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Perry Paolantonio

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    Boston, MA
  • My Gear
    Eclair ACL II, Pro8mm modded Max8 Beaulieu 4008
  • Specialties
    14k/70mm, 6.5k, 4k, UHD, 2k 8mm-35mm Film Scanning, Film Restoration

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  1. Nothing about this will be fast. Big, yes. Fast? nope.
  2. We're implementing it on our 70mm scanner, kind of just because we get it for free with some of the libraries we're coding with, so why not? But if we add HDR to the scanner (which will likely happen in a few months), it'll be nice to have a 32bit container to put it in . I can't even comprehend what working with 14k files like that is going to entail, but we'll cross that bridge when we get there!
  3. Thanks, feel free to link to it! We posted this originally because there are some ScanStation services that are (or maybe were, not sure) offering 6.5k scans of the film frame, which means they're scaling up. We had to explain to several customers that those other services weren't able to do something we couldn't do (we certainly could, but won't), they were just doing something you shouldn't do! Make sure the Aspect Ratio pulldown is set to Unlocked manually enter the desired output file size (say, 4096x3112) Change the Aspect Ratio pulldown to "Locked to Image Size" Drag a corner of the marquee around the image to the crop you want This will automatically scale the image to the output file size you manually entered, maintaining that aspect ratio. There is a trick, too - the default editing tool for the scanner will scale things to fit based on Lasergraphics best guess at what you want. For more control, and to see the actual resolution, hold down the Ctrl key when you click the Edit button. This enables a hidden checkbox (which long ago was there by default but it was deemed too confusing by lasergraphics) called "Track film/file size". If you check this box and follow the steps above, when you get to the last step (dragging the size of the marquee), the image size fields will change with the scale of the marquee. So if you want to maintain the max resolution of the file but add some overscan, for example, you'd do this: Load the film in 6.5k mode (assuming 16mm) Hold down Ctrl while clicking the Edit button under the Output Presets Make sure the Aspect Ratio is set to Unlocked Change the preset to Full Aperture Change the Aspect Ratio to "Locked to Image Size" Now when you drag the marquee around, the full aperture of the frame will be the max supported for the mode you're loaded into (4.8k for 6.5k mode) and going larger on the marquee means you're just adding some stuff to the outside of that.
  4. Ok, should be up and running now. Sorry about that - looks like the permissions on the site got all messed up but I've given it a swift kick and now it's back.
  5. hmm. we've had some really weird issues with our server the past few days. Let me look into it. It should be there, but I'm not sure why it's getting that error.
  6. If I had to hazard a guess - I'm thinking they scanned the film as 16mm, then used software to separate the two halves, then the two stacked images that resulted from that. You could do this in something like AVISynth, or Open CV or something like that. But the way to do this correctly if you're going to go that route, is to make your intermediate files into an image sequence. Then you can bring that into Resolve or some other NLE and define the frame rate that it would be output to. That's kind of the only way I could see winding up with really weird frame rates. The more convoluted the process the more likely you wind up with a wacky result!
  7. It is not, at least, not on the ScanStation. The ScanStation can scan unslit 8mm - you install the 16mm gate, but you select Double 8mm when loading the film. It repositions the camera accordingly, and only scans down one side of the film. Then you move the film from the takeup side over to the feed side, and run the other half. The frame rate thing is weird. I'm going to go out on a limb here and say that whoever is using this machine has no idea what they're doing, or maybe it's a ScanStation Personal and that machine can't do this and they had to come up with some weird workarounds (I don't know, but it could be the case. We have the full ScanStation and it does do this. It was a request I personally made with Lasergraphics years ago, that they implemented). Setting the frame rate honestly couldn't be simpler - as Rob pointed out, there's a pulldown with all the available frame rates. So unless they're doing something weird like not scanning directly to the format you want and then doing some kind of post-scan frame rate conversion outside the ScanStation, I don't really see why they can't just scan it at 24. Do you mean that your resulting file has both the forward and backward image? If so, unless you asked for that, that's being done wrong. I believe there's also an option to do that (you would use the Ultra Pan 8 setting, which would scan one frame that's the entire width of the 16mm film. In that case you'd see forward and backward frames, but the resolution of each of the frames would be about half of the resolution you'd get if you loaded it as double 8mm (because the camera/lens position is different for D8mm). There is no need. We scan unslit double 8mm and do so all the time. Works great on the ScanStation, and the end result is the same as scanning slit 8mm. Costs the same as scanning regular slit 8mm as well.
  8. I don't think there are very many of these in daily use anymore but I could be wrong. We've got one we haven't turned on in some time - (it's for sale!). Beautiful machine, but slow beyond belief. A modern scanner doesn't need to be real time, but it's a big difference between 4fps and 4spf (seconds per frame)...
