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Robert Houllahan

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Everything posted by Robert Houllahan

  1. They work like any imager the data stream is the whole sensor or the ROI you select, the CCDs just have fewer taps than the CMOS cameras and the way CCDs work makes it harder to have all the taps perfectly balanced. Since I have been building scanners in 2010 I ahve always run these and other CCD sensors in single tap mode as that is perfect and the scans come out flawless, just slowly.
  2. The speed is limited by the CCD sensor itself. New CMOS Sensors have many more taps and they are balanced (pretty much) so they can move more sensor data off the sensor into the bus compared to a CCD. These CCD sensors can be run faster in 2-tap or 4-tap mode but then you get tap balance issues and in film scanning you will see quadrants in the scan unless a ton of work is done to balance the sensor taps.
  3. As Perry said these are (relatively) older sensors and the speed is slow, the 6.6K OnSemi (Ex Kodak) 5.5micron CCD was made through 2019 or 2020 and especially in single tap (1-2fps) is virtually noiseles and without any tap balance or cmos tap grid artifacts issues. They also made a 5K (4.8K) 7,4 micron CCD that is 14 bit which yeilds true 16 bit in 2-flash HDR mode and in single tap that is 2fps which in True RGB and HDR is about 0.33FPS
  4. If you don't need speed you can find some used Kodak CCD cameras from Imperx or Vieworks or other Machine Vision camera companies. The Ex-Kodak 5.5micron CCDs in 3.3K 4.8K and 6.6K are available as color or monochrome and make excellent scanner cameras if you can accept scans at between 1fps and 5fps run in single tap mode they are pretty flawless cameras. Figure $450-$1500 for a Gig-E camera. Lamp that can do RGB LED balance and lens and then a transport etc. you could put a basic slow scanner together for around $10K if you write the software to run it.
  5. I would not pay more than $1500.00 for a desktop canning machine.
  6. They used to cutup 35mm prints and perf them for leader or filler. Allot of times those were used as slugs in 16mm mag tracks.
  7. White paper artists tape or no tape and bag it and wrap the bag around the short end roll before you put it in the can. Kind of depends on if you are planning to use the short end or if you are going to sell or ship it. I would just leave it un taped and put it in the bag then can and then in the fridge.
  8. There was a Mitchell GC 2-Perf factory conversion kit on eBay a while back.
  9. This happens especially with older 16mm films, especially 2R 16mm films, which were spliced together by a enthusiast filmmaker at the time they were shot. Sometimes it is better to leave the film assembled as it is and scan it than to try to take apart cement splices from the 1940's for example. Furthermore not every family archive wants to pay for a extensive restoration, sometimes there will be backwards segments in assembled films and that is how they have been for decades. So as the lab or post house you can go through the films and spend allot of bench time to undo hot splices (if possible) and reverse segments and make a scan reel that is all correct. Sometimes you end up scanning the reel as it is with issues and then fix the backwards or upside down segments in Resolve or Phoenix after the scan. Or sometimes the job requirement is to just scan as it is and deliver it to the client and they can edit it.
  10. Also especially with archival materials this nitwitted scanner would necessitate more scanning for a finished scan, essentially scanning the film at least twice and maybe more times. I would think that the best practice would be to scan the film once in high res DPX or ProRes and make multiple other viewing copy files like MP4 and DNxHD etc at the one time you scan. Easily done with the Scan Station internally or other scanners like the DFT Polar from the DPX files and Resolve or Baselight etc. If you scan a very delicate film once on this and it ends up breaking multiple times you then have broken film and a bad scan.
  11. No I was just scanning the IP for a client, they will have to do the rest of the pot work, I just scanned it so no shots were clipped either in the shadows or hilites. I have done full restorations on films from the IP I did one for Sergei Bodrov on his film "The Prisoner of the Mountains" for which I went to Chicago and retrieved the IP from MGM's Iron mountain archive and did a 4K scan and then a scene to scene shot matching using the battered print I had and the DVD to make it look like new. Pretty easy to finish grade the IP to match the print.
