From: A Film (email suppressed)
Date: Mon Jan 24 2011 - 12:22:07 PST
10-bit uncompressed is the best video format for a film scan. For the
colour grading it contains lots of information regarding colour space/
range. Also if you're printing back to film its best to work this way.
You'll not however play this back too easily unless you've serious
processing power. Depending on the length of your project editing and
working with 10bit is a bad idea because of playback, rendering &
hard disk space.
If you're getting a final edit of your film scanned it's be a good
idea to go 10bit. You can easily convert the 10bit file to any lower
res format using FCP or Compressor and the 10bit file can act as your
master or archive file.
If you're getting rushes scanned you can scan as 10bit, convert to an
low-rez edit material and once final edit is complete 'conform' to the
10bit. This can be messy but it's the best way to go if you need to
edit and to get the best images.
Regarding the telecine end of things I'm not up to date with the terms
but you want a flat looking image. I think this contains the most info
and might require the telecine operator to 'colour time' (?) during
scanning. Hopefully you'll get better feedback in this area!
If your dealing with rapid handpainted imagery another route is
scanning as DPX image sequence as 2K or 4K. You'll get raw type images
and every frame totally independant of the other. I think this might
be heavier to handle than the 10bit and you'll need a good post house.
Really depends on the project specs and deliverable requirments.
Feel free to email me with questions and Ill try my best - email suppressed
+353 (0)85 719 69 83
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