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Perry Paolantonio

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About Perry Paolantonio

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Profile Information

  • Occupation
    Other
  • Location
    Boston, MA
  • My Gear
    Eclair ACL II, Pro8mm modded Max8 Beaulieu 4008
  • Specialties
    5k, 4k, UHD, 2k Film Scanning, Film Restoration, Blu-ray and DVD Authoring

Contact Methods

  • Website URL
    http://www.gammaraydigital.com

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  1. When we have something we'd like to show, we will. We're not interested in marketing or selling the scanner. this is for in-house use.
  2. We're still working on the 14k scanner. It's for 35mm and 70mm (and some oddball archival formats) though. We could probably scan 16mm on it, but the resolution would be limited due to the optical system, and we'd probably get more out of the 6.5k ScanStation, which has more range for the camera/lens system to fill the sensor frame than we do. We don't have scan samples, because no streaming format does them justice. It's more hassle than it's worth to have to explain away the compression from streaming, and there are too many variables in the playback system to make that a worthwhile te
  3. If you look at it on vimeo, he details the full setup in the description
  4. Why no sync? I mean, the camera won't hold sync for long, but we've had clients do sync sound with R8. We scanned this for a client a few years ago: This is very true. While the frame size might be slightly smaller for R8, the design of the Super 8 system is kind of crap. It was about convenience, not quality. We are regularly blown away by how good old R8 film looks - stable and generally much more crisp than Super 8.
  5. Of course. That said, I can't hear the difference between 44.1 and 48, but I know audio mastering engineers who can. However, we're not talking about straight recording and then listening to that recording. Just like with film scanning, you're capturing it and then further manipulating it. And for that, more samples are critical. With an image, you may be doing a lot more than resizing. Let's say you want to do grain reduction (shudder), you're going to get better results if you have better definition of the grain, therefore you're less likely to affect the underlying image this way. Or i
  6. As I see it there are three reasons to scan at higher resolutions than you need: 1) Oversampling, nyquist, etc. 2) Increased fidelity. Don't think about the picture on the film, think about the film. Most people can't hear the difference between 44.1kHz audio sampling adn 48kHz. Yet every self respecting audio mastering house will work at 96k or higher. Why? Because audio is analog (and so is film), and more samples gets you closer to the original analog signal. Do you need it immediately? maybe not. But 10, 20 years from now, it may come in very handy. And if the film doesn't exist
  7. There's plenty more on film than you think, and it depends on your goal. If the goal is digital preservation, higher resolution is always better. The whole point is to resolve the grain, because the grain is the picture. You may not be able to resolve more than the lens on the camera and lens were able to when the film was shot, but that's not really the point. In order to have the most to work with, especially with film that's degrading fast and won't be around in 10 more years, you want the highest resolution you can get. The idea is to future proof the scan as much as possible so when crazy
  8. That depends on the transfer system. Modern sprocketless scanners can often scan damaged film. We do it all the time on our 6.5k ScanStation. I just searched for the manual for that machine, and it says it uses an AC power source. So finding a plug shouldn't be too hard. Can you post a photo of the socket on the machine? The manual didn't have an image of it.
  9. I don't know the situation with these sites, but I would suggest maybe not being so judgmental about it. For one thing - maintaining a web site is much more than paying $15/year for a domain. You also have to pay for web hosting, and you have to keep the site updated, even if it's static and no longer working. And getting that data into a usable form isn't always straightforward. Often sites like this are a labor of love and life gets in the way. I speak from experience - In 1996 I started postforum.com, which was one of the biggest forums for mac-based nonlinear edit systems for quite s
  10. Right. FRS is their restoration software. You'd want to see the film with and without wet gate and with no FRS and no color correction. Basically, run the film through with no wet gate and capture it. back it up, turn on wet gate and do it again. Don't change any settings on the scanner. that's the only way to test what the wet gate is doing. Once you introduce other software you're muddying the waters. Dust removal and noise reduction can affect scratches too, so they need to be turned off.
  11. Again, that's not the wet gate doing that. Look at the colors. Wet gate will not affect color. This image has been processed post-scan, and there's no way to know what else has been done to it. Post a video of the film run through the wet gate *ONLY* with no post-scan processing of any kind (color correction, noise reduction, restoration), and then you can make a comparison. But you're comparing apples to oranges here. I can scan a dirty film on our ScanStation with and without threading through PTR rollers, then run it through Resolve to color correct and Phoenix to clean it up. But I c
  12. The second video has been altered (the color is totally different). it has probably gone through their software scratch removal as well as some level of color balancing. It's not the wet gate that's doing that, it's software.
  13. This keeps coming up in threads I'm on. The Film Fabriek is not really wet gate. It's only a wet gate in that the film is damp when it passes in front of the camera, yes. But it's basically a cleaning thing, not a scratch concealment thing because of the solvent they're using. Wetgate works by filling in BASE (not emulsion) scratches with a solvent that's got the same refractive index as the acetate itself. **IF** and only if the light source is collimated. In this case, the photons are focused into a linear beam, and when the light hits the scratch it will bounce off of the edges like light
  14. DOTS doesn't really exist yet. it's in development. I think the OP is looking at the problem the wrong way. We are reliant upon commercial tech companies to provide us with the formats to make and store images. There's no getting around that, and film was no different. These companies are going to change things constantly, and they're going to try to outdo each other with newer and better formats. Film definitely has long term advantages, and as David Mullen suggests - B/W separations are the current best format for long term storage (but this is wildly expensive both to make and to store
  15. That is expensive. But remember that the scanner at 10k HDR runs at 1fps, assuming no IR flash. So the scan time alone, not including setup is over an hour, for just 100 feet. Then there's the media management. those 10k DPX files will be about 4x larger than your 5k scans were, so everything runs incredibly slowly, from capture to copy - just moving those files onto an external drive probably takes another hour or two, and all of that is time the scanner isn't working. This is a case where I think the price is justified, if a bit steep.
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