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Robert Houllahan

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About Robert Houllahan

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  • Occupation
    Industry Rep
  • Location
    Providence R.I.

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  • Website URL
    http://www.cinelab.com

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  1. I personally think it looks really nice, I would tread lightly with grain reduction. Grain is not noise it is how the picture is made in film and I feel that the NR tools which are commonly available are not very capable at "grain management" like the DVO tools in Nucoda for example. If you use neat video I would put it on a node and selectively target the shadows and not degrain the whole picture.
  2. Yeah allot of stills shooters are missing Lumens Lab (Joe) and while I would want to support ECN2 Stills we are just over worked and the time and staff it takes isn't practical for Cinelab right now.
  3. The lab has been pretty busy through the pandemic everything from personal 8mm projects to budget music videos and spots on 16mm and 35mm
  4. We had an employee who ran his own still lab and would run ECN2 still in the PhotoMec at Cinelab. Joe moved to Taipei and so that stopped. It is allot of prep work to staple all those little still clips together and get them twin-checked and prepped. With the pandemic reduced staff and fairly high volumes of motion picture film coming in it is just impossible for us to offer this service at a reasonable turnaround time or price right now.
  5. Also consider the Scan Station cannot scan Vista-Vision and the Northlight may need a Vista-Vision gate for 8-Perf still scanning. I would say the Drum scanner will yield similar results in any case.
  6. I think allot of times when people see work on film like the two Instagram examples above they kind of reach for how the film was scanned and on what scanner as a metric of the look of the work, where they should be asking more questions like what film stock? what exposure? and especially who lit / shot / graded the film. As with people wanting to qualify everything about the look of something into how many "K's" In the past the difference between say a Cintel MK3 CRT Telecine and a SDC2000 classic Spirit were pretty obvious, but at the end of the reign of the "HD Telecine" the Spirit, the Millenium, the DSX were all making very equivalent work (if the CRT machines had a good tube) and the look came down more to the colorist. Now with ubiquitous data scanning (Scan Station, Scannity, Arriscan, Xena, Spirit4K etc.etc.) proper 12bit (10bit Log) Cineon Log film scans with low scanner noise and excellent dynamic range the scan is becomming more of a commodity and the other aspect like stock choice, exposure of the stock and how it is pushed or pulled and the work of the colorist. You can still get a somewhat under-performing scan from scanners like the BMD Cintel or a Scan Station VarioScan etc. with the 5K CMOSIS sensor which exhibit fixed pattern noise especially with dense negative but that is 99.994% gone with the new 4K and 6.5K Sony Pregius sensors that are going into machines now and I would think BMD would put the 4.6K chip in the BMD Cintel on it's next update.
  7. As someone with five motion picture scanners (Spirit2K Spirit 4K Scan Station 5K Xena 4K Xena 6.5K) and a full service lab I think that film scanning has come to a point where if you get your film scanned on any of the professional scanners with a competent operator the scans will be similar (if not the same) and have a great deal of dynamic range and color fidelity where the scan can be graded any way the colorist wants. I think there is some separation at the high end when film is scanned on a true RGB scanner vs. a scanner with a color sensor mostly in color separation and fidelity especially in a dense negative. Those differences are subtle and not likely to be seen by people working on more regular projects vs. major films and TV shows with high end monitoring.
  8. I was going to ask if the camera has a film timecode system installed, it should be a little matrix of LEDs in the gate, the placement of the fogging/mark seems outside of where that would normally write into to the film but maybe if there was something off about it this could be a cause?
  9. Almost all processors are demand drive not sprocket, the sprocket drive processors were usually made for high speed print processing like the TFS 1500ft/min machines they used at Tecnicolor and DeLuxe in the days of film prints. PhotoMec / Allen / Treise / Calder processors are no sprocket demand drive.
  10. From a lab perspective I would say that it would be hard for a processor to make a consistently repeating exposure like that, as the film on the load side of the Processor is on a flange then into a load elevator and then the prebath/remjet then developer all in the dark. Typically if there is a light leak in the processor before the developer it would be a streak not a repeating pattern.
  11. Hi We run millions of feet of film every year in 8mm 16mm and 35mm and over the years there have been some complaints, most of our "bad reviews" on google or whatever are from people who did not understand the process well or had expectations which were out of this world. One review was from a student who was mad her 35mm 500ft roll took too long and we gave her a free scan and this was while we were running two or three feature films simultaneously. Like any lab we have had some mistakes but we do a good job and offer a very wide range of services and scan options.
  12. Yeah these are mechanical machines. It may also be that mag pressure plate was stuck in some way and running film through it loosened it but a tech look through is a good idea.
  13. I would also see what is possibly recoverable in the damaged film. As a person who runs a lab I know it is a hard thing to have to tell a client that there is a loss and especially these days when the world is crazy. Good luck.
  14. I am thinking pressure plate too, have you tried checking if it is stuck or if the spring tension on the plate(s) is ok?
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