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Jack Jin

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About Jack Jin

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    Student
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    Seoul, South Korea
  1. Yeah Unless you really really messed up the exposure (4+ stops), it's not noticeable, since kodak vision 3 negatives aren't very dense. But the cintel scanners still doesn't have the best image quality due to the 4k cmos sensor, but it's not bad either.
  2. Oh the FPN issue only comes up in super dense or overexposed negatives and highlights, it's not a big issue if you shoot and expose relatively correctly. But this issue is much more prevalent in reversal film, since they are extremely dense, thus the shadows can be very dark, exposing the dynamic range weakness of the cintel scanner. Silbersalz is decent for what they are offering, the cintel machine isn't that bad, as I said, still miles ahead of any scanners in any photolabs, just not as good as other higher end cinema film scanners like the scanity or the lasergraphic and Xena 6.5k machines.
  3. Silbersalz does this as an entire service, they ship out repackaged vision 3 stocks, and you return them to their lab, so they can process it in ECN-2, and then scan it on their cintel machine, and because the film is going through their horizontally, the 4k sensor gives out a 21 megapixel scan. I really do wish if there are other labs with higher end scanners that does this though, since the cintel doesn't have a great sensor with quite a lot of FPN. So Image quality is not great, but it's still miles ahead of any standard photo film scanner like the noritsu or fuji premeire or kodak pakon. And funnily enough I was just wondering about the same thing browsing through cinelab's webiste just a few days ago. @Robert Houllahan If theoretically after the pandemic, you guys have enough work force to reopen the stills processing service, would it be charged as vista vision or 35mm in terms of costs per feet? I would looove sending some decent amount of rolls to be proccessed and scanned on the xena 6.5k machine, Can't imagine how good the result will be, especially grading them in cineon log in davinci, that would be my dream in terms of film scanning.
  4. This is only the case for prores, but for braw there is no 4k option yet, only 5.7k and 2.8k for slow mo. and even if there is a 4k option it will be cropped 1.5x for 1:1 pixel readout on top of the 1.55x crop of the apsc sensor. Because braw can't supersample information out of a cmos bayer sensor.
  5. Actually Mainland China back then also had quite a lot of western gear in their arsenal, arriflexes and western lenses. I'm sure that this lens was used on something, but from what I heard from the older peeps, even before the reform they were mostly using either western or a bit of russian cameras or lenses. I mean the Chinese government would rather show off the ingenuity and the manufacturing prowess of the chinese people even on limited resources, like their hongchi brand of cars and their nuclear program that were made way back in the 50-60s era. So the whole thing about purposefully hiding doesn't make sense. But this is a cool looking lens nonetheless.
  6. Jack Jin

    4K out of an F35?

    Oh I see, I saw the wiki for the genesis that said it cutted the vertical resolution by half through binning ? https://en.wikipedia.org/wiki/Genesis_(camera) So I presume that this moire issue is the reason why so many manufactures decided to use a 3ccd design instead? Or is it to just maintain compatibility with the b4 lenses?
  7. Jack Jin

    4K out of an F35?

    Hi, sorry for replying to such an old thread, but isn't the genesis pixel binning the 5k sensor, and the f35 is doing a full sensor readout? Thus the moire could just have been caused by the pixel binning of the genesis.
  8. I think Gaussian blur plug in is what a lot of people use for OLPF in Davinci.
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