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Author Topic: Can SDDS still be purchased new? Louis Bornwasser Film God Posts: 4441 From: prospect ky usa Registered: Mar 2005 posted 04-06-2006 11:28 AM                        Above someone referenced the "CDS" system. This system later BECAME SDDS. Same camera, same track location, same guy (Howard Fleming.) Louis  |  IP: Logged Mark J. Marshall Film God Posts: 3188 From: New Castle, DE, USA Registered: Aug 2002 posted 04-06-2006 11:34 AM                    I don't know about the camera, but the CDS track was printed where the analog track has always been, and it had a MUCH higher bit rate than SDDS. Something like 6Mb per second if memory serves. I had a similar experience to David's, but with Spiderman 2. We played it in SDDS-8, and it sounded flat out unbelievable. Everything else in SDDS sounds somewhat flat to me, but Spiderman was amazing for some reason. Every once in a while that happens. I have no idea why. Any other time, and with the other two formats, they're relatively consistent in the way they sound to me.  |  IP: Logged Marin Zorica Jedi Master Film Handler Posts: 671 From: Biograd na Moru, Croatia Registered: May 2003 posted 04-06-2006 12:14 PM                     quote: Manny Knowles SDDS is possibly attractive right now because it's possible to get used equipment really cheap and the US prints of mainstream movies still carry the tracks, at least for the time-being. But if it get dead, then you may throw it away! Also I was serching used SDDS for fun and I didn't found anyone, except some Sony analogue DCP1000 but broken.  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 04-06-2006 01:03 PM                        The Kodak/ORC Cinema Digital Sound (CDS) was the first commercial system to put the "bits" on the film in 1990. It deliberately chose to put the digital information in the analog soundtrack area of the 35mm print, so the track would not be abraded or damaged by the projector gate or sprockets. Although the goal of virtually no wear or degradation of the CDS track was accomplished, the lack of an analog backup track was the system's undoing when hardware failures occurred. Ron Uhlig led the Kodak effort to develop Cinema Digital Sound and prove the concept of recording very high digital bit rates on film. Howard J. Flemming led the effort at Optical Radiation Corporation, developing the reader and electronic hardware.  |  IP: Logged John Eickhof Jedi Master Film Handler Posts: 588 From: Wendell, ID USA Registered: Jan 2000 posted 04-06-2006 03:21 PM                        John, Were you in Hollywood for the CDS premier / demo? I enjoyed it well and thought that digital sound was really something to be reckoned with! Plus I had my 1927 ERPI Vitaphone machine on display in the Lobby next to the CDS modified Century JJ! I remember my Wife turning to me during the demo and saying "they need to quiet that baby down in the rear corner of the auditorium" Just about that time she realized it was the demo! and the sound was coming from a left rear chanell!! I also remember during the field testing when Bob Goulding owner of the Marysville Drive -in theatre (now both he and the drive in are deceased) calling me on a Friday nite in a panic because the print he received that day had only 'static' on the optical track!! The exchange sent out the wrong print!! those were the days..eh??  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 04-06-2006 08:13 PM                     But the 70mm CDS track wouldn't last very long if the projector gate and shoe wasn't converted over to narrower bands!  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 04-06-2006 10:42 PM                     We just completed replacing all SDDS units for one of our customers with more reliable equipment. Expect a glut of 2000's on E-bay soon..... Mark  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 04-07-2006 09:31 AM                        quote: John, Were you in Hollywood for the CDS premier / demo? I enjoyed it well and thought that digital sound was really something to be reckoned with! I was not at the premier. Ron Uhlig and I worked together for decades in the Motion Picture Product Development Group at Kodak. Another Kodak person who helped "make CDS happen" was Tom Kuhn, who is now with Deluxe Labs in Hollywood. My current supervisor is Frank Ricotta, who was Technical Manager at Technicolor when the first CDS prints were being made. CDS may not have been a commercial success, but it did pave the way for today's digital sound systems.  |  IP: Logged Lyle Romer Phenomenal Film Handler Posts: 1400 From: Davie, FL, USA Registered: May 2002 posted 04-07-2006 12:08 PM                     Didn't somebody from Kodak that worked on data on film technology also go to Dolby and work on Dolby Digital? I thought they told me that when I interviewed there (but it has been almost 10 years now).  |  IP: Logged John Pytlak Film God Posts: 9987 From: Rochester, NY 14650-1922 Registered: Jan 2000 posted 04-07-2006 12:28 PM                        quote: Lyle Romer Didn't somebody from Kodak that worked on data on film technology also go to Dolby and work on Dolby Digital? I thought they told me that when I interviewed there (but it has been almost 10 years now). A name doesn't come to mind. Kodak and Dolby sound engineers have had lots of interaction since the early 1970's, mostly though the SMPTE and ISO standards committees. Kodak's Ron Uhlig was the first to demonstrate the use of Dolby noise reduction technology to enable practical multichannel and multilanguage analog optical soundtracks, with SMPTE papers published in April 1973 and September 1974. Ioan Allen published the Dolby Stereo paper in September 1975.  |  IP: Logged

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