Dan Baxter Posted October 23, 2022 Share Posted October 23, 2022 LG aren't clear about what's going on under the hood, but they may have a reason. There's no clipping in the colour scopes so it doesn't look like anything is clipped it may just be transformed from sRGB space using an LUT which is not necessarily a bad thing. The way that colour comes off most scanners involves a lot more work, one operator who runs an older model Scanity (he doesn't know exactly how old it is as he's just an employee) told me basically "The ScanStation is something else if that's really the way colour comes in the scan. We spend a lot of time on colour correction with the Scanity." In short, there's no evidence that anything the raw hardware is capable of is actually missing in the scan, and comparing against other scanners would be the wrong way to go about it even if you buy the same camera and lens and put it in a XENA as you would need to take out the LG light and program it to work exactly the same way otherwise it isn't like-for-like. The Blackmagic Cintel doesn't go straight to Rec709, but they do still provide their own import LUTs and something about the import for prints has been proven to be problematic (whereas it isn't for negatives). To get to Rec709 involves a secondary colour LUT that the user has to create themselves, so more work. That's the same for most Bayer scanners, they capture raw or if they don't they may mess up the quality (for example the Moviestuff software crushes the capture and you lose detail). What LG is doing isn't necessarily a bad thing if nothing is lost or if there's minimal colour detail lost. On 10/22/2022 at 1:19 PM, Larry Baum said: It would seem a horrible shame to think of many films that got their one and only scan done without anyone realizing that the color gamut was clipped and that maybe for all time the original colors will be lost as the original film rots and fades and the digital archive failed to capture all the colors. The scans are only as good as the person operating the scanner anyway. The ScanStation isn't exclusively for restoration work, it is a trusty reliable all-round workhorse. It can be used in different ways and it does what it's told. You can tell it to give the film its best effort, or you can tell it to make some quick proxies. If you're using it to inspect film it has a very nice built-in editing table and when a splice opens it reliably stops the scan and tells you to fix it. Some of the older scanners if you walked away from them to make a quick cup of coffee while they're doing their work at 7+ seconds per frame would un-spool the film onto the floor if you weren't there to babysit it when a splice opens. Many other scanners break down a lot, it doesn't. It'll scan on reels or cores it doesn't mind. It'll handle almost any film including film that's too badly warped for other scanners. Most of the time it goes straight to a deliverable format which is more than what most other scanners will do ("DPX-only"). There's a zillion different uses for them, you don't ever have to use it for restoration and you could still derive value out of it. As way of example, MemoryLab purchased their one pretty much just for home movie scanning. They had a choice to buy the Archivist, but when I asked last year why they chose the ScanStation they said it represented better value for them and they felt the increase in the cost was justified and they wanted maximum resolution for 8mm. We'll get to the bottom of the colour gamut eventually. In professional settings, and this comes from multiple users not just one, most clients want Prores which is compressing beyond DNG or DPX anyway. For many the standard is to offer Prores XQ or HQ as the standard choices, it's made so that it can make the compression for you with minimal detail loss. Quote Link to comment Share on other sites More sharing options...
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