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White balance


geronimouse

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:huh: I am using my Canon XM1 to t/cine my old 8mm movies thru a lens off the emulsion. Having trouble with white balance settings ie which one is best to use? Anyone any suggestions please......................Cheers Gero

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  • 3 months later...

Me another time

 

are there some best to do a telecine from super8 reversal colour, b&w and colour negative?

 

Also i ask for the home made, but directly from the film no from projection.

 

thanke!!! gracias!

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For a homemade telecine of reversal film, you may want to white balance with a neutral density of about 0.20 in the open gate of the projector --- the whites on a projection contrast reversal film usually are close to that density.

 

I would not risk projecting an original negative.

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Me another time

 

are there some best to do a telecine from super8 reversal colour, b&w and colour negative?

 

Also i ask for the home made, but directly from the film no from projection.

 

thanke!!!  gracias!

 

 

For a homemade telecine of reversal film, you may want to white balance with a neutral density of about 0.20 in the open gate of the projector --- the whites on a projection contrast reversal film usually are close to that density.

 

I would not risk projecting an original negative.

 

 

 

I think he meant scanning as opposed to projecting.

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Hello John,

 

Consider this crazy idea: Modifying a Canoscan4000 for MP scanning. It would require a bit of reengineering but doesn't seem out of the question. I calculate that a scan of conformed negs would take about 45 days of round-the-clock scanning. However, for an indie film-maker working in 35mm, I have no particular deadline. I can let one of my idiot computers do all the work and just check on it from time to time. How crazy is this idea?

 

Thanks,

Paul Bruening

pbruenin@yahoo.com

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Hello Again John,

 

I found a Kodak RFS 3600 for about $1,200. How much trouble would it be to change the driver to advance the neg at cine perfs instead of still frame perfs?

Thanks,

Paul Bruening

pbruenin@yahoo.com

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Experimenting and tinkering are fine, but building a production-ready, reliable scanning engine for motion pictures is not an easy task. For "real world" productions, throughput is very high on the list of priorities, as a two hour movie is 172,800 images.

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Hello John- Good company-man answer.

 

Hello Nate- It's a shot in the dark. I'm thinking about taking my Arri IIb and using it in the off season for the transport mechanism. I can get a stop motion rig off of ebay for about $1,500. I'm hoping I can mount the light behind the gate and the scanner lens in front of the gate. If I can sync the motor to the scan rate, it might just fly. I'm going to shop on ebay for a cheap scanner just to tear apart. Then I'll look for a IIB hold down plate to cut out. The rest is a matter of a macro to store the data via Photoshop on drives large enough. My early calculations indicate that 6 200GB HDs should hold 2K scans. Since I shoot only about one feature per year there's plenty of time to wait on the scans. What do I care if it takes months to complete the scan if it saves me major bucks? Anyway, It's worth a thought.

 

Thanks,

Paul Bruening

pbruenin@yahoo.com

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Hi,

 

Just scanning conformed neg, without having to care about things like timecode conformation to a video cut, sound sync, keykode, differing base densities of stocks, different thicknesses, versioning, linearity and bit-depth conversions, registration, temperature and humidity, dustbusting and scratch removal....

 

....probably isn't too bad. Add in all those things and it becomes - well - involved.

 

Phil

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