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Robert Houllahan

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About Robert Houllahan

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    http://www.cinelab.com

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  1. According to the 2017 Kodak price list the P-200 cleaner is $37,500.00 USD FYI.
  2. I am not sure what you mean by "Cheap" I think the P200 is at least $50K but I have not priced one out, most film machines are in the $50K - $250K range as they are low volume engineered and produced products.
  3. Kodak / PhotoMec have the PF200 http://www.photomec.co.uk/our_products/p200film-cleaner/ I know a few post shops that have them. A XL900 or 1100 will probably run you $10K or more these days if you can find one.
  4. We have lots and lots of 16mm in the lab getting souped and I think it is just a case of high demand outstripping supply for now. Hopefully Kodak can catch up I have been hearing that 7219 is about two weeks out from customers talking to Kodak. B&H had some but I think they sold out quickly when they reopened after the holiday.
  5. Depending on the scanner they might have just left a software switch flipped, so it would not matter Pix quality wise, this is possible on a machine like the Scan Station or Xena that has a "flip horizontal" button in the setup. A DFT Spirit 4K Arriscan or other machine that uses mechanical sprockets or pins cannot really be loaded backwards like a Scan Station could be so again if ithe pix is flipped it was a software choice. So IMO if you flip it back in edit it should be fine just check that you are seeing grain finely scanned to be sure.
  6. Yes LaserGrpahics had an extensive line of CRT based film recorders for both still work and motion picture, it was only a few years ago that they stopped making some really high end motion picture recorders and concentrated on building scanners.
  7. I know Kodak had stated it was as high as 16 stops at one point and I think it sort of depends on stops over grey vs. under and you can overexpose negative quite a bit and still get something from those hilites, but that does present a challenge to digital scanning as the hilites in a negative tend to intersect with the shadows in a digital sensor and that is where digital sensors tend to have the most noise. One of the nice things about the Spirit 4K is that is has a very bright 800W Xenon lamp (which has an elaborate system to remove the heat) and a valve on it so you can really put allot more light through the film than most LED lamp sources on newer scanners. I have had work in that was intentionally overexposed 5+ stops for the look and been able to get some really nice and unique looking scans from that on the Spirit.
  8. I paid about $9K for the 6.5K camera and a CoaXpress frame grabber. the 5.3K Pregius is the same pixel as the 6.5K and the 4K ones in that line so results should be similar but fewer pixels. I thought the ArriXT was more and I see there is a "reasonable" price for an update to the original machine, it is a great scanner and a true RGB scan with the excellent ALEV sensor. A two flash HDR on a 12-bit sensor based scanner gets 14bit precision not 16bit but some of the latest Pregius and Starion Sony sensors are 16bit A to D now and likely have good noise so realistic 16bits being obtained, the 14K rolling shutter Sony is 16bits for example.
  9. In spooling down 400ft rolls to 100ft rolls the typical procedure is to wind the roll down from the head onto the second rewind then spool it back onto 100ft daylight spools so the 1R is correct, so it would be EI and this is done with the film wound from top to top of the rewinds. Winding from head to tail and then back would not be necessary for 2R film but would be the standard procedure. To wind the film EO you would have to wind the film from top of one rewind to bottom of the next to get the emulsion to face out on the reel, a big difference from winding from the top of one rewind to the top of the other. When using old stock like this you really have to check the film and make sure the original roll and the spooled down daylight spools are showing emulsion in before shooting.
  10. I always do an overscan for registration tests and on the Scan Station or Xena which have machine vision optical perf registration so the scan will be rock solid locked to the perfs. Best practice IMO.
  11. There are many ingredients to a process and one tank may be exhausted i.e. bleach fix which needs to be de-silvered and the developer is fine. It is very rare that a whole machine's full chemistry will be all dumped and replaced at once. We run a sensiometric control before each run and check it on the densitometer and adjust chemistry as needed to get it into the proper spec to run. Also there is a metered replenishment fed into the various chemistry tanks to keep it at spec for the run. In theory and in practice a sensiometric control strip run at the beginning of the run and one at the end will be practically the same numbers on the densitometer and day to day.
  12. The Spirit 2K/4K has a spring loaded rail and a ceramic guide for the side closest to the film deck. Registration is fairly good for a telecine and also depends on what features are enabled on the machine. It is not a mechanical or machine vision registered system and without one of those features in 2021 a scanner is relegated to being a dailies machine which will require allot of un-required work in post.
  13. I would not exactly call it an AI but it has a certain area that it expects the perforations to be in and then looks for a specific shape and the contrast of it. If you want to do really well stabilized film scanning without machine vision perf stabilization you will need a far better mechanical film transport than the ones on any of these new scanners. You can trigger the lamp/camera with a number of perf detector technologies from capacitive, laser or the optical encoder on the capstan.
  14. A ScanStation can scan at 30fps or 15fps in HDR mode, the Arriscan in HDR is about 1fps. maybe slower, I am not sure about the speed on the new Arriscan XT but it does have a full immersion liquid gate option.
  15. The Scan Station has to be able to see the perforations with the imaging sensor to register the perfs and stabilize the film, there is no external sensor or mechanism. The transport is driven by a servo controlled capstan which has a optical encoder wheel attached to it, the film is driven at constant speed and then the machine vision perf stabilization does the rest.
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