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The article focuses on issues related to the decision of several Australian film people to work in other countries. Although the press and the public celebrate the success of Australian actors, technicians, and even cinematographers overseas, specially in Hollywood, it does not help the country's film industry to grow because of the decline in the number of skilled film people working in the country.

The article compares the architecture of the cathedral of Cologne, Germany with film production and cinematography. Like the rich texture of the cathedral's stone carvings, the rich texture of a film image are a crucial part of its nature. The texture of the film image provides it with distinct character. Film similar to the cathedral's architecture, has both creative and functional purposes.

Presents details on a debate entitled `Cinematographers and Digital Artists--Friends or Foes?' relating to authorship of film images that are captured on film and subsequently treated digitally, by the Australian Society of Cinematographers. Inclusions in the panel.

Interviews Marcus Leadley and Simon Leadley, studio manager and chief engineer of Trackdown Digital, respectively, on the technological innovations in sound post-production in the Australian music industry. Discussion on the history of Trackdown; Differences between music and television work; Impact of digital technology on the music industry; Distinctions between desks for music, film and television.

Describes the technological advances in theater and television film cinematographic effects. Techniques for fitting images into picture tubes; Scanning systems; Launching of Zero One Zeor's Gold telecine and Digital Audio suite.

Features the Australian short film, `The Bell,' directed by Bart Groen and produced jointly with Valerie Queva. Post-production funding; Use of puppets to tell a story; Interviews with Groen, Queva and director of photography, Jackie Farkas.

Features a television and cinema advertisement for Adidas created by design, three-dimensional and digital post company, Animal Logic. Members of the three-dimensional team; Distinct features of the advertisement; Use of integrating techniques.

Reviews equipment used in the motion picture industry. Hewlett Packard Video Print Manager; Flame software system; Avid online system for cinema.

The article offers information on the Broadercasting conference of the National Association of Broadcasters (NAB) to be held in Las Vegas, Nevada on April 10-15, 2010.

A letter from Dominic Case is presented in response to a discussion regarding the quality of articles in the "American Journal." The letter was dated September 15, 2008 and addressed to Professional Cinematography. The author notes that articles from the journal are predictable and follow a template. He cites that the interview questions being asked are the same every time because they are the easiest to ask and answer. The author concludes that articulate cinematographers need to be interviewed by intelligent and creative writers.

The article offers information about the Atlab/Kodak Print Collection to make good quality prints of some key films of Australia's recent past. It serves as a widespread practice for producers in depositing a preservation copy of their film with the National Library of Australia, tracking down good quality source material. It is noted that printing an original negative requires colour grading corrections to be made to every shot.

The article presents an interview with Dominic Case, director of communications at Atlab. The biggest issue facing the film industry in Australia is how to bring films and audiences together more. His favourite guilty pleasure movie is British black and white World War II movies from the 1950s. According to him, his unsung Aussie film hero/heroine is Noah Taylor as the young David Helfgott in the film "Shine."

Discusses the innovations in the optics and photochemistry in the manufacture and use of motion picture film. Establishment of the basic chemical process used in film in the late 1800s; Modern film stocks' capability of reproducing a scene exactly as it appears to the eye; Dependency of the consistency of color on the uniformity of the emulsion coating.

Focuses on color sensitivity in photography, cinematography and human vision. Discussion on the three primary colors theory; Limitations of the human eye; Mechanics of the desaturation effect; Color processes in photography; Ways to color image duplication; Author's new assignment.

Looks at the old-fashioned analogue used to reproduce the 576 image lines from the television image on to film image. What the digital techniques are used to enhance.

States that Quantel Domino takes up 18 megabytes of memory. Demands of 18 megabytes; Compression techniques.

Looks at the set of constraints that the digital image brings. Values of the conventionally, digital video and computer graphics images; Problems that upset the arrangement.

Looks at the images on films. Higher resolution for the scanning system; What software developers have worked hard to do; How to achieve the best results from the film scanner.

Presents information on the PAL video format, a digital image that consist of a number of pixels. Size of computer images.

Discusses technical issues regarding timecodes and running speeds in telecine editing and the problem of synching with the Edit Decision List (EDL) and other sound. Counting the frames; Phase alternation line (PAL) transfers; National Television System Committee (NTSC) drop frame; Film timecode.

Reports on Avid Technology Inc.'s establishment of a wholly-owned subsidiary office in Sydney, New South Wales. Avid operations; Head of the operation; Range of multimedia technology through acquisitions and mergers.

Reports that Avid Technology Inc. has been awarded a 1994 `Scientific and Engineering Achievement Award' from the Academy of Motion Picture Arts and Sciences for its Film Composer digital non-linear film editing system. Capabilities of Avid's film editing system.

Features the EDI-Assist editing system from Electronic Digital Innovations. Allowing the film director to see the effects of over-cranking shots; Exploiting the capabilities of computer digital-imaging systems; Effect of the system on the whole post-production process.

Compares the analog and digital processes in image processing. Encoding of color video signals; Linear resolution of the image; Advances in signal processing and digital effects.

Features the cinema hoardings produced by Metromedia Technologies International. Combination of digital-imaging techniques and computer-driven robotic-painting machines to create the images; Post-production facilities required for this technique.

Features the Supervisor projection video display enhancer, which is distributed in Australia by Quinto Communications. Use of filtering technology to enhance the perceived definition of the display; Range of display devices supported by Supervisor.

Reports that Soundfirm has added the Turbo Lightworks non-linear editing system to its roster of post-production equipment. Use of Turbo Lightworks in the motion picture `Mighty Morphin Power Rangers'; Combination of film rushes and non-linear editing.

Features the Movie Making Museum in Sydney, Australia. Founders of the museum; Equipment on display.

Features the company Rocket Films. Product offerings.

The article presents an obituary for Tom Nurse, a well-known figure in Australian film laboratories.

Several letters to the editor are presented about the motion picture and television industry including efforts to prevent the closure of Ealing Studios, an inquiry of where to gain vacation-time employment for a broadcast engineering student and the need for more student representatives at the events of the British Kinematograph, Sound and Television Society to attract student members.