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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. 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.
  2. 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.
  3. 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.
  4. 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.
  5. 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
  6. 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.
  7. 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
  8. If you look at it on vimeo, he details the full setup in the description
  9. 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.
  10. 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
  11. 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
  12. 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
  13. 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.
  14. 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
  15. 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.
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