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Found 12 results

  1. Dear Members, I am looking for an English-language manual for Beaulieu 2016 Quartz. Scans will be highly appreciated. Sincere thanks!
  2. 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 ha
  3. 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
  4. Does anybody have this brochure? Thank you so much!
  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
  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
  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
  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 i
  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,
  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! Ste
  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 (
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