Hi, Randy and Michael,

I guess 6K is enough resolution, but the TIFs I have of each 35 mm slide 
are approx 36 MB each. 3000 x 4500 (minus some cropping) pixels @ 3000 
ppi. You can't put too many of those into FCP, can you? They certainly 
crashed Premiere a while ago.

Also, as a side note, top-quality Kodachrome and Fuji Velvia 35 mm 
slides are more faithfully captured at 4000 x 6000 pixels, 16 
bits/colour, making approximately 144 MB TIF files per image. Frankly, 
very few of the images I'm scanning can truly benefit from this 
increased scan detail, but some can. It seems that audio-visual 
materials are held in sound archives. I have transferred a few cassette 
tapes with simple "beep" tones on track 4.

The issue with resolution is that if each slide can benefit from 3000 x 
4500 pixel scans, and you've got a 4x4 grid you need 6000 x 9000 so as 
to not lose resolution, or in the 3-wide display, 3000 x 13,500 and that 
does not take into account vertical images.

I realize we did not achieve that resolution with typical Kodak Carousel 
zoom lenses, even with autofocus.

Ingesting the elements is not a challenge, but having attempted it at 
high resolution a while ago, assembly IS a challenge. Retaining the 
IMPACT of the original show is the challenge. Reference copies are not a 
challenge (though still tedious).

As to Mike Biel's point, the cue tracks that he describe were, I 
believe, proprietary formats per manufacturer. AVL was the name that 
came to mind, but they are now gone. At one point, their controllers 
would record all the cues on the audio tape. The later units, described 
here from , merely had a time code 
track on the tape.


The first Eagle computers were produced by Audio Visual Labs (AVL 
<>), a company founded by Chuck 
Kappenman in New Jersey in the early 1970s to produce proprietary 
Kappenman introduced the world's first microprocessor-controlled 
multi-image programming computers, the ShowPro III and V, which were 
dedicated controllers. In 1980, AVL introduced the first non-dedicated 
controller, the Eagle. This first Eagle computer utilized a 16 kHz 
processor and had a 5-inch disk drive for online storage.

The Eagle ran PROCALL 
(/PRO/grammable/C/omputer/A/udio-visual/L/anguage/L/ibrary) software for 
writing cues to control up to 30Ektagraphic projectors 
<>, five16 mm film 
<>projectors and 20 auxiliary 
control points. Digital control data was sourced via anRCA 
<>-type audio connector at the rear of 
the unit. AVL's proprietary "ClockTrak" (a biphase digitaltimecode 
<>similar to, but incompatible 
withSMPTE <>timecode) was sourced from 
the control channel of amultitrack 
<>analog audio tape 
deck. The timed list of events in the Eagle was synchronized to the 
ClockTrak. Later versions of PROCALL included the option of using SMPTE 
timecode. Most programmers abandoned ClockTrak for SMPTE, as more 
multi-image programs began to incorporatevideo 

Two separate digital data streams were output from the Eagle, also via 
RCA or XLR-type audio connectors. These telemetry streams, called 
"PosiTrak", each controlled up to five external slide projector control 
devices also manufactured by AVL, known as "Doves". The Dove units 
received biphase data from the Eagle via audio cables, and interpreted 
the Eagle's data streams to control as many as threeKodak Ektagraphic 
projectors <>(for 
large screens, compatibleXenon 
<>-lamped projectors) and two 
dry-closure contacts per Dove unit. AVL also made the Raven, a device 
similar to the Dove, for comprehensive control of a single 16 mm film 
projector, as well as numerous other external control devices for 
lighting, sound, video projectors and sources, etc.

AVL Eagles and associated products, when properly setup and powered, 
were extremely reliable. During the 1970s through the early 1990s, when 
the products of its competitors were not as reliable nor readily 
available, AVL became the industry standard for multi-image control 
equipment. However, the development of large-screen electronic media 
andHDTV <>ushered out the era of 
film-based multi-image productions.^[2] 


The first footnoted link is:

The second one is 404 gone, like the technology, but the text (but sadly 
not the images) is available here



Richard L. Hess                   email: [log in to unmask]
Aurora, Ontario, Canada           (905) 713 6733     1-877-TAPE-FIX
Quality tape transfers -- even from hard-to-play tapes.