  12. I think that if the emulsion dyes have transferred into the base it will be very hard to remove them because they are now part of the base not just on the surface. You might try soaking a small head or tail piece in Film Renew or Vita Film and then take some more very aggressive action like using a scotch brite pad to it just to see how far you need to go to possibly get it out. You might want to ask some more experienced colorists about how to "notch" out the color spectrum of the transferred dyes as they seem to be a very specific color range. There are great color picker tools in all the modern software like Resolve or Phoenix. Maybe make a post on the Lift Gamma Gain forum to get some more colorist opinions.
  13. I was just scanning a 35mm feature IP today, they are interesting as they have allot of the final look in there but still need to be timed shot to shot. And they have excellent range and resolution while still being a positive image.
  14. Most scanners these days have pretty sophisticated RGB LED lamps which can be calibrated to any RGB balance making the filter unnecessary. Doing a good 4K scan which is un-clipped and then trying to work on the base to remove the transferred dye. I would suggest finding a section at the head or tail to experiment on. Start with alcohol and move up in solvent strength to see if anything works.
  15. Some of this could be Interpositives being scanned as they have much more detail and latitude. That said you can scan a print and they can look great especially 35mm prints, the look is just more baked in.
  16. Jeeze that is a tough one to fix. I wonder if you could do some kind of notch or bandpass color filter in Resolve or Phoenix that just selects the fairly uniform color range of the dye imprinted onto the base from the tight wind and extract it. If they dye is really soaked into the acetate base it probably won't ultrasonic clean off.
  17. You can try tapping the cartridge on a desk or counter a few times to see if that will loosen up the wind. Also you can pull a loop of film out of the window and then rotate the takeup on the cartridge to pull the film forward back into the window. The takeup reel will only advance there is a cam that keeps it from going backwards.
  18. Yes we have an Arriscan and two Arrilaser recorders plus two LaserGraphics scanners and two Xena scanners.
  19. I have recently done some Digital to 16mm recordings on NC500 for people who wanted a dirtier grainier look than 7219. Pretty happy with it for that, kind of recorded it as if it were 250iso In my own tests I shot it outdoors golden hour in a Bolex at f5.6-f8 24fps and felt more light really helped it.
  20. There are two, maybe three labs in the US which can and would possibly do this, and have the optical printer to do it with.
  21. I am kinda excited to see what comes of 100D Ekta up printed to 2254 Vision3 IN stock which is most commonly used for Arrilaser recrdings and I bet has allot more range than the older IN stocks they used for Texas Chainsaw.
  22. I am actually working on a project right now that is doing the exact workflow that TX Chainsaw did. They shot 16mm color reversal and up shot it on and optical printer to an Internegative and then went on to make prints from that IN. The job we are doing tests for now is shot on Ultra 16mm Ektachrome 100D and I am setting up to up shoot it on our Producers ACME optical printer to 35mm 2254 IN stock. As far as printing lights go that is a bit of test and see how the stock and exposures resolve on the IN stock to print.
  23. We are doing allot of digital to 16mm recording and I have three recordings I am doing right now which are for recording to elements to make prints with sound. For 35mm we can record to IN on the Arrilaser and make a print with an optical track but that is pretty expensive, I am looking into doing direct to 35mm prints.
  24. Cineon LOG is a kind of lossless compression designed by Kodak to follow the characteristic curve of how negative film works, so the density range could be put into 10 bits. All digital sensors are linear response and early Cineon and Quantel scanners used Kodak tri-linear (RGB LIne) CCDs which were 12bit or 14bit linear, the Arriscan is a 14bit ALEV sensor and 2-flash gets it to 16bit precision. So all LOG curve schemes have followed on from the Cineon LOG designed by kodak in the late 1980's There is still calibrating the scanner to the film base and both exposure and lab variations and I think there is no way to just add technical and look LUTs to get a perfect image without also doing some base grading.
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