But if you ask me a lot of commercial real time scanners are essential hybrid Telecines to me. It’s taking a video real time then separating into dpx… This why I see poor results with most commercial scanners.
Not at all accurate.
Our baseline: RAW, 16-bit, 6K, ISO 200, camera set as flat/log as possible. Exports: ProRes 4444 (HQ) at 6000×4000. I’ve used JPEG 2000 before, but it doesn’t offer the same latitude as RAW for nuanced control. For DCPs, we’re careful to avoid crushed blacks or blown highlights—aiming for a projection-accurate look without introducing “projector flicker” artifacts.
Reference: https://x.com/NCseventeen/status/1956399052423147697
Interesting. I would not call that “projection accurate”.
It looks a lot like the early 2000’s scans (off negs) where the dynamic range is limited in that way.