Edited by Billy Baker, 27 July 2009 - 02:58 PM.
Film Transfer 35mm 16mm to 2K
Posted 27 July 2009 - 02:56 PM
Posted 27 July 2009 - 03:02 PM
Posted 27 July 2009 - 03:10 PM
Posted 27 July 2009 - 04:16 PM
Posted 27 July 2009 - 08:09 PM
scarry, the web site brags that they get it righht the first time, which is good because the original sometimes falls apart in the transfer.
we are located in Asheville, NC. www.2ktransfer.com
while I have seen badly cared for film become brittle, I hope that is not the norm for there transfer setup
Posted 27 July 2009 - 08:42 PM
Posted 28 July 2009 - 01:02 PM
It's good to see that filmmakers have another option when it comes to high resolution scanning. Your website, however, leaves a lot of unanswered questions that I think you need to address. Given that you guys are using a custom made scanner, I feel it's important to be specific about a lot of things; considering that your client base may be more familiar with more traditional DI scanners.
"The imaging device 2KTransfer uses has a higher resolution than normal 2K standard." So are you oversampling when you scan, or is the sensor simply a bit larger than 2k native so that you have room to correct for gate-shifting?
"2KTransfer can deliver films in many different formats." Like what? Quicktimes? MXF? Image sequences? Also what native format does your scanner output? DPX? Cineon? Tiff? 16-bit? 10-bit?
Is your scanner capable of handling 2-perf/3-perf 35mm? Super 16mm? ULTRA 16?
Is your scanner only built for scanning full rolls or can it scan select shots from EDLs/keycode lists like most DI scanners?
On what system do you color correct? Is it set up for simple base-grades for dailies or is it more versatile for adding secondary corrections/windows, etc for more serious work?
Now, this purely my opinion, but if older film is "falling apart" through your scanner then I don't feel that your scanner is best equipped to handle such fragile film. Honestly, I think there are better scanners for this type of archival work; ones that utilize adaptive pin registration (with adjustable parameters to conform to film shrinking, torn perf, etc) or non-pinregistered archival gates (which scan into the perforated area). Now I understand some poorly stored old film is destined to break-down either way, but the slower transport system of a pin-registered scanner would significantly decrease the chances of older film being damaged.
I would love to see samples from this scanner, it sounds like you guys have a lot of experience, especially if you designed at Grass Valley! Did you by any chance have any involvment in the development of the Spirit scanner?
Posted 28 July 2009 - 01:54 PM
We use a full frame imaging device, not a scanner.
The imaging device is movable to allow for re framing. 2048x1152
The Image sense has the equivalent to 11F stop range.
We can record the RAW image data but perfer to use CineForm RAW record. Then we can render that to just about any format you would like.
We can handle 2 and 3 perf, super and ultra 16.
We have full color correction control from the raw data, plus we have MTI restoration software if need be.
Are system is design to go from head to tails, because are primary function with this is to restore old films (just complete a 1930's film for a client).
We originally designed this machine to restore old films, but also have done many new films.
Thanks for your inputs and if you have any more questions please ask.