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Robert Houllahan

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  1. https://en.wikipedia.org/wiki/Integrating_sphere https://patents.google.com/patent/US8009190 https://www.shopstellarnet.com/ic2-2-integrating-sphere/?variant=5&gclid=Cj0KCQjw166aBhDEARIsAMEyZh6zAkbm7RsLSDWeG_FDjGYOJ-sUHIUVH5u0SMHny5u0blHJEC0BM9waAnHNEALw_wcB
  2. These machines are tools for work and not classic cars I would not characterize them as "collectable" really. Big post houses bought new scanners as new tech allowed for better and faster scans. I think Co3 was running something like fifty scanners at one time. I know they had more than a dozen "classic" Spirit SDC2000 machines in a room with suites upstairs in NYC when they were uptown. They also had Spirit 4K and Arriscan and maybe Northlight machines in other rooms for DI work. Postworks (used to be Technicolor-PW) in NYC has maybe ten spirits in the basement and two running along with a Scannity and Arriscan, if you watch "Succession" on HBO that is where it was scanned. So IDK who has the biggest pile of machines it is not me.
  3. Yep those Holographic diffusers are likely the same ones in the Scan Station and Xena and maybe the HDS+ Kinetta etc. They do a good job and make for a much more compact lamp than a diffusion sphere.
  4. We have done rewash on films that were night and day difference, something a ultrasonic clean could not even begin to get out. The rewash can kill and remove mold and to some degree soften and “heal” the emulsion. One film in particular for a big Scorsese doc was so severely damaged and had black mold splotches all over it making it really unusable even after ultrasonic. After rewash it had just the finest looking “cracks” where the emulsion had split I scanned it on the Spirit 4K everyone rejoiced. I am building a multi process rewash / backing removal processor out of spare parts. the Integration sphere is just literally what it sounds like, on the Arriscan it is a square box about 6-7” on the outside and if you look into the quartz window you see the interior of a white sphere. The LED array is not visible it bounces light into the sphere. The Scan Station and other scanners use a holographic diffuser which also works well. Look on Edmund optics for Holographic Diffuser and they have them in different degrees, its fairly expensive material.
  5. Just about any film processor can develop Ultra-16mm without damaging the area between the perfs, I don't think any lab worldwide is running a Sprocket drive film processor at this point. I also don't know of any lab which does not have a Scan Station and scanning U-16mm is a pretty basic framing setup on the Scan Station. We often do 16:9 or 1.1.85 cropped scans of Standard 16mm and as long as the lens is good and the exposure is right they can look really fantastic.
  6. I really like the Aputure 120d II I got it on eBay for much less than the retail, it is daylight but very nice fixture. I would look for some Kino-Flo 2 and 4 bank fixtures for soft light you can get both Daylight and Tungsten Fluoro bulbs and they are dimmable. Alost look at Ianiro RedHead PARs or Mole-Richardson Teeny, Baby etc. fresnels they are really solid and usually less $$ than Arris.
  7. Every lab I know of has a pile of scanners, Spirits and Scannity Northlights and Arriscans Golden Eyes and Oxberrys hanging around. Every lab I know of has at least one Scan Station.
  8. There are more Pros than Cons to the Scan Station line of scanners, the addition of 2-Flash "HDR" to the 5K SSP basically just fixes my biggest issue with that scanner. It is great for 35mm dailies and 35mm Commercials and Music Videos etc. which need 4K or 5k overscan and a fast turnaround. The HDR option for the SSP cost the same as the HDR option for the full Scan Station and that is fine. They do not offer HDR for the Archivist but the Sony Pregius sensor in that machine has far better noise performance. I see these two machines as basically replacing my two Spirit DataCine machines. Every lab I know of has a pile of scanners, Spirits and Scannity Northlights and Arriscans Golden Eyes and Oxberrys hanging around. Every lab I know of has at least one Scan Station. YMMV
  9. I find that most DP's will look briefly at the Kodak spec sheet but then do allot of tests with the stock and camera lens they want to work with. Also if they plan to do any push or pull processing etc. or other look creation work they test test test.
