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Robert Houllahan

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About Robert Houllahan

Profile Information

  • Occupation
    Industry Rep
  • Location
    Providence / East Coast /Globe
  • My Gear
    Film Lab / XTRprod / PhotoSonics 16mm / Nikon R10/ More Film Cams /C500 / Komodo
  • Specialties
    All Analog Film work and processes / 16mm and slow motion 16mm analog film / Interviews / Music Videos /

Contact Methods

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

Recent Profile Visitors

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  1. Robert Houllahan
    That is a Bell&Howell Filmo 70. Fantastic camera I love mine.
  2. Robert Houllahan
    All the major network TV 35mm and 16mm movies would be broadcast direct from a Rank/Cintel MK3 from about 82 ( or earlier maybe ?? ) on through to the 1990's. Local stations probably did not have real telecine unless they were big stations in major markets but the big three networks had rooms full of them and would play both 16mm and 35mm prints direct from the MK3 flying spot telecine to their affiliates.
  3. Robert Houllahan
    Different less toxic bleach in processing.
  4. Robert Houllahan
    Yeah almost everything in that time was scanned on the SDC2000/2001 "Classic" Spirit to 1080x1920 HD. The Spirit would be connected to a DaVinci 2K or Pogle color corrector and recorded to D5 or HDCam/HDCamSR tape. There was also the Cintel DSX or ITK Millenium scanners but they were fewer compared to the Spirit. 'Oh Brother where art Thou" was run on a SDC Spirit with Pogle to a DVS Clipster at 2K and that was very high end DI for that time. By the early to mid 1990's 4K pin registered scans were available from scanners like the Kodak Genesis or Quantel Domino system, scan times were 30s -3min per frame. They had massive fridge sized disk arrays in the mid 1990's for VFX shot stuff that were maybe a 1/4 or 1/2 TB of storage. I remember seeing a Quantel system at NYU in 95 or 96 that was a complete 4K scanner / VFX system / 4K CRT recorder for that VFX pipeline and it was massive and I think it had 500gb of storage.
  5. Robert Houllahan
    Talk to Jack at Metro about the Director or maybe call Co3 NY or Postworks for Scannity or Arriscan scans.
  6. Robert Houllahan
    I spoke to Jack at Metro yesterday and you should maybe reach out about a scan on his Director 4K it will be a excellent high quality true RGB scan and likely still offers the advantages of an RGB scan over the 6,5K Scan Station. Alternatively if you want to DM me I could possibly scan on my Arriscan although I would have to figure out a schedule as I am in the middle of a selects scan on a 50 lab roll feature film on the Arriscan. I would also say not to sweat the scanner too much as all of the machines in question make incredibly good scans. Rob "academically" surrounded by film scanners and a busy film lab Houllahan...
  7. Robert Houllahan
    FotoKem and Co3 both use DFT Scannity and Arriscan scanners I do not think either company has any LaserGraphics scanners.
  8. Robert Houllahan
    I know Metro has an older 4K Director I am not sure how that compares to the current Scan Station you could probably talk to Jack at Metro about that. New Directors use the 6.5K sensor but it is a monochrome one instead of color and has a piezo shift like the Arriscan to make 13.5K out of a 6.5K sensor. The older ones used a 4K monochrome CCD I am not sure how that performs but they did have 2-flash and 3-flash on them from the beginning. As for comparisons you will have a hard time finding any and the film I am scanning now did allot of tests they spent the time effort and funds to compare the results for their film. I know Co3 NY has an Arriscan and Scannity but I do not think they take smaller jobs. It really comes down to how much extra time and cost do you want to go to squeeze the very best out of the film and how much post finishing you plan to do to the film. The Scan Station does an excellent job and it is very consistent and every place has one or two of them so the cost associated is allot less than a much more costly and less widely available true RGB scanner like the Arriscan or Director.
  9. Robert Houllahan
    I am doing a selects scan for a S16mm feature right now that did extensive tests on multiple Scan Station 65K HDR scanners and went with the Arriscan because it is a better scan for freshly shot negative. The Arriscan out performs the Scan Station in terms of detail and color accuracy at the expense of being slower and slightly less stable overall. The difference really depends allot on the final post pipeline and if the scan is for Web or TV or Theatrical. Almost all small post shops only have a Scan Station the Director or Arriscan are not really too commonly available.
  10. Robert Houllahan
    Film scanning was R/G/B and sometimes IR from the very beginning. Currently any "Big" film you see will have been scanned on a true RGB scanner like the Scannity or Arriscan both of which can produce 16bit per color channel scans. One of the really big differences with a true RGB scan vs. a CFA scanner is the color accuracy and separation of the color channels. This tends to make scans which have better detail especially in denser areas of the negative. As for IR dirt map DICE it could have been a much more widely used and developed system in motion picture scanning. Kodak decided to charge incredible license fees for DICE in the past and that unfortunately kind of hurt the use of DICE. Subsequently not many post apps really fully developed more advanced tools built around the 2-bit dirtmap alpha channel available in DPX.
  11. Robert Houllahan
    Just saw it today. Thought it was great and very entertaining loved the cast and the look is fantastic.
  12. Robert Houllahan
    This was 1962 Plus-X negative and it was 80iso then so I did 2 stops and rated it as 20iso. I would either rate the 2009 Tri-X as on the box or maybe rate it under a half stop.
  13. Robert Houllahan
    I rated it as 20iso
  14. Robert Houllahan
    In my experience B&W films last really well and does Kodak even develop B&W Reversal? I used a 16mm 400ft roll of Plus-X negative for a music video I made for some friends band a few years ago and that roll had expired in 1963 and came out great. YMMV
  15. Robert Houllahan
    Ah can't wait to see it this week.
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