This brings back memories of old equipment in the post world I've been around even if I didn't use them directly. One place was a film lab that developed/processed 16mm/35mm. They were using Ranks Cintels but the DaVinci Gold controllers were using joy balls instead of the joysticks. These things talked via a network using BNC cables, but never did learn if it was token ring or not. I don't remember the OS these ran on, but it was definitely a *nix something. One colorist I worked with was wanting to try to connect them up to the newer versions of Resolve on Mac, but eventually caved and got the newer panels. The old panels just went to storage along with racks and racks of older gear that couldn't be sold (nobody wanted it, and they couldn't face how much was paid for it new to see it essentially be worth scrap).
People also use the word "Telecine" to refer to a way to convert film framerates (24FPS) into NTSC television framerate (60FPS) by using a alternating 2 field 3 field sequence.
This brings back memories of old equipment in the post world I've been around even if I didn't use them directly. One place was a film lab that developed/processed 16mm/35mm. They were using Ranks Cintels but the DaVinci Gold controllers were using joy balls instead of the joysticks. These things talked via a network using BNC cables, but never did learn if it was token ring or not. I don't remember the OS these ran on, but it was definitely a *nix something. One colorist I worked with was wanting to try to connect them up to the newer versions of Resolve on Mac, but eventually caved and got the newer panels. The old panels just went to storage along with racks and racks of older gear that couldn't be sold (nobody wanted it, and they couldn't face how much was paid for it new to see it essentially be worth scrap).
People also use the word "Telecine" to refer to a way to convert film framerates (24FPS) into NTSC television framerate (60FPS) by using a alternating 2 field 3 field sequence.