[tig] stability of scanning-telecine
Mon Aug 30 10:23:41 BST 2004
On 8/30/04 9:44 AM, "Marc Wielage" <mfw at musictrax.com> wrote:
>> Are there any pin registration systems for 16mm that output a more stable
>> image than the best edge-guided gates? I tend to think that the decision-
>> makers in pre-production won't select a 16mm format if image stability
>> is a high priority.
> Since there's only one perf per frame in Super 16mm, I don't think there's
> an easy way to pin-register 16mm per se during transfer. In theory, if you
> used double-perf standard 16mm, there might be a way to do it, but it'd be
> very dodgy.
<SNIP> My comment regarding the quality/stability of S16 in Cintel machines
was a dig at Cintel after fighting an eight month (losing) battle regarding
the Mil2. That being said over the weekend we received our "new" gate again
and it looks like we're up in running better than the original Millennium.
Almost as good as the Spirit now.
In the Northlight 16 gate we're using, as the film comes into the gate it
gets pinned across 3 frames (I believe) for movement into the pressure plate
where it's held in place for scanning and then moved along by a set of
sprockets which pin the left of the frame on either side of the pin-block.
The results (once correctly aligned and fitted) are fantastic and we've
pushed 3 full DI shows through it. Superb.
> I do agree with Christopher Noellert elsewhere that the Northlight (or other
> dedicated pin-registered scanners) are the best way to go, when time and
> money aren't as big a consideration as image quality. But more and more,
> time _is_ a major consideration in post-production, and I think the Spirit
> 4K is going to make big inroads in that area, particularly doing real-time
> high-quality 2K scans.
What we've found is that the time is takes to do a traditional neg cut eats
away more time than it takes to scan in the Northlight. Eliminating the neg
cut buys more than enough time in traditional feature planning which allows
us to still deliver faster (in theory) than a traditional lab timing
situation. I say in theory because what we've also found is that the time
spent in grading has also increased drastically. It may seem obvious, a
little like "DUH!", but I've been really surprised by how even the most
traditional of DPs or directors have snapped up on the tech and completely
switched their thinking over to the process over the course of one job. The
creative freedom offered to the DP together with the quality out on the
answer print is like catnip for these guys/gals. Depending on how the
workflow is structured, grading and mastering is what eats the time, not the
data capture phase as it stands today for us.
Don't get me wrong also I'm extremely interested in the progress of the
Spirit4k as well and I absolutely think that one will find a home here
eventually, simply because it can do what it does. The issues up until now
for us here have been:
What will the client pay for the services they require?
What is working today that fulfills the client as well as our needs?
What can we afford that meets those needs today?
What leaves the most roads open for tomorrow?
I'm sure that most have somewhat close to the same questionnaire they fill
out when making major investments. For the time being the Spirit4k doesn't
fit because we're still establishing a process and setting the bar, but as
our volume increases, the more and more sense multiple scanners makes and in
turn the more and more sense a Spirit4k makes PROVIDED it can hit the mark
as well as the Northlight.
I guess what I'm trying to say is that I'm not against datacines, we have 1
(and a half) here in addition to the Northlight. We driven shows in 35 and
16 on all three machines and the clients like the Northlight best. So
that's where we stand today.
Best and sorry rambling,
> --Marc Wielage
> LA colorist-at-large
Frithiof Film to Video. AB
114 36 Stockholm
Tel: +46 8 545 678 78
Fax: +46 8 545 678 79
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