Tuesday, November 13, 2018

Toolbox

  • Thursday, Aug. 23, 2018
Golden Horse film “Alifu, the Prince/ss” produced with URSA Mini 4.6K and DaVinci Resolve Studio
Colorist Zoe Chang
FREMONT, Calif. -- 

Blackmagic Design announced that the Golden Horse Award-winning film “Alifu, the Prince/ss” was shot with its URSA Mini 4.6K digital film camera and graded by colorist Zoe Chang with DaVinci Resolve Studio and the DaVinci Resolve Advanced Panel.

Directed by Yu-lin Wang, lensed by DP Pan-yun Wang and starring Utjung Tjakivalid, Yi-lan Chao, Pong Fong Wu and Chu-seng Chen, “Alifu, the Prince/ss” is a drama that tells the story of 25-year-old hair stylist Alifu and his friends as he is torn between realizing his dream of becoming a woman and inheriting the chief position handed down by his father, since he is the only son of an aboriginal tribal chief. The film won Best Supporting Actor and was nominated for Best Original Screenplay at the Golden Horse Film Festival 2017 and was also selected for the “Asian Future” section of the 30th Tokyo International Film Festival.

On a tight budget of $250,000 for the whole project, director Yu-lin Wang needed a digital film camera that was affordable but still capable of providing high-end footage. As a longtime user of the Blackmagic Production Camera 4K and Blackmagic Cinema Camera, Wang was confident in the image quality produced by Blackmagic Design’s cameras and decided to use the URSA Mini 4.6K camera for the film.

“In addition to the powerful features at a low cost, the URSA Mini 4.6K’s size fits me perfectly, and it doesn’t feel heavy when shoulder-mounted. Plus, most of our interior scenes were actually shot at locations such as old buildings and bars in Taipei where the space was tight, but it was very easy for me to carry the camera around, following actors or setting it up in a bar’s small restroom or bar counter section,” said Pan-yun Wang.

To save costs, the crew decided not to use lights whenever possible and to make the most of natural light sources instead. Artificial lights were used only when natural light was too dim. For night scenes, only specific areas were lit up, so most of the footage looked very dark.

The lack of lights created challenges for colorist Zoe Chang, who is known for her excellent DI work on popular Chinese films “Monkey King 3: Kingdom of Women,” “Devil and Angel,” “Our Shining Days,” “Black & White 2: The Dawn of Justice,” “Cook Up a Storm” and “End of Summer.”

“Director Wang still wanted us to produce a high quality film at a low cost.  I have been in the DI field for many years, but I still couldn’t relax when faced with such a challenge,” said Chang.

Chang didn’t understand the director’s vision until she saw the RAW footage shot with the URSA Mini 4.6K in DaVinci Resolve Studio for the very first time. “With its 15 stop of latitude, I saw the details hidden in the highlights and blacks, which could be retrieved. What amazed me the most were a couple of backlit interior scenes shot at a window. I had never before handled a high-end digital film camera that could retain the scenery out of a window in backlit footage,” she recalled.

She explained how she handled the looks of the film, “I didn’t want to go with a greenish look for the blacks as it would make the character’s face look very dirty, especially since Alifu is a Taiwanese aborigine whose skin tone tends to be dark, and since most of the scenes were not well-lit. Plus Alifu is a transgendered person and he is a stylist, a profession that produces beauty, so I wanted to help build the character, who is sensitive and sentimental, with carefully handled skin tone and rich colors.

“When setting the look for the film, I produced three tones for the director to choose from. For the first one, the blacks inclined towards reddish brown and the areas in the midtone that had neutral colors were tinted with water blue, so the characters could stand out from the background. For the second tone, the said colors were enhanced a little bit more. For the third tone, there was not too much grading for a natural, neutral tone.”

The director chose the second color scheme as the tone for all daylight interior and exterior scenes. However, the film consists of three major stories: Alifu and his tomboy roommate; the civil servant who becomes a drag queen at night; and the transgender pub owner and the plumber she loves. As such, Chang continued to make further refinements depending on scenes and stories.

