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Perry Paolantonio

Basic Member
  • Posts

    814
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Profile Information

  • Occupation
    Other
  • Location
    Boston, MA
  • My Gear
    Lasergraphics ScanStation 6.5k, 70mm 14k Sasquatch Archival scanner, Eclair ACL II, Pro8mm modded Max8 Beaulieu 4008
  • Specialties
    14k/70mm, 6.5k, 4k, UHD, 2k 8mm-35mm Film Scanning, Film Restoration

Contact Methods

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

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  1. The cintel sound module uses a light and a photocell, like a projector, and requires manual focusing/adjustment to dial it in, doesn't it? The ScanStation optical module (not the software extraction) is *far* superior to this method, automatically aligning the track image and steadying it, then imaging the track at a very high sample rate, removing the film grain (hiss) and then converting it to an audio file. Once we've moved into our new office (hopefully January) we'll have a blog post up about this. I'd love to add the Cintel into the test pool but haven't found anyone in the states who has the optical module. They all use software soundtrack extraction, it seems. Interesting about the CNC barring the Cintel from restoration use. In our experience the noise was beyond unacceptable - even at NAB demo presentations you could see it, but they didn't seem to notice, which was concerning.
  2. The example shown has been up on their web site since I dunno - 2010 or maybe earlier? It compares a Director to a first-gen Arriscan. It wouldn't have been "cherry picked" at the time, but it is outdated, comparing it to an older model. In case nobody noticed, the basic Lasergraphics web site has looked the same since around 2009 or so, when we first started talking to them about buying a scanner. Clearly, that part of their marketing budget is not a huge priority...
  3. This is a workshop designed for non-technical archivists who are thinking of using LTO (most likely in small archives where there may not be a large IT staff), at a conference where there are a bunch of like minded people already gathered together. You don't need a workshop to set one up, you need to read the manual. It took me about 20 minutes to get our first LTO drive up and running. It's simply not that big a deal. But if you don't have experience with it or you're not technical, this serves as an introduction. LTFS drivers make these trivially easy to use. Your tape literally shows up like a mounted hard drive and if you're on Windows (or presumably mac, I don't know since we use linux for our LTOs), it's drag-and-drop at the simplest level. More sophisticated software will do things like checksum all the files before copying, create a manifest of those checksums, and verify the data after copying.
  4. There's a whole bunch of people out there doing this. You're correct that most are doing 8mm or 16mm and they're relatively simple conversions (using projectors). There are a handful of us who are building high end scanners either from scratch or based on the chassis of an old telecine. Mine is a 14k scanner capable of scanning 28mm through 15p IMAX. It's sprocketless, intermittent motion, 3-color sequential RGB, eventually HDR, etc. It's built on a Cintel URSA Diamond chassis, but the light source, rollers, platters are my design, and the feed/takeup and capstan servos have nothing to do with the old Ursa: I know @Robert Houllahan is also building one for large gauge film. And there are a bunch of folks on the Kinograph forum making different types of scanners, so it's become a bit of a hangout with lots of good information.
  5. The Archivist, ScanStation Personal and ScanStation all use the same basic chassis design. The early ScanStations (like ours) have the capstan to the left of the lamphouse, the newer ones have it to the right - so it can operate just fine on either side. All of these machines are designed in a modular fashion, and things like camera stack replacements, optical readers, lamp house, even control boards, are pretty easy to do in the field. When someone upgrades from one machine to another, they are essentially getting a box of new parts and instructions for how to swap them and send back the old ones. We have upgraded our camera stack twice, replaced the optical audio reader when it died, and installed new film gauges through upgrades. Lasergraphics has never had to come here to do any of it, because it's easy for the end user to do, nor have we had to send the entire machine back, just the parts that needed repair or the old parts were replacing after installing and testing the upgrade. There is a decent market for used parts (cameras, etc) on ebay, because as Rob said, the vast majority of the hardware inside these is off the shelf stuff. I wouldn't be surprised if they just sell the used standard parts to recoup some of their money, or put them into test models for in-house use. There simply aren't enough of these machines out there that there would be a flood of old ones sitting in a warehouse.
