If the scanner could scan 35mm neg at 6K or 8K at a fast frame rate (18fps or higher) then we would consider that for our master DPX files. But at the moment 4K at 18fps is the best compromise for resolution and speed. If it’s slower than 18fps then it’s not really practical for dailies.
17.07.2023 10:18 — 👍 5 🔁 0 💬 0 📌 0
The grain is baked in for all home entertainment versions too.
17.07.2023 10:15 — 👍 1 🔁 0 💬 0 📌 0
Of course McQ. I have replied to the main thread about this. Thanks for the question Josh.
15.07.2023 17:29 — 👍 4 🔁 0 💬 1 📌 0
But we add grain and other film artefacts to the final DI of those movies so it feels more like film when you watch the DCP (Digital Cinema Package) in a cinema.
15.07.2023 17:28 — 👍 9 🔁 0 💬 1 📌 0
The benefit is that all the texture and grain of the 35mm source is preserved in the DPX files. Personally I prefer the look of those scanned 35mm DPX files to the ultra clean feel of digital cameras like the Sony Venice, which we used on Top Gun: Maverick and Dead Reckoning Part One.
15.07.2023 17:25 — 👍 6 🔁 0 💬 0 📌 0
The negative is then stored, and the DPX files become the new master source files for the VFX department and for the Digital Intermediate colour correction.
15.07.2023 17:24 — 👍 8 🔁 0 💬 0 📌 0
Hi Josh - on Fallout, all our 35mm negative was scanned at 4K on a Scanity film scanner which digitised at 18fps to DPX files (one file per frame). This was then transcoded by our lab to Avid DNxHR LB 2160p MXF media files which we used to edit.
15.07.2023 17:23 — 👍 9 🔁 0 💬 1 📌 0