She explained with a couple of examples, “For the scenes full of lust, I added more purple. For pub scenes, with the help of DaVinci Resolve Studio’s Power Windows, I was able to increase the saturation for the colors of the lights in specific regions, so the image matched the intoxicating music. A dark grayish blue look was produced for hospital scenes. For night interior scenes, I would tint the windows and areas near the windows with dark blue while enhancing the warm tone near light sources to increase the depth of space. In the seaside and railway station scenes, as well as the scenes that the son of Alifu and the tomboy are in, the warm tone of the highlights was enhanced.

“When Alifu gets back to his tribe for the hereditary succession ceremony after changing his sex, I gave up the reddish brown tone in the blacks and gave it a little bit of blue instead to set off the traditional red clothing. To avoid affecting the lip color while enhancing the red on the clothes, different colors on the clothes and headdresses were isolated and enhanced, and DaVinci Resolve Studio’s Power Windows and tracking were very useful and accurate, saving a lot of time.”

Pan-yun Wang commented on the DI work for the film, “Zoe crafted each frame with her experience and skills, so the details and colors were perfectly shown to the audience. Especially for the clothes and headdresses worn by Alifu and the hereditary succession ceremony scene, vivid colors and well-matched brightness and darkness were precisely presented. She is not only a master at grading blockbusters, but also a blessing for extremely low cost productions!”

  • Monday, Aug. 20, 2018
Shotgun Software unveils Pipeline Award winners
The 2018 Pipeline Awards ceremony
VANCOUVER, B.C. -- 

During last week’s SIGGRAPH convention in Vancouver, Shotgun Software, an Autodesk company, announced the winners of its annual Pipeline Awards, honoring outstanding achievement in pipeline tool development. This year’s winners highlight the best pipeline innovation around the world, with teams from the UK, Australia, South Korea, and the Netherlands all showing their workflow ingenuity.

This year’s Pipeline Award winners are:

  • UTS Animal Logic Academy for Turret (Sydney, Australia): Turret connects Shotgun and Pixar’s Universal Scene Descriptions (USD) to create a lightweight file resolver architecture that works across a range of content creation applications. Turret has been the cornerstone of the studio’s USD-based system plugin and has transformed overall workflow by pushing the latest data out automatically rather than requiring artists pull data manually. By assembling their scenes using Pixar USD with Shotgun to handle file abstraction and versioning, this educational facility has combined learning about cutting edge pipeline technology with building a system that allows them to rapidly author content and track it in Shotgun.
  • 4th Creative Party for LAEL (Busan, South Korea): LAEL is a dashboard where artists, production teams, TDs, and support staff can manage data associated with the projects they are working on. It provides artists an in-context view into the work that’s assigned to them, as well as easy access to associated files and metadata they need to do their job well. Production and support teams have access to a rich set of functionalities that provides a simple, robust way to manage file ingestion and client deliveries, and TDs have everything they need to manage the structure of a project on disk at their fingertips.
  • Zoho Studio for Shotgun Slate (Rotterdam, Netherlands): Acting as a digital slate, this tool records on-set data during shoots and pulls shot data from Shotgun to efficiently fill out the slate with key information like camera type, lens, and focal length. The slate itself runs on an iPad and is captured for each plate shot, and then stored within Shotgun. Shotgun Slate offers an effective way to manage many plates, significantly speeding up the process on set.
  • Territory Studio for Territory Toolkit (London, UK): Territory Toolkit is a set of plugins for Adobe Creative Suite and Cinema 4D, giving Territory’s motion graphics artists a Shotgun-based structure and level of control directly within their chosen application. While VFX applications like Maya and Nuke are already supported by Shotgun, this proprietary tool bridges the gap between Territory’s VFX and motion graphics teams, allowing for smooth transition between all of the DCC apps the studio uses, and eliminating problematic and time-consuming manual data-entry.

