Robert Houllahan

We have 2 Cintel MK3 Turbo telecine's both have DAV afterglow and video sections , Metaspeed servos and both have Quattroscan 10bit 444 SDI framestores, the machine this was xfered on has a Digital Deflection and is controlled by a Copernicus Color Corrector (probably not many in the UK) which was a competetorto the DaVinci 888 DUI with 10bit 444 I/O and 16 bit color processing it also has windows, etc. Our second machine has a DaVinci 888 and a standard cintel scan generator. We record SDI to a G5 with a Decklink SD card.... The copernicus room just got a complete tuneup and checkout by Dave Corbitt for a 35mm dailies job we were doing... -Rob-

I remember transfering this the other day, it's tungsten stock under mixed lighting and some of it is underexposed. The girl moves from fluro to tungsten to daylight rapidly. I assumed that because it's a test you would want to see the effects of the changing lighting and I found a setting that seemed to balance all the different lighting settings relatively well. If you go from tungsten light to daylight without a 85 the blues are going to get a bit funky and add a bit of under exposure to that and you will get some noise. As someone else said with a 10bit disk recording you can easily work in fcp to do additional color correction, also considering our ridiculously low minimum (I think the xfer cost you 82.50 with the disk recording) I don't think you could get as good a transfer that you could manipulate anyplace else for that. -Rob-

I don't have that much faith in the computer, really. I think the catalog of recipies will be valuable in the future. -Rob-

http://www.fujifilm.com/about/technology/s..._ccd/index.html I do not know how much resolution you can get out of these or if they surpass film for latitude I would think chip size vs. noise would be an issue and if it can be clocked for higher frame rates... -Rob-

I think that it would be cool if Kodak made their older formulations availabe, want a 70's look? get the stock they used...Want a nitrate look get some nitrate film!! It's not all about the K's you know..... =Rob-

I really don't want to bust yer stones too much Phil but I get the feeling that if you were the first fish to crawl out of the water on it's way to walking upright you would have thought it impossible and there would be no civilization today as we know it, you might want to consider a move to the US and work as a evangelist Christian reverend and if you whack each of yer new sheep a few bucks (quid) pretty soon you can have that Bentley nobody in the UK can afford to buy. :lol: I know allot of avant garde, indie, poor types here in the US and across the pond (yes some in the UK !) who are blissfully unaware that using small gauge film is impossible and go right on using it with clockwork machinery and even hand processing. Camera's are cheap on ebay and a fraction the cost of a new DV rig, all you have to do is want to do it, it's old simple tech and that is what is nice about it. I see in the redhead section here that Jannard's new rig does not meet with proper technical specification either I am sure that there will be plenty of users will use that cam quite unaware that it's not possible, maybe some of them will even mix that super clean bayer stuff with scanned 16mm or even 8mm film and if that happens I am sure the world will suddenly disappear into the viscous gravity well black hole that will form on the spot. Heh Heh -Rob-

I have had my LTR for about 6 years now (I had a SR before that) and I would guess that I put something like 600,000-700,000' of film through the camera in that time, and maybe it jammed twice. Perhaps I am just a good loader (I am) Nathan just rebuilt the camera a few months back so....the camera was last serviced by Swedish TV about 10 yrs ago before that not exactly factory fresh for the 6yrs I have had it. My experience with the aaton is it is as reliable as the SR series from arri if you load it right like just about any other film camera. -Rob-

What do you base this on? I personally have beat the hell out of my LTR including shooting in a 20 degree below ice storm and shooting out the side of a helicopter in January without it skipping a beat. I bought the camera from a Swedish geneticist who had made a documentary with it near the arctic circle. Far from fragile. -Rob-

Very true! the Millenium is a top notch Telecine though.... -Rob-

The millenium can ultimately make a better picture, many technical reasons for this, but it is just about the pinnacle of flying spot telecine technology. The thompson people will disagree but they are wrong :rolleyes: Millenium's with the V2 update kit are good to 4K scans and the color fidelity coming out of the machine is unsurpassed... -Rob-

All right here we go...... As used in a lab..... We mix 15gallons (56.8L) of water with 1817g of Calgon S and 908.4g of Potassium Permanganate and then add 8 litres (8054 ml) of 45-50% solution of sulphuric acid and then top off with water to 20gallons (75.7L) this is Replenisher. I would mix your 98% acid down to 45-50% at 8L of total sulphuric acid solution first.... Then make the Calgon/Permanganate solution and mix the acid in next, this is a replication of the Kodak kit chemistry..... To make tank solution take that 20gallons you made and dilute 1 part Replenisher Bleach (as above) solution to 3 parts water...... You want to keep the Bleach in a sealed container and minimize the amount of air and also watch out for the material you mix and package in do not use polypropylene or stainless steel PVC or Titanium are preferred but this stuff eats everything practically very corrosive.... Also keep in mind that the bleach has to be vigorously agitated when used.... -Rob-

