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super 8 telecine transfer


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#1 j-beat

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Posted 30 July 2009 - 02:28 PM

I have shot 8 rolls tri-x reversal film in the style of a French New Wave film.
It'll be edited on a mac in final cut.

1) I'm looking for opinions on the various technologies for the digital transfers, y-front, elmo etc
2) and Labs people have used that that they would recommend.

Although the main place the film will appear will be on a monitor in a gallery setting and online I'd like the option of screening it one day - so do not want to lose too much quality. but of course budget is not massive.

any help greatly appreciated.
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#2 David Anderson

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Posted 31 July 2009 - 08:35 AM

I have shot 8 rolls tri-x reversal film in the style of a French New Wave film.
It'll be edited on a mac in final cut.

1) I'm looking for opinions on the various technologies for the digital transfers, y-front, elmo etc
2) and Labs people have used that that they would recommend.

Although the main place the film will appear will be on a monitor in a gallery setting and online I'd like the option of screening it one day - so do not want to lose too much quality. but of course budget is not massive.

any help greatly appreciated.


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#3 David Anderson

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Posted 31 July 2009 - 08:41 AM

For my business, I use a Sniper telcine from MovieStuff. Next best thing to a Rank without the cost. Illumination is even and sharpness is excellent. My 8mm Sniper equipped with a Sony 50mm macro. For my 16mm Sniper Pro, I prefer a 50mm Super Takamar oddly enough.

Dave
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#4 Andrew Koch

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Posted 31 July 2009 - 07:11 PM

J-beat, please change your screen name to your First and Last name as per forum rules
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#5 Justin Lovell

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Posted 05 August 2009 - 11:31 PM

You can check us out at www.framediscreet.com

Our collective of cinematographers shoot on super 16 and super 8 for aesthetic reasons and we do all the supervised transfers in house at the studio.

Latest projects can be seen in the frame discreet blog.. www.framediscreet.blogspot.com

We don't really cator to the 'home movie' market, preferring to work directly with filmmakers and cinematographers and be creatively involved in the projects that we support.

Catch ya!
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#6 Bryan Clark

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Posted 22 August 2009 - 05:47 PM

My company does the transfers as well. I have SniperPro machines from MovieStuff and I'm awaiting 2 machines from Tobin. One of our Moviestuff machines work great. One is the bane of my existence, and has been returned for repairs at least 4 times now. However, Roger Evans (the MovieStuff owner/manager) has been extremely accommodating, and as far as standing by their product, they definitely do. This almost makes up for the fact that most days I want to throw it off the roof.

What is your budget for the conversion process? We typically do our film transfer to DV AVI (virtually uncompressed) for editing.
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#7 Robert Houllahan

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Posted 27 August 2009 - 02:24 PM

What is your budget for the conversion process? We typically do our film transfer to DV AVI (virtually uncompressed) for editing.



Sorry but the 8bit 4:1:1 5:1 compressed codec is a long way from uncompressed, virtually or not.... Uncompressed is 10bit 4:2:2 big difference.

-Rob-
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#8 Bryan Clark

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Posted 25 September 2009 - 04:37 PM

We typically do our film transfer to DV AVI (virtually uncompressed) for editing.


For those that don't understand the difference between 4:1:1 and 4:2:2 a simple explanation is here:
http://www.studio1pr...les/411samp.htm

My mistake. We use DV when we'll only need an mpeg in the end.
I intended to say YUV AVI for editing.
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#9 Matthew W. Phillips

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Posted 25 September 2009 - 04:43 PM

I recommend Debenham Media Group (http://www.mymovietr...r.com/3516_home) as they have RANK transfer for less than RANK prices. I've used them before and I plan to continue to use them. Turn around time is a bit slower than Spectra though but when you save money, you suffer somewhere. The results were good, I felt. They also offer HD transfers if you want.
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#10 Kent Kumpula

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Posted 27 September 2009 - 02:53 PM

Well you could get a FlashscanHD transfer from my company, to 1280x720 ProRes 422.
We have a special offer for new footage, you can find the prices and terms here: http://www.uppsalabi...glish/?page=999
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#11 Ronney Ross

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Posted 28 October 2009 - 11:16 AM