“Now more than ever, amazing pipelines are game changers for our clients.  These toolsets not only automate repetitive tasks to maximize artist’s creative time, they actually help artists reach beyond what they could do on their own before - literally giving them the ability to contribute more and better creative to a project,” said Don Parker, VP/GM for the Shotgun family, Autodesk.  “It has always been Shotgun’s mission to help pipeline creators design and build pipelines as efficiently as possible, and it’s amazing to see another year of inspiring tool development.  We’re honored to celebrate the tools and their builders again this year.”

  • Thursday, Aug. 16, 2018
BOXX workstation qualifies for Autodesk Flame 
BOXX's APEXX W5 workstation
AUSTIN, Texas -- 

BOXX Technologies announced that its APEXX W5 workstation has achieved Autodesk Flame qualification, joining an elite group of systems recommended by Autodesk to run the advanced film and television visual effects software. BOXX is a leading manufacturer of Autodesk-recommended workstations, while Flame is the preferred application of production studios and post houses throughout the world.

“At BOXX, we are committed to helping VFX artists, animators, film editors, and other post professionals work faster and more efficiently,” said Shoaib Mohammad, BOXX VP of business development and services. “If you rely on Flame or other professional applications, APEXX W5 will help you increase productivity while dramatically improving completion times.”

The most advanced BOXX workstation platform, APEXX W5 features an 18-core Intel Xeon W-series processor for rapid workload loading and processing, while up to four NVIDIA® Quadro™ graphics cards provide unparalleled support for GPU-accelerated compute applications. Flame only utilizes two GPUs, making the custom-configurable W5 ideal, and with additional PCI-E slots, liquid cooling, and 512GB of system memory, it delivers high-powered performance for all Flame features from 3D visual effects, compositing, and conforming, to editing, color grading, and finishing. The high powered BOXX workstation also provides state-of-the-art performance for rendering, simulation, deep learning, and multi-display applications. 

“We’re pleased to see the BOXX APEXX W5 workstation as a qualified Flame solution,” said Will Harris, Autodesk Flame Family Product Manager. “The W5 provides outstanding support for Flame’s rich list of features, enabling users to accelerate their post workflow, expand opportunity for more iterations, and meet critical project deadlines.”

  • Wednesday, Aug. 15, 2018
DigitalFilm Tree embraces DaVinci Resolve 15 Studio
Ramy Katrib
FREMONT, Calif. -- 

Blackmagic Design announced that postproduction facility DigitalFilm Tree (DFT) has moved its full pipeline, including editorial, color, visual effects (VFX) and delivery, into the newest release of DaVinci Resolve Studio, version 15, which was released this month.

DFT is no stranger to being a first adopter of the newest technology, establishing itself as a top finishing house for high-end broadcast, OTT and feature film projects. Notably, DFT was one of the first companies to use Blackmagic Design’s DaVinci Resolve Studio, in 2009 on “NCIS: Los Angeles,” shortly after Blackmagic Design purchased DaVinci Systems.

The move to DaVinci Resolve 15 Studio was carefully planned and was the culmination of a series of tests on the public beta since its release at NAB in April 2018. “We always focus on providing customers and artists with the best tools available,” said Ramy Katrib, founder and CEO of DigitalFilm Tree. “We knew the final release of 15 would come soon, so we used the public beta to methodically test and integrate DaVinci Resolve 15 Studio into all our post departments.”

One of the biggest advancements in the new software was the addition of Fusion VFX, and DFT’s incorporation of the tools into its VFX department was both welcome and complex. “We wanted to utilize the unique workflow that DaVinci Resolve 15 Studio offers, allowing all our artists from editorial, conform, color, and VFX to work in the same project at the same time,” said Katrib. “Rather quickly, our VFX and color departments started using Fusion because it’s right there in DaVinci Resolve Studio, with little to no round tripping to other apps! Even in the early stages, we are experiencing the power of Fusion and the efficiency of real time collaboration.”

