Nage Canchola

Hi Tyler, I’m currently scanning the 5222 & 7222 negative stock, which has a narrower range of exposure than other BW stocks. I see the 4k UHD scans are pretty awesome, yes. My question is if the (additional) HDR scan is visually smooth or will it jump jaggedly across a grayscale...or will it be awesome inside that exposure window only (?) or not. ...is that worth the double price in storage needed after scanning a film with the qualities of 5222/7222. ...plus the HDR pass is done at 12fps...so, time and addt’l drivespace is $$$$ for hundreds of TB. trying to make efficient decisions. I am not a colorist (yet? lol) so I can’t see a 4K HDR color session. Here’s an excerpt from the article “Deconstructing Bob Dylan”, written by Jon Silberg for American Cinematographer November 2007: “Lachman filmed Jude’s story on Kodak PLUS-X 5231 and DOUBLE-X 5222 black-and-white negative stocks. “...If I shoot Double-X in 2006, it’s like shooting it back in the Sixties; it only has about 1.5 stops of over or underexposure...”

Hello all, I'm a post supervisor and am currently researching if it is worth 4k UHD scan of 7222 and 5222 using the Cintel 2 scanner. I understand this film stock has about 3-4 stops of latitude (correct me if I'm wrong) and I'm wondering if it is overkill to scan 4k UHD. Not sure of the words for tech description, so please forgive my phrasing. Would the range from black to whites be a smooth gradation? I'm wondering if that film would have more an abrupt transition from black to brightest whites (?) The aesthetic of the image calls for that contrast black and whites, I'm just wondering if it would end up looking chunky or smooth on some of the gray sections, especially for the 16mm when eventually integrated with the 35, with theatrical or streaming release. The other option is just a standard dynamic range 4k UHD scan, cutting drive space ($) in half, and scanning time ($) in half. If anyone has any info or guidance, I'd appreciate hearing from you. Thanks in advance! -NC