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Robert Houllahan

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  1. 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.
  2. https://www.kodak.com/CN/zh-cn/motion/support/laboratories_directory/index.htm?blitz=off
  3. I flew to the UK and back last year with a bunch of 8mm and 16mm film both 250d and 500t and it came out fine by the time I got back to Cinelab, no X-Ray issues. I really think the newer machines don't cause fogging problems with film.
  4. The cam is not particularly adjustable, except overall by bearings on the shaft. The Clamshell mostly pushes the film onto the pins, it has a bearing which fits into the cam, is that possibly worn?
  5. I would just get a commonly available reference chart which has white/black and grey patches (Maybe look at Light Illusion web site) and project that. Then use the spot meter to determine exposure range for the projector. I would recommend a daylight balanced film stock as the projectors mostly try to hit a 6500deg white point more or less
  6. I wold spot meter the projection maybe put up a chart with a greyscale and a white point to get an idea of exposure with the spot meter. Really depends on the projector, I think 3-chip DLP or LCoS or LCD are what you want to try, avoid a single chip DLP with a color wheel.
  7. It is allot of work to run a lab and keep film processors in working order and fed with the right bearings, motors and especially chemistry. It is a full time job and if you do it right people don't necessarily notice but when you mess up they want your blood... 😉
  8. The film will look pretty good especially if refrigerated for that time I would just not shoot it in low light. I personally see allot of older "expired" stock come through Cinelab and it always looks pretty if not perfect. As Tyler said it will likely have more grain and the blue layer goes noisy first.
  9. Hahaaa "Consumer Protection" in the USA???? Have you seen who runs this place???
  10. Ok let me know when your sending in, we run ECP (Color Print) and E6 Ektachrome in the same Allen Processor so print runs are usually once a week.
  11. I personally like 7222 and agree that rating it down to 125 is a good idea, but if you need a faster stock I would look at the 400iso Orwo Un74.
  12. We recently rans some 7231 which expired in 1966 and it came out surprisingly well, any lab which can run Tri-X can run 7231 Plus-X as reversal in the same time/temp bath as Tri-X
  13. We use safelights in the print room for bothe color and B&W stocks including 2383.
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