Motion picture film scanner

A motion picture film scanner is a device used in digital filmmaking to scan original film for storage as high-resolution digital intermediate files.[1]

A film scanner scans original film stock: negative or positive print or reversal/IP. Units may scan gauges from 8 mm to 70 mm (8 mm, Super 8, 9.5 mm, 16 mm, Super 16, 35 mm, Super 35, 65 mm and 70 mm) with very high resolution scanning of 2K, 4K, 8K Video Format, or 16K resolutions. (2K is approximately 2048×1080 pixels and 4K is approximately 4096×2160 pixels).[1]

Some models of film scanner are intermittent pull-down film scanners which scan each frame individually, locked down in a pin-registered film gate, taking roughly a second per frame. Continuous-scan film scanners, where the film frames are scanned as the film is continuously moved past the imaging pick up device, are typically evolved from earlier telecine mechanisms, and can act as such at lower resolutions.[1]

The scanner scans the film frames into a file sequence (using high-end data storage devices), whose single file contains a digital scan of each still frame; the preferred image file format used as output are usually Cineon, DPX or TIFF, because they can store color information as raw data, preserving the optical characteristics of the film stock. These systems take a lot of storage area network (SAN) disk space. The files can be played back one after each other on high-end workstation non-linear editing system (NLE) or a virtual telecine systems. The playback is at the normal rate of 24 frames per second (or original projection frame rate of: 25, 30 or other speeds). Each year hard disks get larger and are able to hold more hours of movies on SAN systems. The challenge is to archive this massive amount of data on to data storage devices.[1] The scanned footage is edited and composited on work stations then mastered back on film, see film out and digital intermediate. Scanned film frames may also be used in digital film restoration. The film may also be projected directly on a digital projector in the theater. The data film files may be converted to SDTV (NTSC or PAL) video TV systems.[1][2]

Imaging device

Image processing

Models

See also

Photo gallery

References

  1. 1 2 3 4 5 6 7 8 COMPARISON OF SCANNING TECHNOLOGIES FOR ARCHIVAL MOTION PICTURE FILM, by Dr. Gerard Maier and Michelle S. Carlos, 2. August, 2013
  2. Patent for Processing film images for digital cinema, EP 1223765 A2
  3. PF Clean
  4. kodak.com Digital ICE
  5. DFT Scanity with infrared CCD for dust removal
  6. "Compositing Multiple Pictures of the Same Scene", by Steve Mann, in IS&T's 46th Annual Conference, Cambridge, Massachusetts, May 9–14, 1993
  7. Reinhard, Erik; Ward, Greg; Pattanaik, Sumanta; Debevec, Paul (2005). High dynamic range imaging: acquisition, display, and image-based lighting. Amsterdam: Elsevier/Morgan Kaufmann. p. 7. ISBN 978-0-12-585263-0. Images that store a depiction of the scene in a range of intensities commensurate with the scene are what we call HDR, or "radiance maps". On the other hand, we call images suitable for display with current display technology LDR.
  8. digital-intermediate.co.uk, Understanding Cineon, by Richard Patterson, First Draft 10/2/01
  9. Brucegoren.com/, Kodak Brings Digital Art to Film, by Bruce N. Goren
  10. cinematography.com, Five Scientists Earn Kudos for Developing Kodak Hybrid Technology, by Tim Tyler, February 2005
  11. Film Maker.com, THOMSON SPIRIT DATACINE, Fri, 05/04/2007
  12. thameside.tv Spirit DataCine
  13. History of Telecines
  14. DFT Spirit 2k
  15. DFT SDC-4k
  16. DFT's SCANITY Audio Option Datasheet
  17. Cinelicious Scanity Press release
  18. Below the Line News Magazine, Scanity, April 26, 2011
  19. Below the Line News Magazine, Scanity in Korea, October 12, 2010
  20. content-technology.com Spice Shop Thailand SCANITY, Dec 14, 2011
  21. Scanity and Sprit Datacine in a control room
  22. Shoot online, SHOOT Publicity Wire, OMNIMAGO Invests in SCANITY for New Production and Archive Scanning Projects, March 22, 2011
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