The two driving forces behind the Digitizer
Best operator experience is crucial to the result
Attributing to the high digitizing quality out of the scanner, is the fact that the operators also can monitor every second of the scanning process with sound and picture simultaneously on the 4K screen. They immerse themselves into the movie in true real time. A scene can be recaptured immediately if it is required and everything is live and what-you-see-is-what-you-get. This is so rewarding – as you do not have to wait for exporting or rendering before you know you have done a great job of transforming the fragile analogue media to a robust digital file ready for further enhancement.
Best technology ensures every detail
It is our duty in respect of the film writers to strive to re-establish the original emotional atmosphere and aesthetics from the analogue film. This is why the best no-nonsense technology has been applied realizing the ambitious Vintage Cloud Film Digitizer – all the way from the very easy film transportation path, over the highly adjustable burst LED-light source that captures every detail of the film meticulously to the extreme-dynamic, high-definition lens and camera gear creating a true digital clone of the film
The 4 big advantages
The Vintage Cloud Steenbeck Digitizer is the only system capable of digitizing separate image and audio at the same time up to 4K resolution and up to 60 fps.
The Digitizer is 3-5 times less costly per digitized hour than other high-end systems while delivering unrivalled image quality and unique operator satisfaction.
The Digitizer handles with ease warped, brittle and shrunken films and broken perforations up to 30 frames due to the “zero-perf.” construction.
The intuitive user interface gives access to various adjustments and operators can be up and running with confidence after just a few hours training.
The 20 other advantages
Film Formats:
16mm, Super16mm and/or 35mm w. 4 perf., 3 perf. and 2 perf. pull down in real time
Digitization Speeds:
Minimum 60 FPS at 2K and 30 FPS at 4K
Shrunken and Damaged Film:
Rounded gate capstans to handle shrunken film up to 2,5%, warped films with damaged/missing perforations up to 30 in a row with scanning uninterrupted
Sensor:
High Resolution CMOS Sensor 4K-UHC
Camera:
Global shutter camera to avoid all artefacts known from rolling shutters such as slanted lines instead of straight lines and spinning objects are not clearly defined
Camera adjustments:
Camera adjustable gain, gamma and black levels for individual color channels can be controlled via digitizer monitor interface for extreme faded film correction
Dynamic Range Camera (HDR):
Must be able to handle wide dynamic range with 11 stops or more
Light Source:
High intensity short-burst diffuse LED source for direct, full frame grab. No rotating multisided glass prisms systems in light flow to secure maximum picture quality and avoid optical artefacts
Light Source Grading Options:
Adjustable (0-100%) W-R-G-B in each color channel
Monitor:
Built-in 4K monitor in digitizer for WYSIWYG viewing (What-You-See-Is-What-You-Get)
Technical Video Scopes built-in:
Built-in R-G-B Parade, Color Vector Scope, Video Waveform, Audiometer
Focus:
Easy focus adjustment with on-screen peaking aid
Digital Zoom:
High quality digital zooming and positioning
Masking:
Adjustable pillar and letter box masking
Audio Digitization:
Simultaneous with image and embedded in SDI video stream and recording in following formats: SEPMAG, SEPOPT, COMOPT, COMMAG with 4-plate system. Biphase out, TTL levels for external sound equipment synchronization
Audio Output:
Headphone, internal and external speakers for audio monitoring
Outputs:
Uncompressed HD, ProRes 4:2:2, DNxHD directly to high speed SSD media and DPX (w. external grab unit). Realtime SDI uncompressed output in full scanning resolution and frame rate
Film Transportation Principle:
Steenbeck’s proven and super-sensitive transportation principle applied and improved for maximum protection of the fragile and decayed analog film media
Standing:
Free standing, no cooling required. No external computer requirements
Film Repair:
Repairing splices without removing film from scanner and ability to continue scanning from break point