Stephen Perera

I went with the Arriscan in the end and Im really happy with the results....what Cinelab London have done for me completely blows away the Telecine they did with the Tobin in another place and they DID **(obscenity removed)** up the processing of my first roll of 100ft in comparison just like people here told me they had.....

cant open .dpx in Final Cut Pro X as is so that answers the question! DaVinci Resolve all the way

.....so I have the 16mm Vision5 500T footage already from Cinelab London as Arriscan - well, still, as we speak uncompressing it - taken hours!!! I have to choose to edit into a 'piece' incl. colour etc in FCPX or DaVinci Resolve - any comments as to what to expect or which to work in and how....workflow i mean..... I use a 2013 Mac Pro - the black bin style

so where can one see this film out here in the middle of movie nowhere?

sorry I think I just named their machine wrong...its the Scanity...thats it....they had it as HDR Scanity on their price list

thanks Samuel!

I've come to the point aside from the top decision to describe the transfer aspect ratio...... I want my standard 16mm film IMAGE area to be scanned to 2048 x 1556 pixels to take advantage of the 2K scan - not a scan at 2049 x 1080pixels giving me a pillar box and the sprockets on the sides How do I tell them this tecnically>

ORIGINAL POST IN GENERAL DISCUSSION FORUM - i could not delete it...should have been here Hi all....finally sending out the Gibraltar Crystal project some of you are aware I've been shooting (some of you have been advising me all along) and the final footage is 700ft of Kodak Vision3 500T shot at standard 16mm Cinelab London are processing and scanning it for me at 2k - they have been most welcoming and friendly to me plus logistically they were a great option as neighbour country Spain doesn't offer the services I need....not to mention no problems with currency. Apart from the ECN-2 processing, I have two narrowed it down to TWO machines for the scanning: 1. SPIRIT log scan at 2k standard 16mm format 2. HDR Scanity log scan at 2k standard 16mm format Things to consider: a) The Spirit is £0.42 per foot and the HDR Scanity is £0.86 per foot The largest the final, edited 'piece' will be viewed is on a TV screen at the factory where they blow glass for tourists to watch.....then of course online/social media etc for marketing purposes. As a seasoned scanner of photographic film (I have a Scanmate 5000 drum scanner and now a Hasselblad/Imacon Flextight 646) and knowing what a good scan looks like and exactly when so operator has decided to bake in stuff like noise reduction etc......which option should I go for all things considered...... ......my top priority is getting the dynamic range of the Vision3 500T as the footage shot is mostly high contrast scenes at the limits of exposures Thanks for your advice and sorry for posting this in the general discussion as I really need good advice!!!!!

Hahaha yes per minute sorry

Hi all....finally sending out the Gibraltar Crystal project some of you are aware I've been shooting (some of you have been advising me all along) and the final footage is 700ft of Kodak Vision3 500T shot at standard 16mm Cinelab London are processing and scanning it for me at 2k - they have been most welcoming and friendly to me plus logistically they were a great option as neighbour country Spain doesn't offer the services I need....not to mention no problems with currency. Apart from the ECN-2 processing, I have two narrowed it down to TWO machines for the scanning: 1. SPIRIT 2. HDR Scanity ....both at 2k (remember its standard 16mm) Things to consider: a) The Spirit (£15 per foot) is 40% cheaper then the HDR Scanity (£25 per foot) b) The largest the final, edited 'piece' will be viewed is on a TV screen at the factory where they blow glass for tourists to watch.....then of course online/social media etc for marketing purposes. As a seasoned scanner of photographic film (I have a Scanmate 5000 drum scanner and now a Hasselblad/Imacon Flextight 646) and knowing what a good scan looks like and exactly when so operator has decided to bake in stuff like noise reduction etc......which option should I go for all things considered...... ......my top priority is getting the dynamic range of the Vision3 500T as the footage shot is mostly high contrast scenes at the limits of exposures Thanks for your advice and sorry for posting this in the general discussion as I really need good advice!!!!!

