Digitizer 2000

[Agenor Ramadan]

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NDT-2000 Film Digitizing System is a down-to-earth digitization solution developed exclusively by Microtek for use in NDT/RT industry. This is a modified model from the MII-900 Plus which is able to provide better industrial digitizing images. Used together with MiiNDT, an image analyzation, and management software, it is capable to offer more effective solutions for NDT/RT business which want to step into the field of digital management.

Besides retaining great functions of the original MII-900 Plus, such as 1200-dpi (21μm) optical solutions, 16-bit grayscale, and exclusive AFF and multi-channel trays, NDT-2000 adopts better optical density via innovative image technology and therefore it can enrich image layers and meet with high requirements about image quality from the NDT/RT industry.

Microtek NDT-2000 Film Digitizing System is a down-to-earth digitization solution developed exclusively by Microtek for use in NDT/RT industry. This is a modified model from the MII-900 Plus which is able to provide better industrial digitizing images. Used together with MiiNDT, an image analysis, and management software, it is capable to offer more effective solutions for NDT/RT businesses that want to step into the field of digital management.

The NDT-2000 Industrial Film Digitizing System is designed to digitize and store industrial (NDT) film images. It is the highest resolution film digitizer available on the market, with a resolution of up to 21 μm.

This new generation of film digitizer improves upon its predecessor, the MII-900 Plus, with increased dynamic range, image contrast, scanning speed, and dust-and-dirt protection. It also supports DICONDE management software like AcuScreen to ensure all saved images comply with ASTM standards.

With specialized hardware technology included, the NDT-2000 Digitizing System can reduce noise ratio effectively and as such can present image layers more vividly, presenting a truer representation of industrial films that meets high image quality requirements.

The film digitizing and management software lets you capture digital images in seconds, and also provides you with detailed information about the inspected images. Additionally, it can successfully scan films of longer length, with a total scanning area of 14" x 200". With only a simple connection, you can start scanning films and immediately start follow-up applications such as searching, measuring, annotating, burning to CD/DVD and more, allowing you to make better use of your time. The captured images can be transformed into the ASTM standard to meet with the DICONDE format, making them easier to be reviewed and shared across the industry as well.

The system is a hardware-software package that stores, processes and provides tools for viewing RT images acquired from digital and analog industrial equipment. AcuScreen is built on the client-server architecture, where inspectors' workstations represent clients, and one or more powerful computers function as the server responsible for safe data storage, with round-the-clock access. Comes in 2 packages, AcuScreen Basic and AcuScreen Pro.

Powerful Software

Bundled with multi-functional image management software, including functions of file building, searching, measuring, annotating, zooming, report making, saving and burning; meeting with the DICONDE standard

Gradational Image Layers

Adopted with specialized hardware technology, NDT-2000 Digitizing System can reduce noise ratio evidently and thus it can present image layers more vividly, presenting true face of industrial films and meeting with high requirements toward image quality of NDT/RT industry.

User-friendly and Intuitive Interface

MiiNDT, film digitizing and management software, lets you capture digital images in seconds and also provides you with related information about inspected images in details.

The page was launched on 1 January 1993 on page 370 of the Teletext service on ITV before transferring over to Channel 4 later that year. It was updated daily except on Sundays, apart from a nine-month period in 2002 when it went to three days a week, weekends and holidays.

It was followed by up to 1.5 million viewers at its peak popularity. The magazine was notable for its surreal and risqu humour as well as its games coverage. Digitiser was advertised on the back of multiple issues of the multi-platform video game magazine Electric Brain.

Digitiser was created by writers Paul Rose and Tim Moore who went by the pseudonyms Mr Biffo and Mr Hairs. They wrote it together for the first four years while Rose wrote more or less solo for the remaining six in a freelance capacity.

Digitiser frequently courted controversy, inspiring criticism both from outside groups and Teletext's own editorial team, who viewed the writers as troublemakers but were unable to axe them due to the magazine's popularity. Pages were often altered without the writers' knowledge, with sub-editors sometimes deleting entire frames of reviews for fear of missing a risqu joke.

On one occasion, a sub-editor, who shortly afterwards was promoted to editorial director of the company, rang Rose to insist he remove a "disgusting" reference to "fingering the index".[2] When Rose pointed out that it was a play on "index finger", and that it had not even dawned on him that it might be considered rude, the up-and-coming sub-editor allegedly went silent for a few seconds, before insisting that it was still deliberately provocative, and should be deleted. A similar confrontation occurred over a reference to "The three Rs", during which sub-editors believed that - despite Biffo's amused protests to the contrary - the "Rs" part of the phrase was meant to sound a bit like "arse", rather than a reference to the famous educational principle.

Campaigns were even waged to have Digitiser's writing team fired - both within Teletext by its editorial minions, and beyond (by disgruntled Amiga, Sega, Sony, or Nintendo fans, not to mention the staff of Mean Machines and Official Nintendo magazines - whom Digitiser frequently poked fun at). Such reactions merely served to redouble Biffo's resolve to be controversial and edgy, and as he often wrote on the letters pages, Digitiser "hates everyone equally, man".

Digitiser became remarkably popular, despite (or in part due to) the sometimes risqu content, because of the novel reviews, format, and sometimes bizarre tone. Biffo's battles with his employers helped to give Digitiser a defiant, anti-establishment air.

Things finally came to a head in 2002, when Teletext gained a new senior editorial team, who lost patience with Biffo's pushing of the envelope of what was acceptable on a mainstream text service. Even though they could not quite bring themselves to get rid of Digitiser and Biffo altogether, they ordered that the magazine be reduced to three days a week, and have all humour and character stripped from the pages.[3] Despite massive evidence to the contrary, and being one of the most popular features sections on Teletext, Biffo has said since that he was told the reason for this was because the humour "excluded people".[3] Another reason for the reduction to three days a week, and the removal of the Panel 4 feature at weekends, was the negative financial effects felt after the September 11 attacks on Teletext Ltd.'s core business of advertising air travel holidays.[citation needed]

Despite facing pressure from the new senior editorial team, Biffo continued to write the pages anonymously, but reduced his work to 45 minutes a day. The decision later backfired on Teletext, when Digitiser's viewing figures plummeted to 400,000 per day from its peak of 1.5 million, and viewers spent the next nine months inundating the company with letters of complaint, demanding that Digitiser's humour and characters be restored.[4] After thousands of emails and letters had poured into Teletext they were forced to go back on their previous decision, and asked Biffo to reinstate the humour, and return Digitiser to its daily glory.[4] However, for Biffo the damage had been done, and his last shreds of faith in the company had been shattered. After Biffo handed in his notice in December 2002, he returned Digitiser to its earlier style for one final, four-month run as a thank you to the fans - which included a special ten-year anniversary celebration, complete with a glowing eulogy by author Alex Garland.[4] The lights finally went out on just over ten years of Digitiser on 9 March 2003.

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