Jump to content

Dan Baxter

Basic Member
  • Posts

    46
  • Joined

  • Last visited

Profile Information

  • Occupation
    Other
  • Location
    AUS

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Filmfabriek is a good reputable company. I'm aware of that. I also don't think there's too much point in chasing the full quality of a more expensive scanner as most of the users won't really be able to tell the difference anyway and it'll just increase the price until you may as well just buy a Filmfabriek HDS+ which comes with support etc (once you make mods to the Retroscan I don't think Moviestuff will give you any support).
  2. They aren't, as Brad says rewashing is really a lab service. What the serious restoration companies can offer if the client doesn't want to put their film through the rewash process and they have enough of a budget is spend an arcane amount of time scraping off the embedded dirt under a microscope, most likely with a scan of the dirt to help them find it. That's how I imagine it works, and I imagine it costs an absolute fortune. I have no idea how common that would be these days as no one really makes new prints for cinema now so fixing the negative may not be necessary if the goal is to make a restoration to DCP and 4K Bluray, the next option would be to scan a damage matte to find all the dirt but that's not available on a CFA/Bayer scanner, and the final option is to clean it up in post. As Robert said earlier it's the old adage: "cheap, fast, quality - pick two."
  3. Hey Brad yes re-washing is certainly lab only. If you get it wrong the film can be ruined. To back-up what Brad is talking about, there are a couple of examples of private people doing DIY services that are likely harming film like this. It appears there that they're painting the film with something which is really no greater benefit compared to just putting a filter in front of the projector: Notice the red splodges which is dirt that's now been painted onto the film. If in any doubt with a service like that someone should speak to a film lab and ask why they don't offer the same service, because if something appears to be "too good to be true" it usually is.
  4. I'd be surprised if you can do it in-line with a single-pass so let us know how you go on that. We just cleaned one of our prints here and it took multiple passes in an ultrasonic machine, and it would take even more passes in a Film-O-Clean or a Kelmar. One of my friends cleaned a print before projecting it using a Kelmar and because they wanted to get it as clean as possible they ran it through like 9 times or something crazy like that!! If you're making modifications to your film path don't forget to test it first with junk film for scratching etc. That's because you don't have a choice of solvent - they were designed for Trike and then most that were still in use have been converted to use Perc. Some companies (and even individuals) convert them to use HFE solvents or whatever else, but it doesn't seem to be a straightforward process to convert them and I'll bet that it's expensive as well. One of my friends in restoration uses Spectra if they need to clean film in LA. Yes it doesn't get out the embedded dirt you need rewashing for that.
  5. If they're offered as a kit they'd be a markup or a charge for the service to upgrade the base machine. It won't necessarily be comparable to the HDS+, as for one thing you would need to use SpinView to capture, and for another this isn't even with getting the light flashing for each exposure which is another thing you should do. It would simply make the Moviestuff a bit more usable. Just changing the light though and adding gates will make a big improvement, and you could select a less expensive camera to save cost if you don't need full 4K (like this one). I would say that choice would depend on your intended use - the 2.5K camera would be perfect for doing home movie transfers with a workflow that doesn't need to involve full 4K as an example. That may also be a perfectly suitable choice for the OP (Mr Teoli) as well for his archival film, the files are smaller lower bitrate etc. Hobbyists shooting film may want a higher resolution camera, and for professional use or restoration you'd definitely want higher resolution as well. So I'd say you'd be looking at around $14K all up to make it decent for dual-format and a bit more than that with 4K or 5K. If you're going to add P/T rollers as well your budget needs to increase. I don't want anyone here thinking it will make it on-par with the HDS+ though, with enough DIY work that may be achievable but not for $16K and you'd better be someone who wants to tinker with their machine voiding your warranty if necessary.
  6. Yeah from what we've heard people's experiences with these has been mixed. With that said they're cheap (they're being sold for about $2K each from that company) and they appear to be in working condition. I'll let you know how it goes, there are at least three of them currently being set up at separate locations by different people, and I think there's a couple of other people interested in them too.
  7. There's a bit more to it than just the camera. As Robert noted the 4K Flir Blackfly S camera in your HDS+ retails at $3K. Add to that your choice of lens, the Retroscan I uploaded the sample from has this one fitted with the 4K Blackfly S. But just changing the camera module is kind of a meaningless expensive waste of time because you definitely need to change the light for something better. Changing the light will improve the quality more than changing the camera. So budget about $200 to build a simple white light, the best white lights for the money are the YUJILED High CRIs, but of course all the proper machines have true RGB lights. They badly need gates as well, I don't know what they'll be priced at as those haven't even been produced yet beyond the prototypes - I think they have to be priced under $1K to attract the target customers, so maybe $1K each at the most. That means the total costs involved for 16/8 would be about $5-6K if going to full 4K.
  8. Film Guard is designed for projection, you probably want to use either Isopropyl or IsoparG if you want to attach that cleaner directly to a scanner. As you say though you can disconnect it anytime and put it between rewinds as well, which you will need to do anyway if the film requires multiple passes. A couple of people are setting up some of these SanLabs cleaners soon, they use IsoparG.
  9. Sorry let me clarrify, I certainly didn't mean to say you can't use it for restoration. I just see it as a different design where Filmfabriek has decided that "this is good enough for our price-point" if you understand what I mean. Instead of chasing perfection with a system that would cost a fortune, they've gone with a simpler and cheaper one. I don't mean that in a pejorative way - there are companies that offer affordable home movie transfers off those machines and off ScanStations as well, so these days people don't have to go with the lower-quality offered by the companies using Tobins or Retroscans.
  10. Oh right, you're correct on that. So yes I mean the "traditional" wetgate systems for scanning on Arris or DFTs etc as opposed to ultrasonic cleaning or wetgate printing (and there is a much much longer history of wetgate printing). My point was basically that the manufacturers were not designing those systems for cheap home movie transfers, they were for restoration whereas it seems that Filmfabriek's system is designed more for home movies and not restoration. The "wetgate" effect is not equal compared to a system that uses Perc.
  11. I feel you can add "versatility" to that adage: Good/Cheap/Fast/Versatile. That's what you're compromising on. The example I showed is with a white light as mentioned, a true RGB light will improve the results and will also give greater versatility to recover faded film. You're also compromising on the speed of the workflow with the example I uploaded (4K on a Retroscan) as you have to capture to camera raw then debayer and then convert that to Prores. That example also hasn't been stabilised in post. A Lasergraphics will go straight to Prores and stabilise the film in the scan.
  12. Yes I do. And the guy I know will be able to offer an upgrade service for them as well if someone want to pay to have it done. But I think the intention is to document the changes properly so others can DIY if they want to (except the gates obviously). Here is a 35mm sample: https://www.transfernow.net/dl/20220109HDyQjB0f That's scanned with a 4K camera, a high cri LED light and a prototype gate to hold the film flat.
  13. I think the Neil one is sold here, and you can buy Kelmars as well and convert those to small format.
  14. The main reason is that they were (1.) designed for restoration and (2.) far too slow to use something as fast drying as Isopropyl. The HDS+ solution on the other hand is designed not for professional restoration but for home movies. I would recommend you get a Neil Research Labs cleaning machine (Film-O-Clean).
×
×
  • Create New...