With DaVinci Resolve 15 Studio, postproduction collaboration is fully realized, and it was these tools that motivated the entire company to make the transition quickly. “I was already comfortable with the speed and power of the Color page in DaVinci Resolve Studio,” said Patrick Woodard, sr. colorist at DigitalFilm Tree. “However, now with DaVinci Resolve 15 Studio, I can work interactively with other artists while I grade, making our team far more efficient and creative than ever before.”

Unlike other tool sets, DaVinci Resolve 15 combines the power of a full NLE, award winning color, Fusion VFX, Fairlight audio and delivery tools together in one application. Artists at every level can work on the same timeline at the same time, increasing both efficiency and speed of delivery. “With today’s quick turnaround demands and fast technical and creative revisions, it makes sense to have editorial and conform, color and VFX all making forward progress, at the same time,” said Katrib. “Whether at DigitalFilm Tree or remotely, DaVinci Resolve 15 Studio allows our clients to iterate across the entire post process in one timeline. Now when they sign off, our delivery times are far shorter because we output the final master right from DaVinci Resolve Studio. Throughout the mastering process, we present our clients with a persistent camera RAW finishing environment. Post production is exciting again, with amazing collaboration across technical and creative departments, on every project.”

More than four years ago, DFT leveraged DaVinci Resolve Studio and its IT logistics capabilities to offer remote post services. At first, they offered remote DaVinci Resolve Studio color systems for clients across the world, allowing them to see and sign off on their projects as if they were sitting in a brick and mortar color bay in Los Angeles.

“As we are evolving to IP-based post processes and services, DaVinci Resolve Studio brings the entire post process to our clients, wherever they are, far or near,” said Katrib. “Current clients utilizing our remote post services, which we call GeoPost, include TBS’ ‘Wrecked’ for which we provide remote dailies from Fiji, ABC’s ‘American Housewife’ for which we provide remote color and VFX review, and the CW’s ‘The 100’ for which we provide remote titling, conform, color and VFX review.”

With DaVinci Resolve 15 Studio’s expanded collaboration and remote features, Katrib is excited to grow DFT’s services on a global basis. “DaVinci Resolve Studio continues to be a game changer, and it’s everywhere. Now, with a complete shared workflow in one package, the post production paradigm will change dramatically for everyone and for the better.”

  • Sunday, Aug. 12, 2018
Conductor elevates Mac Moore to president
Mac Moore
OAKLAND, Calif. -- 

Conductor Technologies announced that sr. VP of sales and marketing Mac Moore has been named president. With more than 20 years experience guiding enterprise software partnerships globally, Moore has been a vital asset to the Conductor team since joining ahead of the cloud rendering platform’s SIGGRAPH 2017 launch. He assumes the president role from co-founder Kevin Baillie, who remains at the helm of Conductor’s board of directors but is shifting his primary focus to creative leadership at VFX studio Atomic Fiction, which recently signed an agreement to be acquired into Deluxe’s global VFX brand, Method Studios.

“From his first day on the job, Mac has been my right-hand man. He constantly blows me away with his depth and breadth of knowledge, and how personally committed he is to our mission of bringing efficient, enterprise-scale cloud rendering to the market,” said Baillie. “He knows cloud rendering and the M&E space like the back of his hand and has tangible love for our customers, which makes him the ideal person to shepherd Conductor along its remarkable growth path.”

Moore noted, “Throughout my career, I’ve gravitated towards transformative technology, and cloud has completely altered how we think about and execute in the content creation ecosystem. Conductor’s position in leading the cloud charge brought me here, and I’m thrilled at the opportunity to guide it forward.”

Prior to Conductor, Moore led a worldwide sales team for Autodesk’s Media & Entertainment division, helping navigate the company’s transition to SaaS and cloud-based models. Moore began his career in creative technology as an Software Applications Engineer at Mentor Graphics before eventually expanding into project management and broader business development roles. He holds a bachelor’s degree in Mechanical Engineering from North Carolina State University, and is based in Raleigh-Durham, NC.   

