From: Pip Chodorov (email suppressed)
Date: Wed Jul 09 2008 - 19:19:56 PDT
Ursa, Ursa Gold and other flying spot transfers, great for BetaSP
transfers, or Spirit Datacine and Shadow for DigiBeta and HDCam-SR,
are considered state of the art for SD and 2K scans in real time. 4K
scans are necessary for special effects, restoration and outputting
back to film (if at least a dozen pixels cover each film grain there
should be no visible loss) and these are done frame by frame, but of
course if someday you want to make an 8K scan or higher, you will
have to go back to the film material. I have been making only 2K
scans for Blu-Ray. 4K was not available and would have been overkill
considering there are no tapes, discs or players that can show 4K.
The real breakthrough will be 10bitLog scans which mimic the S-shaped
logarhythmic curve of film sensitivity for a video capture, allowing
to store information across 9 f-stops rather than exposing for the
shadows or the lights and losing information. Today those scans exist
but the information goes straight to hard drive, no monitor or
projector can display 10bitLog. But the data can be manipulated and
output back to film.
At 18:27 -0700 9/07/08, Myron Ort wrote:
>Will the original transfers to digital need to be done on a frame by
>frame optical printer type set up? Or will master files done on say
>a Rank or other telecine machine now be later useable when the
>blu-ray or HD technology is affordable for "avant garde style"
>filmmakers. Eg. will we have to start the process all over again
>with the first stage film to digital transfers? Assuming we save the
>original files done before compression.
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.