Eugene Lehnert

I have some stills on negative film that I want to use in a film shot with the RED. How can I scan the negative as a Log DPX or EXR file?

Ok great. Thanks for the help and advice.

Thanks. I would imagine the uprez to 2k would not be that noticeable? I guess it depends on what algorithm you use. What are your thoughts?

People are talking about the death of film but what's going to happen in 20 years to everyone's digital movies? People aren't even shooting as much tape anymore. It's all hard drives and mine barely last 5 years. Restore that!

If I have an HDCAMSR tape that is 1.85 or 2.35 how is it converted to a DCP? Is the HD image uprezzed to the 2K size or does the HD image sit inside the large 2K frame? And the color conversion is a simple 2D LUT to go from Rec709 to XYZ?

Phil- Have you seen the TH-42PF11U or TH-42PF20U models? Fade up and fade downs are filled with banding artifacts. Colorists would always be second guessing their work and double checking the material on our last CRTs. We have since purchased the new Dolby monitor as a replacement. But these might be a nice addition if the banding problem has been fixed. Thanks

Has anyone seen this new monitor? The old Plasmas had terrible 8-bit banding in the images. http://www.hdtvmagazine.com/columns/2011/09/hdtv-expert-sneak-peek-panasonics-th42bt300u-referencegrade-plasma-monitor.php

Can the DaVinci 2K handle log formats? Or do you need a truelight box? Specifically can it handle the Alexa's Loc C?

Hello- I am on a roadtrip and I did not realize I took my wind crank off the camera to do a timelapse last week. So I am unable to wind-up the camera. I went to the hardware store but I could not find a screw that would match the threads. Does anyone have any idea how I can wind up the camera? I'm in Flagstaff Arizona at the moment. Is there anyone out there I can buy a wind up crank arm from in the area? Thanks, Eugene

Thanks. It's old film from college and probably not worth bothering with. It projects ok.

I have some old film that I want to have transferred but it is warped and twisted slightly. It's possible it's from water damage. Is it possible to transfer this through a telecine or would a scanner be better? Would the scanner flatten the film as it goes through?

Yeah I shot some footage with it. I'll have to check that black ring you spoke about. Maybe it's on there and causing a problem.

I seem to have a lot of vignetting in my image. Nothing on a 16mm lens but the corners of the 10mm are very dark.

I recently had my SBM Bolex converted to Super16 by JKCamera and he did a fantastic job. I'm getting some vignetting when I use my old 10mm RX Switar lens. Do 10mm lenses exist that cover the Super16 area better than my Switar?

I can't wait to cash in on some cheaper 16mm cameras. I love my bolex but I would love a sync sound camera. I shot some home movies stuff last week in DC. http://www.youtube.com/watch?v=ECcdRcM50cg&feature=player_embedded

My CRT monitor is slowly dying. It turns a gross color at first when I start up a picture. What monitor are you using these days for color correction? I hear the Panasonic Plasmas are the closest thing you can get to a CRT but they are 8-bit. Are there any new 10-bit Plasma monitors coming out or out already? What do you use?

What is the "Nyquist limit of interlace?" I get 50i tapes with a 2:2 cadence that I slow to 23.98 via the deck all the time. Thanks.

What do you need to transfer Super8 film on a Spirit? Do you just need a Super8 gate or do you need any other upgrades? Does anyone rent Super8 gates?

I recently finished a trailer for a 2.35 film out. The trailer had subtitles and when the video was printed to film the film out cut off a substantial amount of the top and bottom of the picture near to the subtitles. I am having the trailer transferred back to tape so I can create a revised subtitle safe area for the film outs. Why is so much cut off during a tape to film transfer?

Try Post Logic, NY.

What are the pros and cons of the Ultra 16 conversion vs the Super16 conversion for an SBM bolex. Who does some of the best conversions?

If you want the PAL video to run at the same speed as the 24p master you can run the video through an Alchemist or UKON. These boxes can do video conversions interpolating new frames so that the speed is the same. The Alchemist has a higher quality motion compensated algorithm than the UKON. This does lower the quality of the image though. If you bring the sped up PAL video into Final Cut you will want to reconform the video so that the files play back at the different speed. Dropping the files into a Final Cut Pro timeline will not work. Final Cut will merely toss out or insert frames. You want the frames to remain intact and not be interpolated in any way. This can be done using Shake or After Effects. But PAL has a different resolution than NTSC so this is another issue.

DVFilmmaker is a decent converter but you need to work on clips individually. Cuts will create mixed frames. You can also do frame rate conversions with Shake or Compressor. I do not suggest using Final Cut Pro at all. If converted properly all the audio should match up. If your edit is at 29.97 or 59.94 you want to go to 23.98 files. Then the place doing the film out will play back the audio and video at 24fps speeding up your movie by a small percentage.

If you shot true interlaced material I would use the Teranex to do the 60i to 23.98 conversion. If not you could find a house with a Snell & Willcox UKON to remove the 2:3 pulldown in real-time using a Film to SF conversion. This system is not perfect but this can detect imperfect 2:3 cadences and restore the video stream to a true 23.98 format. I would suggest running your textless film through the UKON then get the files back as Uncompressed 10-bit files or ProRes files and add any graphics on top of that stream for a true 24p look. You can get some bad frames on cuts using this method so you may have to import some shots through the UKON with handles. You could also try and batch everything through compressor but that will take a long time. The UKON can work in real-time. Remember the first reel should be no longer than 15 minutes due to trailers and other material that can be added to the print. You also have to find good places to cut. Scene breaks where audio does not carry over is a good place. Don't do it on a fade either. I think your audio has to trail after the picture ends though too.

Placing the tape on the bulb sounds like a nice solution. It's usually the center hot spots that blow out and the light then tapers off quickly. Thanks. I'll give it all a try next time I shoot.