Tom Tomlinson

Thanks for all the info.

I guess they stopped that when they went from original 1920 spirit to spirit2k.

TomT

The Spirit 4k does have a fixed lens. The maximum Academy width without scaler will be either 3606 for Cineon, or 3616 for Smpte/Din. For Full Aperture Super 35, the normal size without scaler is 4096 wide.

Hi Craig,

just wondering...Didn't DFT make academy centered film gates for the Spirit2k/4k. I recall considering that when we got our first Spirits.

TomT

NiceShoes

I just caught it on dvd. It wasn't bad. Decent horror is rare these days.

To me, what I enjoyed the most was that it looked like it was filmed in the 70's.

Congrats to the DP Peter Collister and the D.I. by Stefan @ Co3.

If budget is an issue, wouldn't xferring to slow pal d-beta give you the most bang for the buck. Then do standards convert and reformatting passes from there. And re-pitch the audio.

You will need a Keykode reader (like Aaton Keylink or Evertz) and run the Keykode signal to Rack 2 of the spirit.

Tom/NYC

PS-I thought Discreet strips the Metadata. Maybe just older versions? Not Sure.

I think in most situations, it can be instantaneous.

On the Thomson Spirit 1, you can xfer at certain fixed (w/a fixed pulldown)speeds like 6,12,18,24,30 & max to 48 in NTSC.

And Vari-speed from 2 to 57 fps.

I think you should break it down like this.

Find out what telecine you are using. Each has its limits.

But then figure out what you are recording to.If its Ntsc, then really consider xferring it at 30 and leaving speed changes to the editorial session where they have more flexibility.

Xferring at 24 is obvious for sound sync issues. But if creating effects in post they will probably cine-compress anyway and remove the 3:2.

By also x-ferring 30 the time code can be locked and you can not lose any film frames due to frame dropping.

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