yes Will I'm going to get 'log' scans (the flat scan you refer to) at 2k of all the footage from the lab and do it all myself in DaVinci Resolve.....the only way I will embrace the grain and not get the smudgy noise reduction baked in S

hey thanks Jon! appreciate the kind words

I'm just after clean footage if I shot it clean...and at its max quality as is.........I dont want scanner/telecine operators who apply noise reduction (for example) cos HE/SHE thinks grain is bad....nothing worse than seeing those noise reduction products out there for photographers who just miss the point

Still use it all the time professionally......the 160 400 and 800...i told my clients i quit digital and they are liking it!

Shooting with Aaton XTR XC with Kodak Vision3 500T at the Gibraltar Crystal handmade glass factory in Gibraltar for their marketing......(image has notes to myself haha) I'm the one man band behind the camera of course, the BTS was taken by the client....

I've been shooting a lot of Kodak Portra from 2012 on Hasselblad recently and I rate the film at half box speed if I shoot in lower light and at box speed if in bright conditions.....

thanks for that Samuel

thanks THIS is helpful to ME!!

dont know whether this is too old to comment for you but Cinelab London have come back with prices and feedback which feeds me with confidence about them....I told them from the off Im a cinema "nobody" who will be sending less than 1000ft per project probably and thus trying to find my way and create a workflow and they were more than helpful with one person communicating fast to me

as a European who will never understand your gun laws etc this comment is extremely funny!!!!

well thats the thing.....no matter what level you're at the effort is the same plus when it comes out of your pocket even more so... ....the edit i created got a resounding approval from the owners, master blowers and staff of Gibraltar Crystal which 1. gave me the green light to do the project in 16mm as was my wish 2. gets everyone believing in me more and their mental investment in the project increases exponentially The biggest irony of all = every single person commented on how cool the 'artefacts flying in' looked hahahahahaha where I'm going crazy thinking if the lab has **(obscenity removed)**ed it up or not Lesson to everyone here and in all forums where we go on on and on and on about our perceived 'quality' outputs is not to get too caught up in stuff the public doesn't even see or think as as bad as we think it is!!!

Hey Will, in case you missed it on another related thread I had this is what I did as an edit with the first roll of 500T they telecine'd for me......em....my first roll of cine film EVER actually haha..... Here's is what they gave me: https://www.youtube.com/watch?v=WhywskpuT-I&feature=youtu.be .....and this is what I did with it as a proof of concept for the client: https://www.youtube.com/watch?v=tjaD7L3EkR8&feature=share don't like the lettering i put over it so ignore that! The good thing is it was approved and have green light to roll camera! Ive since shot another roll of 100ft and have just received a fresh roll of 400ft 500T to continue the project.....

its a great insight into their thinking.....particularly interesting was the use of lenses such as the Zeiss Jenas and Nikon lenses which they prob rehoused......particularly interesting of this film was that they didn't have a DP really and the camera operator plus the director did it all.....

yes i get good vibes off them....I made it perfectly clear I'm a nobody in the film world and that I'm not coming in pretending to be otherwise but that I do know what I see though from 30 years as a graphic designer/photographer (including a lot of scanning side film, black and white film and colour negative film as I mentioned before)...in other words.....I will know what's crap coming off a colour negative.....if a 'scan' comes back with clipped highlights when I've metred to control them plus I know the latitude of my emulsion I will now the operator didn't give a crap about my work when scanning it

Perry yes that makes sense I have a LOT of experience scanning photographic film and its definitely my 'skill' or lack of it thats the final "10%" of quality achieved that's needed for professional use in printed material etc.....saying that, the machines need to be in a certain 'level' of capability......my Scanmate 5000 drum scanner is on the same level as my Hasselblad Flextight scanner but its way off level to the Epson flatbeds back in the day.....anyway.....thanks for the input!!!