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Telecine enables a motion picture, captured originally on film stock, to be viewed with standard video equipment, such as television sets, video cassette recorders (VCR), DVD, Blu-ray Disc or computers. Initially, this allowed television broadcasters to produce programs using film, usually 16-mm stock, but transmit them in the same format, and quality, as other forms of television production.[2] Furthermore, telecine allows film producers, television producers and film distributors working in the film industry to release their productions on video and allows producers to use video production equipment to complete their filmmaking projects.

In recent decades, telecine has primarily been a film-to-storage process, as opposed to film-to-air. Changes since the 1950s have primarily been in terms of equipment and physical formats; the basic concept remains the same. Home movies originally on film may be transferred to video tape using this technique.

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The most complex part of telecine is the synchronization of the mechanical film motion and the electronic video signal. Every time the video (tele) part of the telecine samples the light electronically, the film (cine) part of the telecine must have a frame in perfect registration and ready to photograph. This is relatively easy when the film is photographed at the same frame rate as the video camera will sample, but when this is not true, a sophisticated procedure is required to change frame rate.

To avoid the synchronization issues, higher-end establishments now use a scanning system rather than just a telecine system. This allows them to scan a distinct frame of digital video for each frame of film, providing higher quality than a telecine system would be able to achieve.

In the United States and other countries where television uses the 59.94 Hz vertical scanning frequency, video is broadcast at ~29.97 frame/s. For the film's motion to be accurately rendered on the video signal, a telecine must use a technique called the 2:3 pulldown, also known as 3:2 pulldown, to convert from 24 to ~29.97 frame/s.

This method was born out of a frustration with the faster, higher pitched soundtracks that traditionally accompanied films transferred for PAL and SECAM audiences. A few motion pictures are beginning to be telecined this way[citation needed]. It is particularly suited for films where the soundtrack is of special importance.

The "2:3 pulldown" telecine process creates a slight error in the video signal compared to the original film frames that can be seen in the above image. This is one reason why films viewed on typical NTSC home equipment may not appear as smooth as when viewed in a cinema and PAL home equipment. The effect is particularly apparent in scenes that feature slow, steady camera movements. These appear slightly jerky when viewed in material that has been through the telecine process. The phenomenon is commonly referred to as telecine judder. Reversing the 2:3 pulldown telecine is discussed below.

PAL material in which 2:3 (Euro) pulldown has been applied suffers from a similar lack of smoothness, though this effect is not usually called "telecine judder". Effectively, every 12th film frame is displayed for the duration of three PAL fields (60 milliseconds), whereas the other 11 frames are each displayed for the duration of two PAL fields (40 milliseconds). This causes a slight "hiccup" in the video about twice a second.

Some DVD players, line doublers, and personal video recorders are designed to detect and remove 2:3 pulldown from telecined video sources, thereby reconstructing the original 24 frame/s film frames. Many video editing programs such as AviSynth also have this ability. This technique is known as reverse telecine, inverse telecine, or detelecine. Benefits of reverse telecine include high-quality non-interlaced display on compatible display devices and the elimination of redundant data for compression purposes.

Reverse telecine is crucial when acquiring film material into a digital non-linear editing system such as Lightworks, Sony Vegas Pro, Avid, or Final Cut Pro, since these machines produce negative cut lists which refer to specific frames in the original film material. When video from a telecine is ingested into these systems, the operator usually has available a "telecine trace", in the form of a text file, which gives the correspondence between the video material and film original. Alternatively, the video transfer may include telecine sequence markers "burned in" to the video image along with other identifying information such as time code.

It is also possible, but more difficult, to perform reverse telecine without prior knowledge of where each field of video lies in the 2:3 pulldown pattern. This is the task faced by most consumer equipment such as line doublers and personal video recorders. Ideally, only a single field needs to be identified, the rest following the pattern in lock-step. However, the 2:3 pulldown pattern does not necessarily remain consistent throughout an entire program. Edits performed on film material after it undergoes 2:3 pulldown can introduce "jumps" in the pattern if care is not taken to preserve the original frame sequence (this often happens during the editing of television shows and commercials in NTSC format). Most reverse telecine algorithms attempt to follow the 2:3 pattern using image analysis techniques, e.g. by searching for repeated fields.

Algorithms that perform 2:3 pulldown removal also usually perform the task of deinterlacing. It is possible to algorithmically determine whether video contains a 2:3 pulldown pattern or not, and selectively do either reverse telecine (in the case of film-sourced video) or bob-deinterlacing (in the case of native video sources).

In a flying spot scanner (FSS) or cathode-ray tube (CRT) telecine, a pixel-sized light beam is projected through exposed and developed motion picture film (either negative or positive) and collected by a special type of photo-electric cell known as a photomultiplier which converts the light into an electrical signal. The beam of light "scans" across the film image from left to right to record the horizontal frame information. Vertical scanning of the frame is then accomplished by moving the film past the CRT beam. In a color telecine the light from the CRT passes through the film and is separated by dichroic mirrors and filters into red, green and blue bands. Photomultiplier tubes or avalanche photodiodes convert the light into separate red, green and blue electrical signals for further electronic processing. This can be accomplished in real time, 24 frames per second (or in some cases faster). Rank Precision-Cintel introduced the "Mark" series of FSS telecines. During this time advances were also made in CRTs, with increased light output producing a better signal-to-noise ratio and so allowing negative film to be used.

The "Mark" series was then replaced by the Ursa (1989), the first in their line of telecines capable of producing digital data in 4:2:2 color space. The Ursa Gold (1993) stepped this up to 4:4:4 and then the Ursa Diamond (1997), which incorporated many third-party improvements on the Ursa system.[14] Cintel's C-Reality and ITK's Millennium flying-spot scanner are able to do both HD and Data.

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.[14] 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.[17] 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.

Telecine technology is increasingly merging with that of motion picture film scanners; high-resolution telecines, such as those mentioned above, can be regarded as film scanners that operate in real time.

As digital intermediate post-production becomes more common, the need to combine the traditional telecine functions of input devices, standards converters, and color grading systems is becoming less important as the post-production chain changes to tapeless and filmless operation.

However, the parts of the workflow associated with telecines still remain and are being pushed to the end, rather than the beginning, of the post-production chain, in the form of real-time digital grading systems and digital intermediate mastering systems, increasingly running in software on commodity computer systems. These are sometimes called virtual telecine systems.

All of these coding methods are in use to some extent. In PAL countries, 25 frame/s formats remain the norm. In NTSC countries, most digital broadcasts of 24 frame/s progressive material, both standard and high definition, continue to use interlaced formats with 2:3 pulldown, even though ATSC allows native 24 and 23.976 frame/s progressive formats which offer the greatest image quality and coding efficiency, and are widely used in motion picture and high definition video production. Nowadays, most HDTV vendors sell LCD televisions in NTSC/ATSC countries capable of 120 Hz or 240 Hz refresh rates and plasma sets capable of 48, 72, or 96 Hz refresh.[19] When combined with a 1080p24-capable source (such as most Blu-ray Disc players), some of these sets are able to display film-based content using a pulldown scheme of whole multiples of 24, thereby avoiding the problems associated with 2:3 pulldown or the 4% speed-up used in PAL countries. For example, a 1080p 120 Hz set which accepts a 1080p24 input can achieve 5:5 pulldown by simply repeating each frame five times and thus not exhibit picture artifacts associated with telecine judder. e24fc04721