Re: [Avid-L2] Kinetta Scanner Workflows (was Colour Corection Monitors)

Date : Fri, 20 Apr 2007 18:38:13 -0500
To : Avid-L2@xxxxxxxxxxxxxxx
From : Jeff Kreines <jeffkreines@xxxxxxxxxxxxxx>
Subject : Re: [Avid-L2] Kinetta Scanner Workflows (was Colour Corection Monitors)
On Apr 19, 2007, at 2:33 PM, owen wrote:

> Jeff,
> Could you outline your suggested workflow from the Kinetta scanner ,
> (35mm negative) to FCP/Color for HD and SD telecine conform for
> broadcast?
> thanks,
> owen


So many possible paths -- all depend on what your end result needs to  
be.  In your case, HD and SD broadcast, that's pretty easy.  But  
there are multiple paths.

The Kinetta Archival Scanner (and its little brother, a few months  
away, the Kinetta Desktop Scanner) are designed to be easily  
upgradable as new sensor technology becomes available.  That also  
means they can be fitted with a pretty wide variety of scanning  
modules now.

Most of these are CCD heads, 2K or 4K res, that run at speeds slower  
than realtime.  2K (2048 x whatever is required for aspect ratio --  
1536 typically) scans at about 16 fps, 4K at about 5 fps, and 1.6K  
(1600 x 1200, great for regular 16 as it's higher res for 4:3 aspect  
ratio than pillarboxed HD).  There are new heads coming -- late  
summer we should have a 2400 x 1800 head that scans at about 15 fps.

These are all captured as files -- we can do DPX or Quicktime, as  
well as Cineform RAW compression (very good wavelet compression, with  
an FCP codec).  Or you could convert to ProRes.  We usually save  
files as 10-bit LOG or 12-bit linear, giving you many options in  
post, as you are working with a low-contrast image with lots of  
dynamic range.

An alternate option would be to replace our usual scan head with an  
appropriate HD camera head, for a more telecine-like approach.  There  
are a few good HD "box" cameras out there, and while they cost a bit  
more, they could be used with the AJA HD Io or equivalent and you  
could capture video directly at whatever compression or lack of  
compression you choose.

Here you end up with digitized video in FCP, to work with normally.   
For broadcast projects, this might be a good path.  Most of our users  
are archives, and they prefer data files, as they may be doing filmouts.

The scanners have RGB lamphouses with color correction, and our own  
secret contrast-reduction system that works with all the scan heads,  
great for contrasty reversal originals.  They can handle any format  
between 8mm and 35mm (some are optional) -- 8/S8/9.5/16/S16/22/28 and  
35 2/3/4 perf.

Sprocketless, so even shrunken and damaged film can be scanned  
without requiring extensive repair.

Let me know what other questions you have -- I gotta run!

Jeff "a scanner in every pot!" Kreines

This page is brought to you by Ben Grosser, who started archiving the list in 1996 while using and teaching others to use an Avid Media Composer 1000.