Dilemma of 4K Restore From The IP or IN Source
Posted 08 November 2016 - 09:42 AM
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Posted 08 November 2016 - 11:03 AM
Can you get them to scan a frame of each type so you can compare them?
Posted 08 November 2016 - 11:08 AM
Hi David. Do you mean compare them for image quality?
By the way, I did notice this morning that one of the fade in/out is not in the IP but it is in the IN.
Posted 08 November 2016 - 11:13 AM
Ok, I will have the other dept do a test scan of each type. Thanks.
Posted 08 November 2016 - 12:59 PM
We almost always recommend scanning from elements as close to the original as possible. You should get a sharper image that way because you're skipping generational loss.
That being said, it's often more work to do a scan from the original neg, because things like optical effects might need to be recreated, color correction will almost certainly be shot by shot, and you're more likely to pick up annoying white dust specs when working off of negative.
The original lab notes and timing info may be useful for determining general color correction settings, or for figuring out where there should be fades, for example. but the actual numbers for the printer lights are probably useless as they would have been specific to the lab (and possibly even the printer) that they were run through.
The cost/benefit analysis is something that only you can determine. I would do as David suggests and get a comparison of the same shot from both elements and see what looks best. It's going to be more work to recreate things, but it's not that hard, and you may find that you get a much better end result because you're working from something closer to the camera original.
Posted 10 November 2016 - 11:38 AM
Hello David. Just a follow up. We did a test scan for one scene (about 10 seconds) and it does appear that both have the same quality
and can not tell a difference between the two.
The original vault person retired years ago and the record keeping back in the days are almost next to none.
The things that are worth noting are that these IPs are not the standard IPs I am used to. For one things, past IPs we
have worked on are almost all final (i.e. same as IN). These IPs, however, look like it is direct copy from the OCN.
So not only it is not color-timed (it does at least contains clipboard images for each scene about the color configuration),
it is missing all the optical effects. And it contains 2 to 4 blank cells that separate for each scene. No splice.
Generally I would have called this as a workprint reel. Just pondering why it is called IP?
Edited by Frank Chang, 10 November 2016 - 11:51 AM.
Posted 10 November 2016 - 12:17 PM
If the IN's are color-timed but the IP's are not, then the IN's weren't struck from those IP's...
People make un-timed IP's from negative for various reasons -- perhaps they were protection copies or someone else needed a dupe copy in a hurry, or perhaps someone wanted to use them in an optical printer (without timing them first), or they were timed to match the negative but not the overall scene if that hadn't been cut together yet. You could be seeing something prepped for optical printing onto a dupe negative.
It's called an IP because it's a positive copy of the negative made onto duplication stock.