Conductor’s cloud rendering platform launched into commercial availability mid-summer 2017, after a two-year customer beta, and to date has achieved dynamic scale of over 100,000 simultaneous cores. Conductor will be showcased at SIGGRAPH 2018.

  • Thursday, Aug. 9, 2018
Cooke to bring lens Innovations to IBC
Cooke Optics S7/i Full Frame Plus lens
LEICESTER, UK -- 

Cooke Optics will present its latest lens ranges and focal lengths on Stand 12.D10 at IBC 2018 running from Sept. 13-18. The 65mm Macro and 21mm lenses for the Panchro/i Classic range are now in production and will be available for demonstration for the first time on the stand, along with lenses from the S7/i, miniS4/i, Anamorphic/i, Anamorphic/i SF and families.

“It is 20 years since we built our flagship S4/i prime lenses, which are still in demand and back-ordered to this day,” said Les Zellan, chairman, Cooke Optics. “I’m very proud of what we have achieved since then, launching a further seven lens sets--all designed and built from the ground up for industry use--that give cinematographers incredible choice while retaining our famed ‘Cooke Look’ across the range. While it’s nice to look back for a minute, the Cooke team and I are fully focused on the future, with a new range to launch at IBC and more innovations to come.”

The S7/i Full Frame Plus lens range was the first large format lens set on the market, and has been purpose-built to cover the new full frame cinema camera sensors up to the full sensor area (46.31mm image circle), including the RED Weapon 8K, ARRI ALEXA LF and Sony Venice.

Panchro/i Classic prime lenses offer the vintage look of the beloved Speed Panchros but with the benefit of modern housing, mounts and glass.

The Anamorphic/i 45-450mm T4.5-22 zoom lens features 10x zoom front anamorphic, 5’10” MOD from image plane and 3’11” close focus from the front of the lens.

Anamorphic/i SF (“Special Flair”) lenses features a coating that provides even more of the flare, bokeh and other aberrations synonymous with the anamorphic look. The miniS4/i range delivers smaller, lighter lenses that offer the same resolution, optical quality and reliability as the S4/i, but at a lower price. The 5/i family offers T1.4 speed and a focus ring that illuminates when you need it, as well as superb optical and mechanical performance, control of flare, distortion, veiling glare and spherical aberrations at full aperture.

  • Thursday, Aug. 9, 2018
Blackmagic Design, Apple Team On Blackmagic eGPU
The Blackmagic eGPU
FREMONT, Calif. -- 

Blackmagic Design introduces the Blackmagic eGPU, a high performance graphics processor for pro creative software such as DaVinci Resolve, 3D games and VR. Designed in collaboration with Apple, the Blackmagic eGPU features a built-in Radeon Pro 580, two Thunderbolt 3 ports, HDMI 2.0, 85W of charging power and four USB 3.1 connections. It comes in an integrated design that brings high-end desktop class graphics processing to MacBook Pro for professional video workflows, 3D games and immersive VR. And, the Blackmagic eGPU is the first to support Thunderbolt 3 displays.

Created to address the needs of professional video editors, Hollywood colorists and visual effects artists who need to remain mobile, but want the power of a desktop class GPU added to their MacBook Pro, the Blackmagic eGPU is flexible and simply plugs in via Thunderbolt 3, so users can benefit from improved graphics performance and acceleration of computational tasks. It’s perfect for speeding up professional creative application workflows including editing, color correction and visual effects with DaVinci Resolve.

The Blackmagic eGPU adds the performance customers need to make the latest 3D games and VR look increasingly realistic. That means customers will get higher resolution images, higher frame rate gameplay, better lighting and more detailed textures for truly immersive experiences, even on a laptop computer. Customers running DaVinci Resolve 15 can expect increased performance for editing with more real time effects, color corrections with more nodes and spectacular ResolveFX such as film grain, light rays, blurs and more.

