Ludwig Hagelstein

"the chick who does Nolan's films". Show some respect ffs.

Hey Kevin, have a look here: https://www.andecfilm.de/en/productions/ same day turnarounds and the best scanning options far and wide

From experience of having processed and scanned a feature and multiple commercials now on AHU 16 and 35mm stock I can guarantee you all the fear with pressure plates and halation is waaaaay overcooked. We did not encounter any issues. The only thing you'll notice is that the film is cleaner. That's it. There is really no reason to be afraid.

The only other lab in the world that does proper 35mm Cine E6 is Andec Cinegrell in Berlin. They did Poor Things, for example. You can have a look here: https://www.andecfilm.de/en/ektachrome Everyone else just does cross processing. Here's a Lufthansa commercial shot by Max Pittner on 35mm 8-Perf VistaVision Ektachrome, all done in Berlin:

Andec in Berlin can do digital to either real 16mm neg and print, or even Super8.

Interesting use-case... We still have a working spirit in Berlin... but not in the US obviously.

it wildly depends on where it was scanned and which pipeline they used. Log Scans from the Scanity dont have a color space per se - there are different logarithmisation options with Scanity, one is called CPD-K, the other is called CPD. When you work with the CPD-K curve in a 10 Bit setting, you get a Cineon Log approximation, but alas, the resulting .dpx dont have a color space - you have to assign it in postpro. If your posthouse did a clean transcode of the .dpxs to ProRes without doing a color transform, then you should be able to assign any working space you want - also, dont mess around with cineon log luts.

Cool. Where did you scan?

Go for 4444xq, but no, no visible difference.

Film Restoration with AI is a tricky thing. Film restoration is in most cases also about making a decision what to leave in, and what to take out.

Cinegrell in Berlin offer Neg Cutting as well, through Monika Dörge.

B&H arbitrarily adds markup. By through Kodak directly, here are transparent prices: https://www.kodak.com/content/products-brochures/Film/Kodak-Motion-Picture-Products-Price-Catalog-US.pdf

I think he does from what I know.

yes that is absolutely true - a color chart is always a useful reference. I was just making the point that during the actual ingest of the scan, the color will not be corrected as that is a creative decision while working with the log scans. The scan itself is supposed to acquire the best possible data, and at that stage, no intervention regarding color bias is supposed to happen. What happens in dailies grading or finishing is an entirely different story, of course.

the advice regarding the color cast is more valid for a classic telecine approach, or for analog rushes printing. Not so much for finishing scanning or a scan once workflow, where you directly scan at maximum resolution / bit depth and then the colorist can make whatever decision he / she intends to.