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Robert Houllahan

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Robert Houllahan last won the day on February 15

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About Robert Houllahan

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  1. LTO-5 and LTo-6 drives and media have become much more affordable, interfacing them to a machine can be a trick as can the LTO software, especially on MAC but then you have a good backup with a decent amount of storage for each tape that will be recoverable in five or ten years, possibly more so fewer migration steps to be taken. Optical Discs are everything that Perry said especially the part about not having a drive that works in five or ten years.
  2. Yeah Reversal bath not neg bath then you have Hi Contrast direct duplicate.
  3. There are a couple of ways to make a positive from Tri-X these days, a inter-negative and print which is the "right" way to do it and will retain good sharpness and contrast. 3234 is a fine dupe neg stock and Orwo also has dupe neg stocks. We have also made "Dirty Dupes" as work-prints for customers which are basically printing Tri-X to print stock and then running the print stock as a negative to make a one step positive, this is very contrasty but works as a workprint. Olde Thread
  4. I suppose then LaserGraphics can discontinue the trur RGB Director then... 😉
  5. I usually scan S16mm at 2048x1306 which shows some of the incomming and outgoing frame and allows for enough vertical overscan to fix most slight camera flutter without losing resolution. For "Full" overscan allot of times that is a creative choice to see more of the physicality of the film including the perf(s) and keycode etc. but for sure if there is a stability issue having the extra pixels helps to fix problems without losing resolution in the recorded picture area.
  6. Most of the "New" type scanners use a Color Bayer sensor camera like the JAI Spark 20000 in the Scan Station or the Ex-Kodak 16050 in our Xena and Kinetta. They allow for 2.5K or 5K Overscan but they are color camera systems and as such will have color "made" by math and some color separation issues especially with denser negative. The Spirit 4K or Northlight or Ariiscan or Scannity or Director record each color channel separately (I.E. "True RGB") and some will offer overscan (Director, Xena 10K etc.) and True RGB but they get to be slower and more expensive. The Spirit 4K or Scannity or Arriscan have a more limited overscan ability.
  7. Did you give them a reference? I would not assume so. If they did the DPX frames should go right into DaVinci and match up without any changes to the EDL or XML you created in the editor.
  8. Did the scanning facility match the timecode of your original dailies scan?
  9. Film is magic! I have personally shot film and developed it months, sometimes many months after the shoot. Yes film stocks do accumulate base fog but even fast modern stocks do take years to do so. I shot some Plus-X negative 16mm for a music video last fall which had an expiration date of 1966 and it looks fantastic. YMMV
  10. Yeah I think your looking at $55,000 for a Scan Station P with 8mm and 16mm gates, if they will build one in that configuration. That is without storage or shipping so figure $60K+ I doubt you will find one used.
  11. I definitely get that cheap lcd UHD screens are basically what is available now and streaming services headed up by Netflix are rolling out better compression and UHD content... still I think 85% or so of viewers are on cable boxes and those get updates very slowly and the cable networks are loath to provide bandwidth so they will step on that compressor pedal as much as possible. I think the only real benefit of UHD is the move from 8 to 10bits and less banding artifacts especially in dark scenes... the rez is pretty much useless.
  12. Totally agree, but I think they will have a hard time convincing people to buy 8k stuff, cable barely transmits HD and if you ever hookup a OTA antenna and tune to WGBH and switch back and forth between the stepped on mush that passes as HD from a cable box and the actual HD signal from the antenna the difference is striking. And I think most people who watch TV still get their feed through cable. I think the world has mostly bought the transition between SD and HD and there will be a smaller percentage of UHD sets out there as some of the initial HD sets die and then an even teeny tiny percentage of people who buy 8k sets for the novelty but without any 8k programming.
  13. Current Scan Stations use the JAI CMV-50000 camera which is 5120 pixels wide, so more than 1000 pixels to capture the perforation and still have full DCI 4096 wide resolution for 8mm film. This CMOSIS sensor has very variable manufacturing quality and most have issues with poor DR and FPN which LG has mostly solved with two flash HDR (15fps instead of 30fps scan speed) Some scan stations are also replacing this 5K sensor with the new Sony Pregius 4K (4012x3008) sensor which has much better overall noise and DR specs. I thought the 10K Director used the monochrome version of the CMV50000 5K sensor with a pizeo pixel shift to achieve 10K. The 5K sensor is a full 35mm frame size piece of silicon so harder to achieve framing on smaller gauge films with it. So a machine more for 16mm and 35mm. There is a new 6.5K Sony sensor about to become available which has the same DR and Noise specs as the 4K chip but at 6464x4852 res and less speed (10-12fps at 12 bit) and it is also a APS-C size sensor which will allow for lensing 8mm with a smaller lens box. I really have no idea why anyone would want a higher resolution image than 4K DCI (4096x3112) for the exposed image frame on a 8mm film but I think you will see a 6.5K option in a number of scanners soon, I have a 6.5K order request in for the HDR Xena which is getting wet gates and that will do 5.7K-6K 8mm if someone requests but again I don't know why more than 4K is needed for anything. I think most of last years Oscar winners were shot on film or Alexa and mastered to 2K as is GOT and other worldwide hits. UHD and 8K are basically bullshit marketing to sell consumer electronics.
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