From: email suppressed
Date: Mon Jun 14 2010 - 15:50:39 PDT
I recently transferred 25 super-8 reels at Lightpress here in Seattle (formerly called Flying Spot Film Transfer). More info:
Lightpress
1008 western avenue, suite 201
seattle, wa 98104
t: 206 462
4717
http://lightpress.tv/
I transferred to 1080p and left with both an HD SR tape and a harddrive storing uncompressed quicktime files. Light Press is expensive, but they do great work, in my opinion.
-reed
________________________________
From: Serge Levchin <email suppressed>
To: Experimental Film Discussion List <email suppressed>
Sent: Mon, June 14, 2010 4:42:48 AM
Subject: Re: [Frameworks] super8 telecine - with cinelab?
thanks for the feedback re:cinelab. will try and report back -
s
On Sun, Jun 13, 2010 at 2:51 PM, rebecca meyers <email suppressed> wrote:
Cinelab just did a best-lite HD transfer of my 16mm workprint. I've only ever had SD transfers before and have never seen my film translate to video so well. The job was well-done and affordable. It was my first time working with Cinelab and based on my experience I would recommend them.
>>
>Rebecca Meyers
>Cambridge MA
>
>
>
>On Sat, Jun 12, 2010 at 11:03 AM, Dave Andrae <email suppressed> wrote:
>
>>>
>>It's not my intention to beat a dead horse, but while doing a standard definition transfer CineLab scratched my footage - not all of it, mind you, but enough that at least two or three crucial takes were marred.
>>
>>
>>I didn't notice the damage until a few months after the fact, while I was inspecting the film on my Goko moviola (in preparation for getting portions of it scanned by Pro8mm).
>>
>>
>>>>The scratch ran between two rolls, so I know it was CineLab's doing and not caused by my SU-60-E (up to that point no one but CineLab had handled the footage).
>>
>>
>>Thankfully, I ended up being able to work around the damage, and the film I was working on turned out to be pretty good ( you can read about it here: http://daveandrae.wordpress.com ), but it was definitely a kick in the balls at the time.
>>
>>
>>As for getting your film scanned in HD, I think it's worth the money--you get what you pay for.
>>
>>
>>A lot of money can be saved though if you know ahead of time what you're going to use and go through the trouble of splicing together exactly what you need and nothing more.
>>
>>
>>The nice thing about Pro8mm's machine is that it doesn't touch the film's emulsion at any point in the scanning process, and a progressive scan at 1080 looks quite nice.
>>
>>
>>
>>
>>
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>>As for getting 4:3 footage scanned in 16:9, you could always blow it up, but personally I don't mind the look of pillar boxes, and most viewers won't notice them once your film is underway.
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>>>>
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>>Best,
>>
>>
>>-DA
>>
>>
>>On Sat, Jun 12, 2010 at 9:26 AM, Serge Levchin <email suppressed> wrote:
>>
>>hello list,
>>>i know this question comes up every so often - and there
>>>was a discussion here not too long ago about some of the better options
>>>for transferring super8 to video.
>>>places like pro8mm have been
>>>recommended. pro8mm's rates for SD transfer are fairly reasonable, but
>>>HD is 4 times the price. ($825 for 500ft. of film).
>>>>>>CineLab appears to offer 1080p HD transfers at .37/ft (scene to scene color corr.) - i.e. $185 for 500ft. of film.
>>>
>>>- has anyone tried CineLab for HD or SD telecine?
>>>- is
>>>the image quality of a Millennium2 or Ursa Diamond Y-front telecine
>>>(Pro8mm) that much greater than a Rank Cintel transfer (CineLab)?
>>>>>>- does HD telecine make sense for super8 (especially considering there is an aspect ratio mismatch)?
>>>
>>>thanks and best regards,
>>>serge
>>>_______________________________________________
>>>>>>FrameWorks mailing list
>>>email suppressed
>>>http://mailman-mail5.webfaction.com/listinfo/frameworks
>>>
>>>
>>
>>
>>--
>>http://www.dave-andrae.com
>>
>>
>>
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>>
>
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