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Interpositive and Internegative restoration


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#1 Frank Chang

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Posted 16 September 2016 - 09:50 AM

We recently pulled out quite a few 35mm reel from the vault for 4k restoration.

For some odd reason, all the interpositive were out of sequence. All the internegative,

however, were complete and in sequence. Both IP and IN do not have splices,

except for the leaders.

 

All of those interpositive prints were jumping from one sequence to another (out of order;

ie. you may have scene 3 then followed by scene 6, then back to scene 2, etc),

but each sequence/scene are complete, but some scene do have a few blanks

in-between the frame. Anyone know why?

 

Because of this, we are deciding to spend the time and cost to mainly for internegatives

at this point. Is this a good choice? Both IN and IP are using the same orange masked

fine grain stocks. Although it is one additional generation for IN, I assume the grain quality

should still be about the same as IP?

 

What is the best way to check the scanned grain quality? Are there software to compare

the grain quality or visually check on a monitor better?


Edited by Frank Chang, 16 September 2016 - 09:58 AM.

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#2 David Mullen ASC

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Posted 16 September 2016 - 11:25 AM

The dupe negative (IN) will be one generation removed from the interpositive (IP) - the dupe stock is very fine-grained but there will always be a slight loss between generations (more grain, more contrast, more softness), not to mention, one more chance for dust to get into the image.  But I wouldn't expect to see a significant difference so if the IN is easier to handle than the IP, it's probably fine.


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#3 Frank Chang

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Posted 16 September 2016 - 11:28 AM

Thanks, David.


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The Slider

Glidecam

CineTape

rebotnix Technologies

Aerial Filmworks

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Zylight

Rig Wheels Passport

Broadcast Solutions Inc

CineLab

Ritter Battery

Technodolly

Abel Cine

Visual Products

Pro 8mm