  9. Ain't that the truth. You need to figure out a mechanism to move the film through the machine (motors, rollers, sensors, hardware to mount it on, controllers to orchestrate everything) You need to come up with a stable light source, Ideally one that's matched to the type of film you're scanning (pos or neg) and a way to trigger that light source at the right time and intensity. You need to select the correct camera and optics to ensure you're getting a good match for the resolution of the film at the distance your camera is from the gate. Yes, you can get cheap 4k cameras. They're cheap for a reason. Lenses really matter here too. You need to write software to interface with items 1, 2, and 3, and also deal with processing the images once they're captured (either exporting to a file that you deal with later, or handling all the color science stuff in the scanner. We've been working for 3 years on a scanner for in-house use that is very near completion. Max res is 14k and it'll do large formats from 35mm through 15p IMAX - 1-3fps at max res, 16bit sequential RGB, faster for smaller gauges down to about 8k. Building this was not a simple process, even though all the parts are available off the shelf. I am currently neck deep in the software side of this machine, and while it's coming along, every day brings up something we hadn't considered, or that we didn't quite anticipate. Yes, building one is an order of magnitude easier than it was 20 years ago. But building it right is hard.
  10. A while back, we ended up doing a blog post on this, in part because of the issue you raise, but also because some other ScanStation 6.5k owners were saying they'd do 6.5k of the *frame* -- that'd mean they're scaling up from the native 4.8k (for the full aperture of the frame) for 16mm. And that would be dishonest. Also, all kids of wrong if you're doing archival scans. https://www.gammaraydigital.com/blog/lasergraphics-scanstation-65k-maximum-resolutions @Daniel D. Teoli Jr. - what Frank is saying here is that some people think they're getting a 4k scan of the image when they order a 4k scan with full overscan. The resulting file is 4k, but because of the stuff outside the (film) frame, the frame is actually much smaller. In the case of the link above, with the ScanStation 6.5k and standard 16mm film, you get 4.8k for the film frame, within a 6.5k file. That means about 74% of the width of the file is the film frame, the rest is the stuff outside the frame. If you were to do a 4k scan (a 4k *file* that is), the full aperture area would be about 3k.
  11. If they're still charging $1M for it (they were last I checked), then I'd say it's about $750,000 overpriced. Honestly - it's not that good a machine. We've had several scans we graded and restored that were scanned elsewhere on the Scanity, and there's less dynamic range than the ScanStation 6.5k and the image weaves all over the place.
  12. Right. The light should be tuned to the type of film (pos or neg, for example) or at least, it has be be dealt with in the image processing before the files are written out. I think a lot of people don’t realize that all Bayer sensors are monochrome, they just have a physical mask over the pixels that separates the mono photo sites by color. The exact same sensor without the Bayer mask is a mono camera. With over sampling any negative side effects of the Bayer mask in a color camera basically go away, effectively making it a lower resolution RGB camera. Exactly as you say.
  13. CMOS != Bayer sensor. CMOS, like CCD, is just a method of capturing photons. Both can be Bayer, both can be mono, both can be RGB. the likelihood that this is a mono camera with sequential RGB is vanishingly small. They’d be screaming that from the rooftops if that was the case because of the world’s (largely) irrational fear of Bayer masks. It would be a marketing coup.
  14. I watched the videos and I don't see it changing multiple colors. It's continuous motion and moving fairly fast. I'd be very surprised if this is sequential RGB. What camera is in the one you bought? The exact model.
  15. I suppose you can say it's a "wet gate" since the film is wet when it goes through the gate... "also triple flash monochrome' -- can you elaborate here? nothing in the specs on this scanner talks about this, at least not in the PDF on their web site. Are you talking about HDR or are you talking about a monochrome camera that uses Red, Green, Blue lights to create color images, like the Lasergraphics Director or the Arriscan? Or is it doing some kind of trick like the Scanity's "HDR" that uses the R,G,B photosites to do HDR for B/W film (but not color) in a single pass. I'm not something sure that would work with a bayer sensor, but maybe? FWIW, one of our best customers is a pretty well known film archive. They bought one of these, but only use it to capture quick and dirty transfers as access copies and to evaluate the condition of films. Then they send the films to us for scanning. It's not a substitute for a scanner that has better optics, better cameras, better mechanical design, better software. It'll certainly do the job better than a Retro Scan or Cintel, but not as good as a ScanStation or other similar machines. With a few exceptions (<cough> Scanity <cough>) there's a reason scanners are as expensive as they are - you get what you pay for.
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