  10. The Spirit (all versions) uses a Xenon lamp (700w on the newer 2K/4K) and it has a filter wheel and a few other filters auto drop in which alter the light before it hits the quartz rod to illuminate the line slit on the gate. These filters do not do RGB balance but are for different stocks like positive or negative etc. The color separation is done with dichroic filters on the CCD line arrays. There was a telecine made by Sony called the Vialta that initially had a Xenon lamp and a dichroic box like the B&H printer and a F950 3xCCD camera image head. I know they eventually went to RGB LEDs for the lamp house in a version upgrade. As far as I know that early Vialta was the only Xenon RGB balance-able lamp house scanner made. Everything else has been a hot lamp Xenon or Metal Halide (Northlight) etc or eventually individual RGB+IR LEDs The Arriscan has always been RGB+IR LEDs in a (beautifully made) integration sphere. The Northlight 1 and 2 eventually saw FilmLight make a RGB+IR LED replacement lamp. I think with the right high end RGB LEDs (maybe a mix of 2 colors of R and G ?) that LEDs work as all the scanners running these days (except the Spirit 2K 4K) are running some form of LED lamps. I am not exactly an engineer but nobody is complaining about Arriscan or Scannity scans color fidelity as far as I know. I was thinking that a newer daylight balanced Xenon equivalent LED film lamp might be a possible replacement for the Xenon lamp in the Spirit 2K/4K series scanners to keep these true RGB scanners relevant.
  11. What do you mean "Home Made" ? Rennie designed them and they were fabricated with CNC mills out of brass and stainless steel etc. They have a very large flow turnover and the quartz apertures are distanced to make spots etc out of the focus plane, they do not look very different than the Arri liquid gates for the XT they are very costly to build.
  12. In response to the OP's question about scanning rates, as others have said the more pixels and DR the more money you have to spend, in a log ca$h curve ;-). A Scan Station 6.5K in 6.5K mode and HDR runs at 7.5FPS (Same speed as a Spirit 4K) and I think it can go 60FPS in 5K SDR mode for 2K scans. My Arriscan runs at just about 2FPS in 6K HDR RGB mode, expect to pay more than $2/ft for HDR true RGB 16bit scans and I would expect a Director 13.5K would be even more I am not sure if anyone has one yet but I would ask $3/ft for 6K and $5/ft for 13.5K scans on that machine if I had one. As for the Archivist I can let you know in about 3 weeks when I get mine, I will sit it next to my absolutely not obsolete Scan Station SSP with 2-flash HDR for 35mm and 16mm. Beyond the perfectly working optical pin registration on the Scan Station as a plus over the HDS+ the Archivist has Mag sound for 8mm and 16mm that works. Add the speed and total reliability plus a million at the same time file output formats to the mix the LG machine is way ahead. As for Liquid gates I have 8mm 16mm and 35mm full immersion Perc based gates for the Xena scanners (5.4K and 9.4K machines) expect to pay allot of $$ for any machine with real full immersion liquid gates for films which need this for damaged base scratches. Not every damaged film needs a liquid gate but if they do then it is a very consistent way to fix base problems without having the variability of who and how is doing digital repair, the base scratches are gone and more time can be spent on fixing other stuff. Basic scanning up to 4-5K prices have come way way way down the Spirit 4K I have cost $2.2M in 2009 when it was built, the cost to run it made the cost of scans allot. Also the expectations for fast turnaround are higher than ever so scanning to DPX and rendering even with scan and renders going simultaneously becomes very slow for 4K and higher res DPX scans. New LaserGrpahics Xena Kinetta HDS etc. color sensor scanners cost pennies in comparison and scans up to 5K are kind of commodity and the scans are really good. Businesses have to make money to keep the doors open the payroll taxes paid and electricity on, so $0.15-$0.25 more per foot for 4k/5K over 2K is just a really small amount to pay for more pixels in the overall scheme of things. YMMV
  13. No and LED fixtures like the Arri Skypanel or the Aputure LED do not either they use RGB LEDs similar to the scanners. From Arri: " SkyPanel is a compact, ultra-bright and high-quality LED soft light that sets a new standard for the industry. With a design focused on form, color, beam field and output, SkyPanel represents the culmination of more than a decade of research and development of LED technology at ARRI. Incorporating features of ARRI’s successful L-Series LED Fresnels, SkyPanel is one of the most versatile soft lights on the market, as well as one of the brightest. The SkyPanel ‘C’ (Color) versions are fully tuneable; correlated color temperature is adjustable between 2,800 K and 10,000 K, with excellent color rendition over the entire range. Full plus and minus green correction can be achieved with the simple turn of a knob. In addition to CCT adjustments, other control options are available such as: hue and saturation, gel selection, RGBW, source matching, x,y coordinates, and 16 professional lighting effects programmed into every fixture."
