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Found 12 results

  1. Hey everyone, I wanted to see if anyone could help me out. I wanted to know if anyone could recommend the best export settings from Adobe Media Encoder for a 16mm scan. I am fine with grain, in fact I love it. I have a project thats completely hand processed kodak 7222, and the results are quite grainy. The problem I have is that when I export the h.264 file for web, the grain just becomes ugly blotches and pixels. I've tried for many hours to get the best export, including raising my bit rate and everything. I know there must be a good method, because i've seen film scans that have quite a bit of grain on the web, but the detail is preserved, so i'm completely at a loss. Any advice would be greatly appreciated. Thanks in advance, Derick
  2. Dear Members, I am looking for the ELMO CINEMATIC SOUND DR-1 and SYNCHRO SOUND SA-1 manual scans. SR-1 and A-1 will be also helpful, I think. Any help is highly appreciated! Erkan
  3. Does anybody have this brochure? Thank you so much!
  4. Dear Members, I am looking for an English-language manual for Beaulieu 2016 Quartz. Scans will be highly appreciated. Sincere thanks!
  5. Hey all! Just finished the ASC Manual and there are a few spots that speak about "Ground Glass". From what I've collected, it seems to be a piece of glass that works between the gate and the reflex and often includes different aspect ratio guides? Can anyone give me a clearer definition? Thanks, Jake
  6. Hello colleagues, I'm shooting my first film on 35mm in the of next month and I've been in contact with a lab in Stockholm about the developing and scanning. The quote they sent me, however, has left me a little puzzled - and instead of potentially making a fool out of myself with them I'll take my chances with you guys (ha). They want to charge me for 2 scans - 1k AND 2k. The lines in the quote are the following: Scan 1K onelight 35mm 4perf Scan 2k EDL to dpx Is it really necessary to have a total of two scans? Since skipping the 1K could potentially save us a substantial amount of money I'd just want to make sure. This particular lab is the only place left in Scandinavia for developing 35mm, so I doubt they're trying to rip me off. Thankful for any answers! Best, Kaspar
  7. Hello, this is my very first post on this forum so first of all thank you all for having some time to read and answer this question. I'm going to shoot a project on S16 (arri 416 plus) next month and I don't have nearly the same experience with film than digital so I'm sorry if this sounds really newbie. Basically I'd like to know what's the real and usable dynamic range of kodak Vision3 and all the elements that affects it (print, scan, etc). I Research on this forum, internet and on Kodak's website and the numbers change considerably. Kodak says it's about 10-11 stops, then I read that the official number is 14 (this is hard to believe) and some friends told me it's about 7 stops (-3, +4). Also I wanted to know if the print and the scan are really important to save the dynamic range. I read a Kodak document that recommends to use 16bit scan when the stock is Vision3 to hold all the dynamic range in there. Also, which scanner do you recommend me? What I read the best one is DPX 16bit but it may be really expensive so I'd like to have a cheapest solution that can hold the DR of the film. Thanks!
  8. Hi everybody, scrolling through the alexa menu I saw items that I'm not sure what the are. - in the recording/rec out menu I see SCAN FORMAT, with the possibility of choosing between P or PSF. What is the difference between them? - in the same menu I also see HD-SDI FORMAT with the possibility of choosing between 422 1.5 SL/DL, 422 3G SL, 444 1.5G DL and 444 3G DL/SL. While I know that 422/444 have to do with the color sampling I have no idea what 1.5G and 3G mean, and same with SL/DL - in the MONITORING/MON OUT menu I see scan format and the options are P or PSF? Is this the exact thing I've ask in question number 1?And why in the frame rate option in this menu it doesn't let me choose 23.976 but only 24, 25 and 30 fps? Thank you in advance for the help!
