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Eugene Lehnert

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About Eugene Lehnert

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  • Birthday 11/01/2007

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  • Occupation
    Other
  • Location
    New York, NY

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  • Website URL
    http://www.bohemiafilms.com
  1. I see this when a telecine light is pushed too far from dark material. I'm seeing it more and more though. I'm wondering if it's a sign of aging telecines.
  2. I did not realize Ektachrome was discontinued. I purchased an old roll but it requires the ME-4 process. Does anyone know who does this kind of processing anymore? What about VNF-1? Is that still supported?
  3. Fantastic. Thanks Dirk. Have you used this option?
  4. Has anyone ever heard of someone doing a custom modifcation on a Spirit 4K so one can capture optical audio from a print?
  5. Thanks again Mr. Mullen. You always provide well worded and detailed answers. I have finished some trailers to 2.35 HD tape that were printed to film and in the theater I noticed that the top and bottom of the images were cut off slightly. Thanks!
  6. Do theaters still crop 2.35 files to 2.39? From my understanding the 2.39 crop was introduced to hide film splices. Is this still in practice with prints made fro digital sources? I was reading films after 1970 were cropped slightly. Is this correct?
  7. The DaVinci restoration software? I have not. I do not have access to it. Is there a color stabilizer in Resolve?
  8. What resolution are they working in? I would just do an initial debayer to ProResHQ or 4444 and work from there. I see little reason to use proxy files in FCP these days. Drive space is cheap.
  9. Does anyone have any experience stabilizing color in old archival film? I have a shot that we are fixing up dirt and movement wise but the colors seem to have deteriorated in an un-even way from frame to frame and channel to channel. I tried separating the color from the luminance channels in Shake and averaged the color frames together and it helps but anything that moves a lot does not work. I was trying to see if the Foundry might have something for this but I don't see any specific tools that specifically tackles this problem.
  10. Interesting. I talked my client into working in Rec709 so that is the way we went. I'll have to look into the sRGB workflow. Thanks!
  11. Has anyone used the Panasonic Panasonic TH-42BT300U 42" monitor to grade a film in P3 for eventual DCP delivery?
  12. Does a product like Monkey Extract exist for Arri RAW content the same way it does for .R3D files? I need to collect footage for a conform from the EDL into a new directory for a Baselight conform. How are people doing this workflow?
  13. The digital stuff shot on HBO now originates at 23.976.
  14. We here in the US run at 29.97 for broadcast. In SD it's referred to as 29.97 but in HD you see it as 1080i@59.94. The 29.97 number refers to frames and 59.94 refers to fields. Multiply 29.97 by 2 and you get 59.94 because there are two fields in one frame. If you shoot 24 it will be slowed down to 23.976 for video. If you are making film prints from your negative there will be no speed change because projectors run at 24fps. If you shoot 23.976 on film, transfer it to video and finish in 1080p@23.976 and then transfer the video to film it will be sped back up to 24. HDCAMSR decks do this all the time. I can take a 23.976 tape and play it at 24fps or 25fps if I want. The speed change is minor and happens all the time. The big issue is syncing external audio to your film transfers. They both need to run at the same speed to stay in sync. When you shoot 24fps on your camera the telecine slows the film to 23.976 so you have to slow your audio down by the same percentage. If you shoot 23.976 the telecine will play back the film at the speed you shot so there is no slow-down. In this instance the audio does not need to be adjusted to stay in sync with the picture. If you shoot 23.976 and try and sync audio up the audio on a film bench the audio will drift because the film is playing back at 24fps in the projector and it's now running faster then when it was recorded. The usual workflow is: Shoot 24, transfer to 23.976 or 29.97, slow-down the audio, sync the audio, edit and output a 23.976 or 59.94 HD master. I would suggest creating a 23.976 master first and then adding the pull-down to create the 1080i@59.94 Drop-Frame broadcast tape. You just have to keep in mind that the timecode on a 23.976 timeline is not an accurate measure of time. Your film is actually running longer than what it is telling you. I hope I haven't given you too much information to make it confusing.
  15. You would need to do some extensive compositing work. You would need to find someone skilled with Flame or Nuke or Shake or After Effects.
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