  14. 1. There are more expensive LEDs which are in the right color spectrum range for film scanning and also for LED high CRI lighting, so it is just a matter of cost and devices for the LED Lamp for any of these scanners. 2. There is allot Alooooottt of color channel cross talk with any Bayer mask sensor, the dyes used are not strong like a dichroic filter. So that is the big disadvantage with a fast CFA scanner, just like with the digital cinema cameras. A matrix or LUT or combo can tune the system back to better especially if the LED lamp if properly balanced for the film and the CFA of the sensor before a matrix transform is applied.
  15. Well the conversation strayed allot and I think people might like to see how a machine like this does sequential RGB HDR color Pin Registered scans. so there is the Arri
  16. You can use Digital Rebellion's Quicktime edit to change the metadata on a Quicktime / ProRes file to whatever frame rate you want. This is just a metadata edit that tells whatever plays the Quicktime file what the playabck FPS is and it is an instant change no render. This same 'Clip Conform" setting was in FCP Studio7's Film Tools. There are probably other Quicktime editors which can edit the metadata, Quicktime edit is just the one I have been using.
  17. Similar to Jeff Krienes at Kinetta Rennie runs it and has other people build parts do wiring etc. The Xena is "technical" but not as technical as running or installing an Arriscan or DFT Scannity or Spirit 4K it is fairly easy to use and I have had staff at Cinelab run Xena scans pretty easily. There is allot more under the hood control on the Xena in the GUI than there is on the ScanStation.
  18. The Arriscan does 2 exposures in HDR mode the exposure time is set by the base calibration and you cannot change the times on that machine. The Xena Monochrome you can set the exposures for both the first and second flash and the LaserGraphics Director (Now a 13.5K machine) can do 3 exposures.
  19. Well actually not really, especially on "real" RGB scanners which shoot each color with a monochrome sensor and RGB+IR LED lamp pulses, these are mapped into a Cineon Log curve to make 10bit RGB DPX frames. So there is no "Raw" file to be demosaiced as each channel is a full scan record. With a 16bit DPX or Tiff the linear data is mapped into the 16 bits from the sensor, the Arriscan for example uses a 14 bit ALEV monochrome sensor and in 2-Flash HDR it is a full 16 bits of data per channel for each RGB color. So it pulses the lamp R+ R- G+ G- B+ B- (and IR if a dirt map is to be made) in 2-flash HDR 16 bit mode, which runs at about 3 FPS scanner speed. The important thing is not to clip the file, i.e. to get all the density range on the film into a digital container without losing any detail in the shadows or hilites. Scanners with CFA cameras (Scan Station Kinetta etc) basically mimic to the best degree possible the operation of a "true" RGB scanner by setting each RGB LED lamp pulse to just below clipping on the clear part of the film base, then they do either a Matrix or 3D LUT in the scanner to fix the color channel cross-talk from the sensor's CFA dyes and that is generally then mapped into a RGB file like DPX or ProRes4444. I can ask some high end colorists who work on Marvel films etc. but in general there is no setting color space from a film scan the color space is set really by the display device and space you are grading in, not by the scanner.
  20. We only really cut a few inches off either end of the roll to build a processing flat (usually up to 2000 feet of film) so I would recommend just shooting the whole roll and be aware that the beginning (usually exposed from loading) and the end will have a bit taken off for processing.
  21. So try and find out, load a 100ft roll in open light and load a roll in darkness, this is a medium experiment for yourself. If you load your Bolex in bright sunlight you will most likely get allot of flares on the edges of your film stock. If you load your Bolex under a blanket you will get not much or no edge flares on your daylight roll. Hold your daylight roll up to Sol and get super mad flares on the roll.
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