Robert Houllahan

Kodak is making it as a new MP stock now with some changes like BH perfs.

The Arriscan ALEV (1?) sensor goes into a frame grabber card on the Sun Opteron workstation which does the assembly of the frames from the piezo and HDR multi flash into the final DPX and or TIFF full res and proxy res files. I do not see any proprietary image processing hardware unless it is on the frame grabber.

Hmmm but also no. A real full immersion liquid gate with a liquid like Perc can actually fill in all (and significant) base scratches which are still quite visible on a non liquid gate scan no matter the light source. Perc or other liquids like used on the Arri XT are basically liquid "base" and match the refractive index of the base of the film. This can instantly eliminate allot of the damage and leave the digital restoration more time to work on damage to emulsion. Obviously the costs for a real liquid gate system are large and or the facility has to be arraigned for the use of chemicals.

Yes the record everything on an Arrilaser which can only record to 35mm film stock. In setup they make different "patch" sizes for 8mm 16mm and 35mm but they are not recording to 16mm which can then be printed with a soundtrack for example.

Just about any expired film can be used and developed with the caveat that there will be more pain and effort required to use certain stocks. I would say any old B&W film can be used and processed, a week ago I shot a 16mm roll of 7231 Kodak Plus-X negative that said "use by Aug 1965" ad it came out great. I rated it as 20iso and shot outdoors in bright sunlight. Old Kodachrome is basically B&W film now but it has RemJet backing and so it needs to have a process where that is removed before the developer. Old Ektachrome like all the E160 stocks have a softer emulsion and cannot practically be machine processed as color and are a mixed bag for B&W processing.I would not recommend shooting these stocks unless you want to deal with the fuss of getting them to process. Old color negative can be great or at least not a problem to run in ECN2 or C41 (with backing removal) We ran some 16mm ECN film for a museum that was shot in 1984 and frozen for 38 years and it came out mostly pretty great and scanned fine. General rule of thumb is to down rate the stock one stop per decade and that works pretty well.

I think they only record to 35mm on the Arrilaser and 50D 200t and 250D are the three color stocks that can be use on the Arrilaser with the negative kit.

All Directors use a monochrome sensor with sequential RGB scanning. The Director 4K uses mechanical pin registration with a ACME movement and a monochrome Kodak 4K CCD. The Director 10K and 13K use machine vision with the 5K or 6.5K CMOS monochrome cameras from CMOSIS and Sony and a pixel shift to make 10K and 13K scans.

I think the 3rd flash on the Director is so that it is true 16bit RGB scanning, as it uses the 6.5K 12bit monochrome Sony Pregius sensor with a piezo stage like the Arriscan. So 12bit +2bit +2bit = 16bit precision per color. If you have a color print just about any 2-flash scanner should be able to scan the full density range.

Not likely to be able to find any but it is a very simple camera setup usually driven by an external stepper or servo motor.

We have done this for a few clients it makes for an interesting look especially if you use a bit more textural stock like 500t We can record to camera negative and make a print and a print with mono optical sound.

These are for digital to film recording usually with a older CRT based recorder.

HI For true RGB scanning we currently offer the Arriscan 6K HDR. I am working on a 14K RGB-IR +HDR Xena build and we have most of the parts including the 14K camera, this should be available this summer as DCS integrates the 14K camera into Xena. The 9.4K sensor camera Xena is a CFA color sensor camera scanner like our Scan Station scanners and that system is almost done having that camera integrated. I don't know of anyone who has a 10K or 13.5K Director available as a machine that anyone outside a studio can access in the USA I know Cinelab Romania has a Director 10K and metro Post has a older 4K Director.

All E6 processes are a B&W first developer then a re-exposure (Light or fogging agent) and then a color second developer.

Yeah we can record 16mm Ektachrome and run it as E6. I have had a few requests and have to just get a roll and do a calibration on the recorder. We will also be offering 100D E6 recording on the 35mm 8K recorder I am working on building in 4-Perf 4K or Vista-Vision 8 Perf 8K

I would like to get two of the 4 speed for two CP16 bodies we have at Cinelab. I will email separately about this and order etc.

Good to know about that DHL issue, so far we have received DHL this year mostly from South America and Canada without any X-Ray issues.

To some degree all packages are screened for shipping but not at the high rad levels used in a Airport scanner. We receive film shipped into Cinelab from all over the world by all the carriers and have never seen any scan damage from shipping. All the scanner damage we have seen recently has been from the new CT scanner machines at airports. Those seem to just create an overall fogging and not sharp lines like some of the older machines particularly old Soviet X-Ray machines at airports which have likely all been pulled from service.

A LAD is just basically a lab control image with a persons photo (Usually a woman i.e. a Leader Lady or Marcie) and grey chip etc I attached one and these are used for lab control for printing etc and you could more or less fudge one as a "normal" for setup to grade in Resolve and then use that as a reference for grading with printer lights. Not exactly super scientific but I think it would achieve the result your looking for as a primary only grade as if you are printing from negative.

I would rate it the same ISO as you would if it is developed as E6 and I think 80iso is about the best rating for 100D. When printing it does not have the orange mask on the negative so you will have to adjust if you want it to be normal-ish and you can put an orange filter in with the ND in the printer. Or print it as is with the color shift and no compensation for that look.

An 85 is the correction filter for Tungsten under daylight it will balance out the tungsten stock to normal. They come in 85 and 85 with ND.

I would suggest grading with printer lights in Resolve if you go to the menu and under "color" there is a "printer light hotkeys" setting and you can use the numeric keypad to grade in 1 1/2 and 1/4 printer lights. Get your lab to include a LAD / Marcie with your scan and if you set that up to REC709 "normal" it should track reasonably well in terms of translating to a print.

As long as you expose it within a reasonable range, say +1 over it is usually able to be balanced to more or less normal. The daylight will overexpose the blue record faster than the red and green thus the blue skewed cast when shot under daylight.

I found out what it be what it is who it for, interesting.

Are the flashing lights in the room with you now? Are there four lights or five? Is there a Cardassian in the room administering to the lights?

Ohh did Wittenr or someone cut and perf some Lucky or was that from them?