Optics: motion pictures – With film carried control signals
Reexamination Certificate
2000-11-10
2003-04-29
Mathews, Alan A. (Department: 2851)
Optics: motion pictures
With film carried control signals
Reexamination Certificate
active
06556273
ABSTRACT:
FIELD OF THE INVENTION
This invention generally relates to a system for and method of recording and retrieving a machine readable image on unprocessed motion picture film stock. In a particular embodiment, this invention specifically relates to motion picture and television film production systems where the machine readable image contains specific film footage and frame identification information pertinent to the latent image on the film.
BACKGROUND OF THE INVENTION
In motion picture feature and television production, many stages of the photographic imaging process are necessary to progress from the image capture stage until the final edited product is ready for distribution. In order to better explain modem editing processes, it is important to understand how film is manufactured and some basic procedures required in the actual production or shooting phase. Motion picture film is manufactured by coating a transparent support material with light sensitive emulsion layer(s), and an opaque antihalation layer coated either as a dyed layer between the light sensitive emulsion and the support or a pigmented or dyed layer on the side of the support opposite to the light sensitive emulsion. Many camera origination films employ a carbon black containing backing “remjet” layer as the antihalation layer. There are perforated sprocket holes at the edges of the film to allow for sprocket drives to pull the film through the motion picture cameras, printers, editing machines and projectors. Depending on the type of emulsion used, a positive or negative image (in color or black and white) will be produced on the film when it is properly exposed in the camera and subsequently processed at the film laboratory, wherein the antihalation layer is either removed (in the case of carbon black containing backing layers) or the dyes thereof rendered substantially colorless. Most all professional film production uses negative type film.
Once the original camera negative film is processed, the laboratory will then make a positive print of this film so that it may be viewed and edited. This print may be variously called the work print, direct print, or answer print. Upon completion of the editing process, the edited workprint is sent to a film cutter who will take the original camera negative or a print from the negative and cut it up to match the edited workprint. Positive prints, called release prints, can then be generated from this cut film and used for projection and/or transferred to videotape for showing on TV.
A key point in the editing process is the generation of an edit decision list (EDL) which provides specific negative film product and emulsion codes, footage and frame count information to the negative cutter to conform the negative images in the sequences desired for the end product. Because of the desire to maintain handling of the film at a minimum, and the importance of an exact frame reference as input to the film cutter, it is imperative that the EDL contain accurate references to the image frame identification on the film to be cut. In order for the film to be cut to exactly match up to the edited workprint, the film cutter relies on encoded information written near the edge of the film, such as the Eastman Kodak KEYKODE number. Such encoded information is typically provided by film manufacturers during the manufacturing process in the form of both human readable (e.g., alphanumeric characters) and machine readable (e.g., standard bar-code USS 128) images on the raw stock camera negative as a means of accurate frame identification. Written near the edge of the film, these human- and machine-readable alphanumeric and bar-code systems provide information on film code and emulsion identification, as well as unique film footage and frame counts corresponding to the images on the film. An industry standard for this encoded information system exists and this system is conventionally used in the motion picture production chain.
Currently, encoded information such as KEYKODE numbers are written in the form of latent images by exposing the photosensitive layer(s) of the film stock at regular intervals near the edges of the film during the manufacturing process, outside the intended picture area of the film according to SMPTE (Society of Motion Picture and TV Engineers) standards (e.g., Standard ANSI/SMPTE 271-1994 (16 mm), ANSI/SMPTE 254-1992 (35 mm) and ANSI/SMPTE XXX-YYYY (65 mm)), typically using a laser or light emitting diode (LED) device to form a latent image. Upon photographic processing, the latent images are developed to generate optical human (e.g., alphanumeric) and/or machine (e.g., bar-code) readable dye or silver images. There are specially designed film bar-code readers that the editor and negative cutter can utilize to read KEYKODE numbers. Among other things, the KEYKODE number acts as a roll and frame counter, by which any frame of a production may be absolutely identified. KEYKODES provide information on film code and emulsion identification, as well as unique film footage and frame counts corresponding to the images on the film. The encoded information can then be used in the editing, color timing and telecine transfer processes to identify and select frame positions for splicing, color timing changes such as printer light changes, fades and dissolves, and sound synchronization points in an on-line or off-line film editing system. Importantly, film stock that the film laboratory uses to make the positive workprint does not contain these KEYKODE numbers, rather they are printed through from the processed original camera negative along with the main picture image.
The motion picture film latent image encoded information system is well-known in motion picture processing and provides very valuable information for the editing and color timing processes. This system is useful for providing a frame search, identification and orientation process to make reliable and accurate cuts when performing on-line, off-line telecine edits and final negative cutting edits. Furthermore, with the manufacturer's ID information incorporated into the encoded information, tracking information is retained in the film should it be necessary in the future.
A simplified representation of a typical process flow diagram for motion picture film production and post production stages is shown in FIG.
1
. Camera origination film is exposed in a motion picture camera in Image Capture Stage
10
. With the current film system as discussed above, the manufacturer latent image written encoded (human and machine readable) information is neither readable nor usable until the film has been processed in Film Processing step
20
. Although a video tap in the camera can provide an image to an on set Video Tap Color Monitor
40
for the cinematographer and director to review, there is no exact footage and frame reference corresponding to this image that was provided from the unprocessed camera negative film. Hence, this monitor image can be used only for general evaluation of a take and not for producing a final or rough EDL of what negative footage is most desirable. Rather, the latent image recorded encoded information is typically transferred from the processed negative film to a work print or intermediate film in a optical Printer
50
, or read from the processed negative in a Telecine transfer device
60
, and the EDL is then prepared upon review of the work print or telecine transfer at Off-Line Editor stage
70
. The EDL is then supplied to Negative Cutter stage
80
. This is a major limitation with the current latent image encoded information system. Because the human and machine readable images are not available until after processing, there is no method to accurately begin the editing process by corresponding the images on an on set monitor (via the video tap) to the actual frames for cutting, fading, dissolving etc. Another limitation of this process is in the use of special effects shooting, where it is essential to exactly match specific frames for instance when shooting background and matte exposur
Ahlquist Gary W.
Morton Roger A.
Shaffer Wayne K.
Wheeler Christopher E.
Anderson Andrew J.
Eastman Kodak Company
Esplin D. Ben
Mathews Alan A.
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