  • Tuesday, Aug. 7, 2018
eFootage scans thousands of hours of film with Cintel Scanners
efootage deploys the Cintel scanner for thousands of hours of contemporary and historical stock footage
FREMONT, Calif. -- 

Blackmagic Design has announced that eFootage, a provider of contemporary and historical stock footage, is using two Cintel Scanners, six Teranex 2D Processor standards converters and DaVinci Resolve Studio as part of its scanning, archiving and film preservation workflow.

Spanning more than 100 years of motion image history, eFootage holds a vast quantity of news material, especially from 1960 through the present, as well as deep, eclectic collections of silent film white and color industrials, newsreels, lifestyle footage, world travel elements, and 35mm design and blue screen holdings. Clips are available for licensing and download via the company’s website, www.eFootage.com/.

“Over the years, we have purchased a variety of existing libraries and have licensed others,” explained partner Paul Lisy. “We welcome discussions with content holders on how we can help monetize their holdings, and we also provide footage research and related services for specific projects, as well as some production work.”

Lisy added, “We have sought to procure and present unique, often rare film and video clips of the highest possible quality. Currently, we are in the midst of a multi-year push to digitize and present online, often at HD and 4K resolutions, the bulk of our vast repository, much of which we will be offering for the very first time. We have scanned a couple thousand hours of content at this point, with much more to go.”

Prior to purchasing the Cintel Scanners, scanning most of eFootage’s 35mm material wasn’t economically feasible. “The Cintel Scanners give us the ability to control scanning quality while minimizing cost and turnaround time,” said partner Greg McLemore. “Previous solutions we looked at were prohibitively expensive, and Cintel has been the first cost-effective, high-quality solution we discovered.”

eFootage relies on two Cintel Scanners, along with 16mm and 35mm Gates and Cintel Audio and KeyKode Reader to scan its extensive holdings. “Previously, we had equipment in-house to digitize our 16mm content, but we replaced it as Cintel helps us present the content in higher resolution formats. Our experience with our first Cintel Scanner has been so great and problem-free that adding a second scanner was a no-brainer, and it has helped increase how quickly we can make our collection accessible. Also, we were really excited to hear of the release of the Cintel Audio and KeyKode Reader, which allows us to work with mag track audio in-house,” said Lisy.

eFootage has an enormous amount of film and videotape in a variety of formats. In the case of film, eFootage scans both 16mm and 35mm (positive and negative) with the Cintel Scanners, transferring it via Thunderbolt to Mac computers, which ingest the material using DaVinci Resolve Studio. The Teranex 2D Processors are used as part of the archiving process for the videotape library. Time base correctors pass the footage through the Teranex 2D Processors to the computers via Thunderbolt, which record high-quality files using Blackmagic Design’s Media Express software. The recorded files are then transferred to external multi-terabyte drive arrays for further web server processing and display.
 
“We save the original film material for all our holdings and occasionally go back to it upon client request,” noted McLemore. “Additionally, some of our film content, which had been previously scanned in years past, can now be rescanned at higher resolution and quality using the Cintel Scanners. Currently, we offer upgrade services on material that is not yet featured on the site in higher formats, which can involve rescans on the Cintel or uprezing from SD to HD via the Teranex 2D Processors.”

“The Cintel Scanner’s real-time scanning functionality, reliability and economics, coupled with the Teranex 2D Processor’s high-quality output, are a combination that can’t be beat,” concluded Lisy. “The Teranex 2D Processor is the least time-intensive solution we have found to-date for converting older SD material to HD, and overall, both products are durable and easy to use.”

  • Monday, Aug. 6, 2018
Kathy Bienz named director of North America for IABM
Kathy Bienz
GLOUCESTERSHIRE, UK -- 

IABM, the international trade association for suppliers of broadcast and media technology, has appointed Kathy Bienz to serve as its director, Norh America. She takes over from Caryn Cohen who held the role the past four years.
 