  9. As I mentioned in the Super8 thread, I have a long dreamed of project in the works: A feature that will be partially shot on Super8 film. We are shooting all of the 8mm scenes first and will edit and then see where we are at. Never mind the fact that prices for stock have gone up by 50% or more in the last 18 months :angry: there is also the issue of not receiving responses from the labs or scanning facilities I have contacted. I don't want to be rude and mention which ones, but it seems like maybe some just don't care about 8mm at this point because I am receiving replies to my emails inquiries. That would not have happened 2 or 3 years ago. Some of these places are big names and well known here. Maybe I'm just too small-time for them to bother? We intend to shoot on Tri-X, Vision3 200T and a little bit of 50D. Anywhere from 15 to 24 rolls, depending upon how well (or poorly) we do. 24fps of course. Most MOS. There are two sequences with sync sound. The most likely camera used is a Nikon R10, though I am trying to find someone with a Leicina Special or the new Logmar in the NYC area. I am in the process of acquiring an R10 right now and would have to shoot one or two test rolls. 1080p would be the minimum for scanning for the project and frankly 2K might be smarter since I really want to retain that all important film grain. That is so important. I don't want it to turn to mush. We are shooting in the NYC area late September and hope to finish no later than October 5. I would need some immediate turnaround since I have to leave for China on October 18. Getting everything in place ahead of time is important, not just for me but I am sure for whatever lab and scanning house we use. That's the situation. We have an insanely limited budget and certain people involved are trying to get me to switch to shooting this stuff digitally, but it's imperative to me that these portions of the film be shot on film. I do not want to shoot this stuff with a digital camera. The rest of the feature will be digitally captured so dammit, this material which is designed for 8mm needs to be shot on 8mm. But if I can't get answers to my questions or find a place willing to work with me... I will be forced to go digital. :( I'm all ears. Thanks.
  10. Hi everybody, So at my school I'm going to have the luck to be the DP of a small short in 35mm. The worflow is this : Shoot 35mm the negative is developped and transfered in both mediocre HD for editing and decent 2K for grading and finishing. I know more or less how contrast works when you get a positive from the negative, that is : shooting the same negative at various EI + the positive give different looks (deeper blacks, more or less contrast in the shadows, less grain, more saturation etc etc) So I wonder how this applies when you scan the negative directly. I'll have a 500T, what if I rate it at 250 ? The guy from the lab told be he scans according to the middle gray chart (if we shoot one) What about things like blacks, whites, contrast, visible grain, saturation ? Thanks guys !
  11. Hi there, First post on this forum, nice to meet you. I'm looking to get some reels of 9.5mm archive film transferred. I've looked around on the internet (before finding this forum), and am now chatting to Images4Life in the UK. They seem to offer a great balance of options and price. I'm looking for a reference. Can anyone recommend their services? It looks like they're using a flashscan Choice. I'd be getting the scanning done at the full resolution, transcoded to ProRes 444. I see lots of discussion about quality on this thread. Does anyone have anything to add? Thanks! Stephen *Edit: full res would be their 2.3K
  12. Gentlemen (and ladies), as some of you know I have shot on film and digital. My first short was shot on super16 way back in 2001 and I had a 35 blowup for festivals. A little trailer I cut in December from an HD scan of our blowup... http://www.youtube.com/watch?feature=player_embedded&v=tMFRPMHTiZ0#! Over the last three years I have shot a number of shorts, some using DSLRS and some 8mm (a format I love). Right now I am in talks with some people about a feature film project and while everyone wants to shoot on the RED EPIC, just because the EPIC is cool and easy and cheap (uh, yeah, ok), I want to shoot one of the three acts on film. The story lends itself to this as we need a different look for each act. I also want to be able to say "we shot on film" not only because it's an interesting talking point, but also because before long I think it won't be possible. What I need to know is this: What would you advise as the cheapest solution and workflow for shooting on Super 16? 35mm is out, naturally, due to cost. I like the look of super 16 and it's easy to find lenses in the NYC area. Back in 2001 when I shot my first short the negatives were processed, given a one light with time code and we edited in AVID. Then the negative was cut AB style and we bypassed creating a positive (because I was out of money) and made a 35mm print from the AB rolls. (For a feature we clearly would not have been able to skip the positive step) It is now my understanding that traditional negative cutting is almost never used today. ??? The people involved with this planned film are almost 100% RED and 5D people and as you can imagine, mostly low low budgeters. Those that have shot on film were not in any way involved with post. So I go to you for ideas! I hear things like, "It's too expensive to scan all that negative and color correct it." So how about photo chemically, like it used to be done? "No that's too expensive too." Etc. etc. Thanks for your help.
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