector, a theatrical 70mm print is run virticaly the same as a 35mm theatrical print (whereas 35mm still film goes horizontaly in the camera). Imax also does not have a built in sound track. The image runs from sprocket to sprocket and there is a magnetic sync track on the outside of the sprockets that provides syncing to a 35mm magnetic sound track on a separate machine. The area of an Imax frame is roughly the same size as the area of 2 1/4 still film. The area of a 70mm release print is roughly twice the size of a 35mm release print. Imax is also shot at a higher framerate (i think 48) thus producing a crisper more stable image. At 24fps the shutter speed of a camera is 1/50 of a sec at 48fps the sutter is closer to 1/100 thus making a sharper picture with less motion blur.
The technique you are refering to is called Super35. When shooting traditional 35mm (either Academy or wide 1.85:1) there is space left on the side of the negative to allow for the optical (or mag) soundtrack of the finished print. When shooting wide-screen formats 2.35:1 a 65mm negative is used and the print is made on 70mm stock. 65mm cameras are rare, big and expensive. In the 60's several companies (Panavision ToddAO and others) began to push for shooting with anamorphic lenses. These lenses compress the image onto a 35mm negative. Another lens is used in the projector to uncompress the image and you get a 2.35:1 film that doesnt require special projectors, just a change in the projecting lens. The problem with anamophic is that it makes the job of photography harder for the camera-person. The image they are looking at in the lens is also compressed. In the 70's the idea came along to use all of the 35mm negative (from sprocket to sprocket) to get the 2.35:1 ratio on the negative. Then when the film is printed it is optically compressed making a standard anamorphic print that can be shown in existing projectors. This in no way removes the ability of a projectionist to scratch, break or otherwise mangle the film print.
Telenet Systems is currently offering a 1U system starting at $1000US
http://www.tesys.com/servers/rackmount.shtml
neal
There are a few things that need top be cleared up here.
1) LaserDisc is vastly superior to VHS.
2) DVD is inferior to LaserDisc but superior to VHS
DVD uses a lossy video compression that can quickly screw up a good movie in the hands of a bad engineer. Look closely at static shots in movies on DVD especially on a large screen and you will notice dithering just like in Quicktime movies (only not as bad).
3) MiniDisc is inferior to CD and was never designed as a replacement but an enhancement. Again it uses a lossy compression CODEC.
4) Commercial broadcasters are required to be broadcasting in digital (DTV) by 2002. This is not the same as HDTV. It is ment to lay the ground work for HDTV signals in the future. All it really means is that they need to replace/upgrade the last segment of the chain (the bradcast eqiupment) they are already captureing editing and playing digital signals.