  6. You need to try using some color grading software and stop making direct comparisons to still image scanning and editing. What you're doing here is easy in any grading application if the image data is there. You don't do motion picture grading frame-to-frame. You do it shot by shot, and sometimes you have to break a shot up or use keyframes to make in-shot adjustments. But you can't make comparisons between lightroom and motion picture grading software as if it's exactly the same process. It's not. There is certainly some overlap, but software like Resolve, Baselight, Nucoda, etc, are all designed to deal with film-originated content and could pull out that level of detail *if* the data is present in the scan. And nobody doing serious motion picture scanning does it to TIFF files. Sure, most scanners can scan to that format, but it's a nightmare to work with. DPX or EXR or even CinemaDNG make more sense for image sequences, or ProRes 4444 for containerized movie files. All of them will contain sufficient information to pull out that level of detail from an underexposed frame, as long as the scanner is capable of capturing that kind of dynamic range.
  7. The Arriscan is not, and never was designed to scan print film. Print and negative are different beasts and that's a scan of print film. The Director (which is what that particular example was done on (they've used that same image since before the ScanStation existed), was designed to handle both print and negative from the beginning. The ScanStation's results are similar so it's fair to use that image on the ScanStation page, by the way. Cherry picked? In a sense, I guess. But they're picking film that shows off a legitimate difference between the two machines. What company doesn't do that in their marketing? These scanners have been compared (here, on this forum) so many times. Search is your friend.
  8. Don't believe everything you read on the internet. Not all sources are reliable. Ahem. Until LTO-8, the pattern was that the current version could read that version and two versions before it. It could write to the current version and the version before it. For example, LTO 6 could write to LTO5 and LTO6, and read LTO 4/5/6. With LTO 8 they broke the pattern in order to continue with the trend of more or less doubling capacity with each generation. As such, you cannot read LTO 6 tapes in an LTO 8 drive. You can read LTO-7. You can format an LTO7 tape in an LTO8 drive to get about 9TB of storage space but that tape is then incompatible with LTO7 drives. LTO9 will read 8/9 and write 8/9. LTO 10 should Read 8/9/10 and write 9/10, etc. This is all very clearly spelled out on the LTO roadmap, and on the wikipedia page
  9. That's not the market for these, never will be, will never happen. there are thunderbolt versions, though, but you pay $1000 more for that.
  10. It's barium sulfate mixed with acrylic white paint. It's basically harmless. You can buy it at Amazon, in fact. Heres the MSDS for barium sulfate.
  11. LTO is a backup format. For our institutional clients, we usually deliver files on a hard drive, but some also want a set on LTOs for backup. They are very inexpensive on a per-GB basis, and highly reliable, and the file copy speed is on par with a good USB3 hard drive. We use LTO 4, 7, and 8 drives, and we use the LTO8 for our internal backups. I've got LTO2 tapes around here from around 2005, and the files on those are still accessible. No format is permanent and anyone looking to put files on something and leave it be for 10, 20, 30, 50 years is doing it wrong. It's all about periodic migration to whatever the flavor of the day is. LTO just happens to be the best of these long term solutions right now, with a clear roadmap and decent backwards compatibility (the transition from LTO-7 to LTO-8 notwithstanding). It's had a good run and I expect it will continue to for some time.
  12. That's a lotta diodes! the Northlight LED only had a few, but of course that was white light (and I'm guessing the four red ones were for IR). https://www.filmlight.ltd.uk/products/northlight/options.php I had a design for the Imagica rebuild I was doing a few years ago that looked a bit like the Xena, only I was using integrated RGB diodes: My current design for Sasquatch is a bit simpler, but they're high-powered LEDs and man, it's blindingly bright.
  13. The ScanStation has an integrating sphere in the box under the diffuser. Since that's a bit of a black box (I mean, it's literally a black box on the outside, but I'm speaking figuratively here), it's unclear what the exact shape is (I've never take it apart but it was described to me as a sphere when I originally asked before buying the scanner). The holographic diffuser is above that, and then there's a mirrored trapezoidal space the light bounces around below the gate. All in all, it's very diffuse. The Imagica scanner we had used a holographic diffuser as well as a material that looked sort of like a traditional plastic photographic diffusion sheet. The Northlight, as far as I could tell, used nothing for diffusion, but I could be wrong. Scratches showed up clear as day on that machine.
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