No the final bleach solution is more diluted (I will post ratios when I get to Cinelab today) the sulphuric acid is delivered to us at 45-50% concentration from Kodak. I think this just makes it safer and easier for lab tech's More in a bit -Rob-

Just remember that a panasonic dvx100 is a 29.97 interlaced tape that has 3:2 pulldown introduced and a progressive scan ccd source. A telecine is by nature a progressive scan device that then makes fields for SD video output. There is no native progressive SD video formats NTSC, PAL, Secam, etc. are all interlaced and any miniDv tape will be interlaced as well. The 24pA timeline removes the pulldown and de-interlaces (I believe) to "extract" the 24p material from it's 29.97 SD interlaced wrapper. 24P film source can be extracted from a SD video stream by doing pulldown removal, which will make a 24frame interlaced stream (pulldown will be re-introduced to playout on a SD monitor) and you can also de-interlace this material to actually make it progressive for non standard delivery such as quicktime. Just remember that if you go back to SD tape such as DigiBeta or Dvcam etc. it will be interlaced and 29.97 (or 25i) what the end users set does with it is a whole other matter..... -Rob-

Just went to the chemical room and looked at the Kodak cubes we get, Part A and B are powder (part A is Sodium Tetraphospate which is basically Calgon used as a softener and chemical buffer) and Part B is the Potassium Permanganate you mix these in water and then add the Part C which is Sulphuric acid (45 to 50%) and that is how the kit comes from Kodak. Dichromate bleach does work better but it's environmentally messy, we can run almost 30K ft. in a 8 hour shift and we feel using Dichromate is irresponsible, the small amounts used for hand processing are easier to dispose of properly. -Rob-

Whoops, true but you still can't get it out without removing the picture..... John is chiding me from heaven...... -Rob-

First there is no way to rid ECN of it's orange mask, unless you remove the base! E6 has double developers and the bleach is going to be very different, consensus here is that you can do it but the result is going to be dark and muddy.... -Rob-

So sorry to hear that John has passed a right good man... -Rob-

Check out one of our customers projects http://www.graciediary.com/ all Super8 (with Process and Transfer by Cinelab) this film is really great a super intense high quality Super8 production....It's all how you use it.... -Rob-

We just had a different tube put in and a complete tuneup because of a 35mm anamorphic dailies job we are doing so the Turbo 4 is looking better than ever. I get allot of comments about the Shadow and many people are not pleased with it. I regularly use a C-Reality and a Spirit in NYC and I have never seen anything come from a Shadow which I found to be equal to either of these in HD. I find that the machine has a hard plastic look, sorry. -Rob-

Try Calling Rich Torpey at Rhinoceros Post in NY They have a Sony Vialta which supposedly is s machine which rivals the Spirit and maybe he can cut you a deal, tell him I sent you. Their number is 212 986 1577 I don't know if they direct to disk which is what you want I think. -Rob-

Considering how local news rooms use their helo's I would say they should not be allowed to have them, i.e. the news cutting to a shot of a man on the LA freeway putting a 12ga in his mouth at 3:30-4:00 during after school kids programming. Local news (and non local too) is a real sewer at times. -Rob-

The stuff they were working on at PL was Jackie Chan films from HK for Miramax and a Criterion in B+W....about a year ago.. -Rob-

In general, as Justin said, the best policy with Super8 is to make sure it is clean from the drybox on the film processor and then keep it clean through all of it's handling steps. You can use a anti static lint free "handy" wipe to hand clean the film but this will meet with limited success, especially if the dirt is stuck in the emulsion. There are really only two good ways to clean super 8 thoroughly one is a Lipsner ultrasonic cleaner, the other is to "re-wash" the film, i.e. run it through the film processor again this will soften the emulsion, let any dirt go free in the turbulation of the processor and remove any residual water and kill any growing mold if the film is older. -Rob-

I have done some work at Post Logic NY and while we were there the second room was working on mastering several films for video. The workflow was Spirit/DaVinci 2k or Spirit/Pogle to D5 and then dust busting and general cleanup of prints in a single link hd enviornment. D5 is a nice video format but as David says it's not real restoration as it's still video. hooligan

Steven, 1. There is nothing on your original order form about PC or MAC, I can post a copy of it if there is any doubt. 2. The original drive reads fine on both the G5 mac and the Dual Xenon WinXP Avid system, are we responsible for your computer problems too? The drive is formatted MacOS (extended, Journaled) the second drive we sent is NTFS. 3. We sent the drive as we said we would for Saturday delivery and UPS screwed it up, I can post the tracking number for all to see, are we responsible for UPS do you want me to call them incompetent? 4. We sometimes are delayed getting film out and sometimes smaller jobs like tests get caught in the volume we do, we need to add staff to help us expedite jobs I am doing this right now. 5. Steven your insulting tone and statements are unjustified grow up. -Rob-