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1) How many 'rolls' did you submit? Did you make an ebay offer on all the rolls, or just 1? 2) What was included? There seem to be some additional costs at the bottom of their pricing page, like $50/hr prep; $10/reel color correction; etc... Did you have to pay for those too through ebay? Was it included? http://www.posthouse.com/pricing Any other info would help, I have 1650 feet (or 33 reels) so I'm trying to figure out cost. Thanks! |
So I decided to go with Cinepost. I happen to be in the Atlanta area so I dropped by in person. They were VERY nice and friendly and seemed to genuinely care and be honest. So I dropped off the film with them.
I had 1600 feet of film, so the total was around $650 (including a DVD). $17.50 per 50ft reel. They send me my Hard Drive back with the transfer, and they kept the original film in case I see problems with the transfer. Once I tell them it's okay, then they'll send me the original film back. It is expensive when you think about, but hell, you only get one change to get it right. It's hard to judge the quality since I'm not sure what the original film looks like. But it's definitely not the HD experience I was expecting. But maybe that was unrealistic of me. The video was noticeably grainy, even though it was 40 years old. And there were frames that had artifacts that were not removed by the wet transfer. So all in all it looks like an old home movie. On the plus side, there was no flickering and the brightness and contrast was consistent. Though some "segments" were darker then others, so it wasn't adjusted from scene to scene. I've attached some screen shot. http://www.digitalfaq.com/forum/imag.../2w5nifl-1.jpg http://www.digitalfaq.com/forum/imag.../2d8m6w8-1.jpg http://www.digitalfaq.com/forum/imag.../2qvwq5c-1.jpg Large version: Image: http://i67.tinypic.com/2w5nifl.jpg Image: http://i68.tinypic.com/2d8m6w8.jpg Image: http://i66.tinypic.com/2qvwq5c.jpg I would be thrilled if someone else could tell me if this was results I should have expected. Thanks! |
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35mm film is about 4K in theory, but usually 2K in practice. The optics/lenses of the camera had a huge affect on quality, referring specifically to the resolving power. And film was grain, not pixels, so it varied based on ASA/ISO rating. Developer/fix chemicals could also affect grain and sharpness. 8mm is about 1/25th the size of 35mm. Super8 was not quite double the 8mm size, so still tiny. 16mm was about about 1/6th of 35mm. Super16 was less than 1/4th the size of 35mm. HD/1080p is about 50% 2K. So even Super16 is not really HD. In theory, Super16 can be HD, but again, optics and grain meant it never happe.ed SD/720x480 is about 25% HD/1080, and Super16 and 16mm could be a bit better than a max-resolution DVD or DV tape. 8mm is obviously much lower quality, being so tiny. Most agree that it's "VHS quality" at best (about 250x480, or 300x480 for the Nyquist diehards), but since the vertical resolution is smaller, it's more comparable to a VCD or CIF, at 352x240. Now, if you have high grade film, and flawlessly clean prime lenses on the camera, then it may be double that, around 720x480. Still not HD, but no worse than a DVD. Many agree that 8mm and even Super8 is 640x480, at best. Of course, there's also something to be said about having the color be 4:4:4 (digital equiv) and progressive. So, for once, you'd see true resolutions, and not the MPEG/analog versions of it. The film, even though SD resolutions, may appear sharper than you're used to seeing. Quote:
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I received my 8mm film transfer back from Cinepost yesterday. It is only about 4 minutes on a 3 inch reel. I chose the ProRes 422 format. Available is a lower bitrate quicktime mp4 and also DV. I got two files Back from Cinepost, one called dry and one wet.(I include two mpeg-2 snippets of each here as an example). My 4 minutes of film makes about 7 gb file dry and 6.9 wet with ProRes 422
Only think I could find to work with ProRes is "video to video converter" (which I found out about from a post by Goldwingfahrer). Thanks Goldwingfahrer:salute: Media info and "video to video converter" tell me ProRes uses 202 mbs A calculator tells me about 22 mbs. Maybe they leave a decimal point off. When I converted it for the samples (and archive) on video to video converter I chose 14kbs two pass. Once I got it into mpeg-2 form I was able to use Avidemux 2.6 to cut sections out of it. The reason I submit samples from the beginning and midway through the film is the film has more damage/debris at the first several feet than halfway through the reel. Yesterday I made (2) no menu DVD using ProRes-----video to video converter ----and imgburn to send to siblings. There might be a better way :smack:but it works using that flow This condidion of this film is poor, It was taken around 1958. I am extremely happy:D to have it done. I am impressed with the vivid color especially. Yes I would recommend them and yes I let the contact person at Cinepost that I found out about them on Digitalfaq. |
ProRes422 can be opened in VirtualDub. The filter is in the version attached on this site.
Possibly CS4/5/6/etc versions of Premiere Pro. Those wet vs. dry comparisons are really quite amazing. A little Avisynth work could really make that better yet again. Add in some Mercalli to stabilize. Care if I take those clips, and play around? This just gave me an idea for something to write up. It'd be perfect for the film/progressive aspect. |
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I am glad I received before and after copies. Now I realize how very bad shape that film was in. I included all the scenes with the airplanes that were on the tape in the "mid" files I think that might have been an open house or air show at Westover AFB circa 1958. |
re: wetgate transfer
FYI - our company is also offering 1080P wetgate transfers in the Chicago area with ProRes output. The scanner has auto color correction and maintains black point so even without scene to scene correction, you get a good well-lit picture. Of course if it was shot in a dark room and there's no information in the shadows, you're going to be limited. The wetgate certainly makes quite the difference, especially when combined with the restoration scripts provided by the manufacturer which are custom avisynth scripts based on VideoFred's restoration script (he's on the filmshooting.com forums). Lordsmurf is correct that in general your results are definitely going to be limited by the film and optics originally used. But the results are quite impressive. Ours is the fairly new FilmFabriek HDs. There's some examples on the manufacturer's website www.filmfabriek.nl but we probably have better ones - just gotta pull that together. Not every film is all dirty and scratched up to really showcase the wetgate but those that are have amazing results.
Our company: www.TheDigitalConvert.com P.S. I've been reading through this interesting forum lately mostly about experiences with TBCs etc. Good stuff. We had mostly been using a Kramer unit along also with Panasonic 7650s (which of course have the built-in TBC). We also have some Panasonic ES series but never knew about that passthrough method which is quite interesting. Will need to check that out. Just got some Datavideo TBCs at your recommendation - I see the TBC-1000 recommended but did you realize the TBC-5000 allows for 4 inputs and outputs in one unit? Unfortunately these have no conversion capacity for PAL to NTSC like the old TBCs but 4 TBCs in one is pretty neat. Can report on it when it arrives. Can talk more about that in another thread... thinking possibly about tape baking... unfortunate it's not offered much though I do see some places. There's some good info online about it and there's definitely some cases where it would be worth a shot. |
Something to consider, if you choose not to use a wet gate process. DaVinci Resolve Studio has effects in their ResolveFx Revival category that may be helpful in removing dust, etc. in post-production.
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