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I have the following questions regarding the Spirit datacine.
I don't want to sound negative but there has been so much hype around on =
this subject that I can't resist posing some questions......
1/ I understand that the data output will be one HIPPI channel so the ma=
ximum transfer speed will be less than 10FPS? Hippi =3D100mb/s
2/ If multiple HIPPI cards are used how many and what type of data reco=
rders will be used and at what cost?
3/ What is the maximum SUSTAINED data rate from the datacine, HIPPI card=
s use cache ram to burst data out, this will limit the sustained data rat=
4/ The image needs to be PIN registered quality, even more crucial at fi=
lm resolution as the unit should emulate optical printer quality. How wil=
l this be achieved, the NAB machines were not stable enough.
5/ Stabilising images in a work station is slowwwww and defeats the objec=
t of a fast scan. If a 10 second effect shot is transferred via HIPPI at =
say 6 fps it will be boring and extremely expensive to fix these shots i=
n inferno, negating the speed increase of the scanning .
Consistency between rolls registered relative to each other is vital.
6/ Cost, why is the cost so high? We need realistically priced tools.
7/ What choice of colour correctors will be available?
8/ In data mode if the High def monitor is being used to grade on , what =
contingency has been made for colour space issues to be addressed and con=
trast range handling to be addressed.
The daVinci film grading demo looked cool and may be a more realistic cos=
t effective way of grading 2K work, even then the image will need final f=
inishing after and during the composite. Film res work is not telecine wo=
rk and they are far apart in terms pace and technical requirements.