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16mm Telecine - Do they typically use noise/grain reduction


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#1 Kip Kubin

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Posted 26 November 2011 - 01:36 PM

Hi All

I'm about to have my first Telecine session of 16mm footage I shot last week. Fuji 250T Eterna - overcast day so I was within 1/2 a stop all day with even light.. I say this because I don't think I'll need anything pushed that would increase the grain.

I'm not in the state where the transfer will take place...so the communication will be email and phone.


The system they use is a DFT SHADOW TELECINE with Spirit Data Cine System


My questions is

Do you typically ask for noise/grain reduction when transferring 16mm footage?

If so, how would you phrase that request to reduce grain but keep the 16mm-ness of the footage.
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#2 Kip Kubin

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Posted 26 November 2011 - 04:58 PM

This may be a silly post and may be the product of cheep transfers posted on line that I have seen.

Some footage I love as far as how much grain...and some who's grain looks wrong...excessive and pulls my attention from the film,

I'm just curious if grain reduction is just something a Telecine operator always does to some extent ...or just if needed with higher ASA stocks if desired.
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#3 Dirk DeJonghe

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Posted 27 November 2011 - 04:17 AM

If your negative is properly exposed and processed, grain should not be a problem. I use a Shadow telecine every day and it is very good quality.

However some of the noise/grain complaints we have had are entirely due to the gamma mismatch of the customers computer screen. They typically request transfers to Quicktime Prores now and they can edit and view on their PC or Mac. When viewed on a proper video monitor, the blacks are nice and clean, when the same file is viewed on a noncalibrated PC monitor, the blacks can be too high with apparent noise in the shadows. Viewing the same file simultaneously on the same computer monitor using two different kinds of viewers may give different results. So, if you can view the file on a proper video monitor, it will more closely match what the telecine operator saw.
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#4 Chris Burke

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Posted 28 November 2011 - 05:16 PM

that stock can look great on a shadow. take a look here. ninety percent of this was transferred on a shadow hooked up to a pogle color corrector.
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#5 Will Montgomery

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Posted 29 November 2011 - 10:27 AM

"They" will only use grain reduction if you want it or need it... Can you supervise the session? Try to find a transfer house in your town so you can see the footage and decide for yourself. Most colorists I've worked with like to avoid using grain reduction whenever possible.

You may be right about some transfers looking excessively grainy; it could be poorly exposed film or older, poorly maintained SD telecine machines. Transfers on a well-maintained Spirit or Millennium should have no issues other than exposure problems on the film itself.

If you're going for a perfectly clean look then shoot 35mm or digital; a little grain is part of the game for 16mm and is a look that will make your project stand out from all the 5D work going on now.
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