I finally got a chance to see a uncompressed transfer of a music video compared to rank-type, was an eye opener.
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#12 Kent Kumpula

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Posted 28 October 2009 - 11:20 AM

I finally got a chance to see a uncompressed transfer of a music video


What was it transferred with?

compared to rank-type


What format is "rank-type"?
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#13 Ronney Ross

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Posted 30 October 2009 - 04:50 AM

Not sure which machine, but saw a video that had a 10bit uncompressed where the same image transferred uncompressed the colors seemed to be more vivid the noise/grain level was unnoticeable compared to the rank which still looked good but the compression showed up ex. colors not as eye-popping the image show smalls squares and image was grainier
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#14 Kent Kumpula

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Posted 30 October 2009 - 05:09 AM

...compared to the rank which still looked good but the compression showed up...


Your post still makes no sense... what compression you are referring to as "the rank"?
If you have no idea what format you are comparing to a uncompressed transfer, the comparison is pretty weird. But yes, uncompressed is better than a compressed transfer. You do know that you can do a uncompressed transfer with a rank too?
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#15 Chris Burke

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Posted 30 October 2009 - 12:34 PM

I have shot 8 rolls tri-x reversal film in the style of a French New Wave film.
It'll be edited on a mac in final cut.

1) I'm looking for opinions on the various technologies for the digital transfers, y-front, elmo etc
2) and Labs people have used that that they would recommend.

Although the main place the film will appear will be on a monitor in a gallery setting and online I'd like the option of screening it one day - so do not want to lose too much quality. but of course budget is not massive.

any help greatly appreciated.



have you found a lab? If not, go to http://www.cinelab.com, they do great b&w processing and transfer. I have used them a lot and have been very pleased.
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#16 Oliver Gläser

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Posted 09 November 2009 - 12:21 PM

I am a professional Cinematographer who built his own Frame by Frame film scanner in order to be able to shoot more film!
here are links to the results from those machines.
Newsreel Productions Super 8mm scanning reel

thanks for looking.
Oliver Gläser

Newsreel Productions
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#17 Chris Burke

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Posted 11 November 2009 - 10:32 AM

I am a professional Cinematographer who built his own Frame by Frame film scanner in order to be able to shoot more film!
here are links to the results from those machines.
Newsreel Productions Super 8mm scanning reel

thanks for looking.
Oliver Gläser

Newsreel Productions


can you tell us the specifications of your scanner? Is it pin registered? Can you output rgb data, not 422 video. can you do super 16? Keycode?


chris
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#18 Oliver Gläser

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Posted 21 November 2009 - 04:19 PM

Over the last year I have built my own Super/Max/Reg 8mm film scanner as well as a Super/ultra/regular 16mm scanner and been perfecting the process. The system scans, frame-by-beautiful frame to AVI in 1920x1080 4:2:2 colour space Uncompressed.

I built it primarily for my own personal use, to enable me to shoot more and continue to shoot film. I have since modified a Nizo 481 and Beaulieu 4008 ZMII to shoot in Max 8mm and have had great results with the format. The Beaulieu especially, combined with my Zeiss Super speed lenses (that I normally use on my Eclair NPR) are stunningly sharp in super 8mm (if a little long).

My next project is to build an Aluminum sound blimp housing with 15mm rod mounts and video tap, and to put a 35mm Depth of Field Adapter in front of the camera! I have seen some tests doing this and the results were very very impressive! The video tap will be needed to flip the image to an LCD monitor and make it operable! I will let you all know when the first tests are up.

If you are interested to see what my Film scanner can do check out these links:
www.newsreel-productions.com

and

vimeo super 8mm telecine reel

thanks for reading!
Oliver
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#19 Oliver Gläser

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Posted 21 November 2009 - 04:27 PM

can you tell us the specifications of your scanner? Is it pin registered? Can you output rgb data, not 422 video. can you do super 16? Keycode?


chris


For super16mm I cannot capture the keycode. the system is not pin registered, but is very stable... when I have a project that requires even more stability, then I use a stabilization script to take the minimal weave or bob that may be there out. for 99% of what I have been transferring this has not been an issue. I can convert the file to RGB data, from the uncompressed 4:2:2 avi, but I understand that that is not exactly the same thing as you are asking about.

hope that helps.
oliver
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