posted 04-06-2004 07:34 PM                       

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And I don't have a beard, and don't work in marketing.

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posted 04-06-2004 08:31 PM                       

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Are you the originator of that quote, John?

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Nope. It was one of the bearded guys in Marketing.

BTW, my long-time tech Mark DeLettera (the original guy with the "digital beard" in the Kodak ScreenCheck ads) has just retired from Kodak. He and his wife (who shared Kodak careers) are building their dream retirement home in Venice, Florida.

And he's three years younger than me!

posted 04-06-2004 08:32 PM                    

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What about movies by Pixar? I would think the film negatives of their flicks can't be any higher quality than the resolutions they used to render their movies to begin with.

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posted 04-06-2004 08:38 PM                       

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KODAK LIGHTNING LASER RECORDERS

The Lightning recorder's technology is unique in that it uses red, green and blue lasers to expose negative film. The three lasers write directly to each color layer of the intermediate stock. This combination produces images of unparalleled sharpness and color saturation. The system's 10 bit (per color per pixel) log space retains all the film's enormous density range, while the lasers' extremely wide dynamic range ensures that the quality of the new negative is absolutely optimised
Kodak's laser recorder polygon has 16 facets and spins at 6120 revolutions per minute (rpm). The imaging lens is a high-performance, color-corrected f/theta lens which was custom designed for the recorder. The digital datapath of the Lightning laser recorder also includes color matrix and aperture correction boards. The color matrix is used to help eliminate color crosstalk on the negative. The aperture correction board applies a compensating correction for the combined optical losses of the film recorder ensuring that the full detail and grain structure of the film is preserved.
It is extremely important that the grain content in the recorded shot matches exactly that of the original film, so that when an added effect is edited into the finished sequence there is no discernible change in grain, a telltale sign of an added effects shot. Cinesite outputs to 5242 intermediate stock, which is virtually grainless (ASA 3) and has the ability to record the grain pattern from faster stocks so that the digital transformation is unnoticeable in the final edit. The lasers that the Kodak system uses are more intense than CRT's and are able to record out the full dynamic range of any other scanned original negative stock. At Cinesite the lasers are calibrated to give a maximum dynamic range of 2.046 density units to match the capability of the 5242 stock. When used with the Lightning film scanner, the Lightning laser recorder's output is nearly impossible to distinguish from the camera original

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frame size: 35mm full aperture, 4 perf.
nominal spot size: 0.006 mm (4K resolution)
0.012 mm (2K resolution)
image format: 4096 x 3112 pixels (4K resolution)
2048 x 1556 pixels (2K resolution)
dynamic range: 2.046 status M density above Dmin on intermediate filmstock
MTF: 40% @ 40 lp/mm; horizontal and vertical
film transport: 1000 foot and 2000 foot magazines supply and take-up separate
shuttle mode: > 5 frames per second
host computer: Windows XP platform
user interface: calibration function
job management
optional: visual control of images
network interface: Fast or Gigabit Ethernet, others optional
physical dimensions: size: 115 x 115 x 65 cm
weight: approx. 285 kg
electrical requirements: input voltage: 240 V
power consumption: < 800 W incl. host computer
frequency: 50 Hz, 60 Hz
operating environment: room temperature: 19 - 24° Celsius

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posted 04-06-2004 08:45 PM                       

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NORTHLIGHT SCANNER

Cinesite recently installed Northlight film scanners at both the Los Angeles and London facilities. This new generation of scanners, developed by FilmLight in London, utilizes an 8K tri-linear CCD array manufactured by Kodak to convert film at either three- or four-perforations of height per frame to digital files. Cinesite can now scan 35 mm color negative film at speeds around four times faster than the previous generation of machines making it more practical to convert nuances in colors, contrast and other details captured on the original negative to digital files.

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KODAK LIGHTNING 35MM SCANNER

The Lightning film scanner, the finest system available for digital imaging, is the cornerstone of Cinesite's scanning capability. Featuring CCD sensor technology with three linear photosite arrays of 4,096 pixels each, the scanner handles the most common 35mm aspect ratios of Full Aperture (1024,2048 & 4096 lines resolution), Cinemascope and Academy (914, 1828 & 3656), and Vista Vision format (6144).
At 4000 lines, the Lightning scanner captures 38.9mb of data per frame from the standard 35mm format, Cinemascope captures 45.5mb, Full Aperture 51mb and Vista Vision exactly 100mb. The 4000 line resolution provides more than sufficient headroom for the level of image manipulation upon which our customers stake their reputations.
Each CCD array has a custom filter tuned to the dye densities of Eastman Color film, and is capable of capturing the full dynamic range of the images being scanned.

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GENESIS PLUS 65MM SCANNER

Cinesite is excited about the tremendous growth happening in the large format, special venue industry. The Kodak Genesis Plus scanner brings the same dynamic and robust digital tools to the 65mm wide-screen filmmaker that are available with the 35mm Lightning scanner. The Genesis Plus handles 5, 8, and 15 perf formats.

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posted 04-07-2004 02:56 AM                       

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KODAK LIGHTNING 35MM SCANNER

The Lightning film scanner, the finest system available for digital imaging, is the cornerstone of Cinesite's scanning capability. Featuring CCD sensor technology with three linear photosite arrays of 4,096 pixels each, the scanner handles the most common 35mm aspect ratios of Full Aperture (1024,2048 & 4096 lines resolution), Cinemascope and Academy (914, 1828 & 3656), and Vista Vision format (6144).
At 4000 lines, the Lightning scanner captures 38.9mb of data per frame from the standard 35mm format, Cinemascope captures 45.5mb, Full Aperture 51mb and Vista Vision exactly 100mb. The 4000 line resolution provides more than sufficient headroom for the level of image manipulation upon which our customers stake their reputations.

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