page_title: Telecine
section_title: Line array CCD
hierarchical_section_title: Telecine / Telecine hardware / Line array CCD
caption_attribution_description: Danmarks Radios arkiv af DRs Kulturarvsprojekt / The archive of the Danish Broadcasting Corporation Photos must be credited "DRs Kulturarvsprojekt"
context_page_description: Telecine is the process of transferring motion picture film into video and is performed in a color suite. The term is also used to refer to the equipment used in the post-production process.
  Telecine enables a motion picture, captured originally on film stock, to be viewed with standard video equipment, such as television sets, video cassette recorders, DVD, Blu-ray Disc or computers. Initially, this allowed television broadcasters to produce programmes using film, usually 16mm stock, but transmit them in the same format, and quality, as other forms of television production. Furthermore, telecine allows film producers, television producers and film distributors working in the film industry to release their products on video and allows producers to use video production equipment to complete their filmmaking projects. Within the film industry, it is also referred to as a TK, because TC is already used to designate timecode. The opposite of a telecine is a kinescope. Motion picture film scanners are similar to telecines.
context_section_description: The Robert Bosch GmbH, Fernseh Div., which later became BTS inc. –  Philips Digital Video Systems, Thomson's Grass Valley and now is DFT Digital Film Technology introduced the world's first CCD telecine (1979), the FDL-60. The FDL-60 designed and made in Darmstadt West Germany, was the first all solid state telecine.
  Rank Cintel (ADS telecine 1982) and Marconi Company (1985) both made CCD Telecines for a short time. The Marconi model B3410 telecine sold 84 units over a three-year period, and a former Marconi technician still maintains them.
  In a charge-coupled device Line Array CCD telecine, a "white" light is shone through the exposed film image into a prism, which separates out the image into the three primary colors, red, green and blue. Each beam of colored light is then projected at a different CCD, one for each color. The CCD converts the light into electrical impulses which the telecine electronics modulate into a video signal which can then be recorded onto video tape or broadcast.
  Philips-BTS eventually evolved the FDL 60 into the FDL 90 (1989)/ Quadra  (1993). In 1996 Philips, working with Kodak, introduced the Spirit DataCine (SDC 2000), which was capable of scanning the film image at HDTV resolutions and approaching 2K (1920 Luminance and 960 Chrominace RGB) × 1556 RGB. With the data option the Spirit DataCine can be used as a motion picture film scanner outputting 2K DPX data files as 2048 × 1556 RGB. In 2000 Philips introduced the Shadow Telecine (STE), a low cost version of the Spirit with no Kodak parts. The Spirit DataCine, Cintel's C-Reality and ITK's Millennium opened the door to the technology of digital intermediates, wherein telecine tools were not just used for video outputs, but could now be used for high-resolution data that would later be recorded back out to film. The DFT Digital Film Technology, formerly Grass Valley Spirit 4K/2K/HD (2004) replaced the Spirit 1 Datacine and uses both 2K and 4K line array CCDs. (Note: the SDC-2000 did not use a color prisms and/or dichroic mirrors.) DFT revealed its new scanner at the 2009 NAB Show, Scanity.  The Scanity uses Time Delay Integration (TDI) sensor technology for extremely fast and sensitive film scans.  High speed scanning 15 frame/s @ 4K; 25 frame/s @ 2K; 44 frame/s @ 1K.
caption: Shadow telecine system, produced by Grass Valley (formerly Thomson, originated from Philips), installed at DR, Denmark
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