An Electrical Engineering Technology graduate, Bienz has more than 20 years’ experience in the broadcast and media industry with major players such as Grass Valley, ChyronHego, Leitch Technology, Harris, Imagine Communications and Snell Advanced Media (SAM). She has worked in a wide range of roles including product management and marketing, channels management, field marketing management, marketing communications and was most recently director of marketing, Americas at SAM.

“I have watched IABM blossom into a major force on the vendor side of the industry over recent years, and I particularly applaud its recent moves to bring the end-user side of the industry into the conversation to provide the platform for collaboration our industry now needs to move forward,” said Bienz.

“I am thrilled to have the opportunity to carry forward all of IABM’s initiatives in North America and to further grow the family of members here,” she continued. “The enormous range of IABM member benefits that help companies do better business – all for a fraction of the cost of most other association memberships - should make IABM membership an automatic choice for the vast majority of broadcast and media technology companies. I will be carrying that message out strongly into the industry.”

IABM CEO Peter White, stated, “Our previous director, North America, Caryn Cohen, was a real force for change and has done a tremendous job in helping IABM increase its footprint internationally--particularly in North America. Kathy Bienz is the right person to pick up that mantle and carry it forward to the next level. We are delighted she has joined IABM and I look forward to even deeper engagement in the North American market as Kathy brings her very considerable industry experience and technical understanding to bear in her new role.”

  • Wednesday, Aug. 1, 2018
Kobe Design University installs Cintel Scanner for film archiving
An archival image from Kobe Design University
FREMONT, Calif. -- 

Blackmagic Design announced that Kobe Design University has installed Cintel Scanner to archive hundreds of 16mm and 35mm films, some dating back to the 1920s. The project is taking place with the university’s Kobe Planet Film Archive, which collects, preserves and exhibits not only films but also books, posters and equipment related to cinema.

Kobe Design University is an art college founded in 1989 and includes Japan’s largest private film archive. The school has seven departments in total: environmental design, product and interior design, visual design, manga media, fashion and textile design arts and crafts and image arts, which includes courses on films and film production.

Owning more than 16,000 16mm and 35mm films in the Kobe Planet Film Archive, the university focuses on film archive projects, in collaboration with the university’s information library. As a way to contribute to Japanese culture and society, the university digitizes old films archived in the university and in Kobe Planet Film Archive, and also holds screenings using two 35mm projectors and a16mm projector. More than two hundred 16mm films archived in Kobe Design University are currently planned to be digitized, with more than 30 films already digitized with Cintel Scanner.

“Our information library has a collection of about two hundred 16mm films, but after 30 years, the films’ colors are fading and they are entering into the state of decay known as ‘vinegar syndrome.’ The 16mm projector is also too old to be repaired and maintained in a good condition, making it nearly impossible for us to foresee continued screenings in the future. Kobe Planet Film Archive holds many old, deteriorated 35mm films and it was difficult to put them on a projector or even to check the content. That is why digital film archiving became a priority in Kobe, a birthplace of cinema in Japan. And we chose to install Cintel Scanner,” said Prof. Eiji Hashimoto of Kobe Design University.

He explained: “You would need a 35mm projector to watch a 35mm film. However it takes time and effort, and you can’t even rewind or stop a film at will. In addition to that, there are many films whose perforations are lost or which are too curled to be put on a projector. Cintel Scanner is better than projectors in that regard, because it continually and smoothly runs films, without pulling films with strong, intermittent strength. Damaged films can be run slowly, at 4-8 frames per second, so you can digitize old films that you had given up on.”

“We are also using DaVinci Resolve with Cintel Scanner. Using this powerful combination you can digitize silent films from the 1920s, shot with 16 frames per second. After being scanned the digitized data is imported into DaVinci Resolve Studio and rendered into clips of 16 frames per second. That way you can see films at the speed originally intended a hundred years ago. I also like the audio extraction feature, because it supports two types of modulations, density and area. Cintel Scanner is helpful in capturing and preserving not only video but also audio from old films,” he concluded.

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