The scanned DPX footage is edited and composited-FX on workstations, then mastered back on film. Film restoration is also done this way. Images for graphic design and print industries The days of newspapers and magazines shooting 35mm film are almost gone. Digital cameras can now shoot all the images needed, storing them as files (e.g. JPEG, DPX or another format) that are readily edited prior to use. Once the final copy is approved, it can be filmed out for publishing. Digital stills are not the only way to get pictures used in the graphic design and print industries. Film scanners and computer graphics programs are also common sources for graphic design and print industries. Types of devices The following devices are used in film-out processes: CRT recorder. Camera and a special TV display Kinescope – early type Electronic Video Recording or EVR – early type EBR Electron Beam Film Recorder 16 mm by 3M Laser film recorder, like Kodak's high-end Lightning II recorder and Arri's Arrilaser. DLP Film recorder, like Cinevation's real-time Cinevator. History Lately it has become possible to transfer video images, including films scanned at high resolution, back to film stocks by making a digital intermediate, which can then be recorded out to fine-grain film intermediate with a laser film printer. The first major live-action film to use this process entirely was O Brother Where Art Thou, done by Kodak's Cinesite division in Hollywood in the spring of 2000. Prior to this, the video master was transferred from tape to film through one of several methods: CRT recorder, laser film printer, Kinescope, or electron beam recorder (EBR). Theater performances have been preserved with Kinescope for many years – the 1964 New York production of Hamlet with Richard Burton, for example, was shot on video and printed as a film that was released in movie theaters using this process. Fernando Arrabal was the first to use the technique of video-to-film for aesthetic purposes, for the 1971 film Viva la muerte, which used heavily color-adjusted video footage only for the fantasy sequences. Experimental filmmaker Scott Bartlett also utilized video footage and effects for portions of his 1972 film OffOn, by filming such with a 16 mm film camera off of a video monitor. Technicolor also experimented in the early 1970s with using video gear & videotape to make feature-length motion pictures with, by transferring the videotape to film for final