Adjusting The Color Of The Scanner - Blackmagic Design Cintel Scanner Installations- Und Bedienungsanleitung

Adjusting the Color of the Scanner

DaVinci Resolve's film scanner panel gives you control over the exposure and color
temperature of the light used to illuminate the film for scanning. You can adjust these via the
light source master wheel and RGB controls, in order to maximize the amount of information
you're extracting from each frame, while preventing any part of the image from being
irretrievably clipped. While it's true that CRI is a raw image format, there's no latitude beyond
the internal data range used by DaVinci, so be mindful that if you're clipping data in the built in
video scopes while scanning, it might be clipped permanently in the scanned media.
How often you'll adjust the color and exposure of scanned shots depends on how much variety
there is in the scenes on a particular film roll. For example, some rolls may have many takes of
the same scene, all of which have the same lighting and which can share the same adjustments.
Meanwhile, other rolls may have a variety of different scenes with widely different lighting in
each one, necessitating you to make individual adjustments for each scanned clip to maximize
data quality.
This is important because the light source master wheel and RGB controls cannot be automatically
changed between scanned clips in a log and capture workflow. This means that the current
light source settings will be used for all clips you scan until you manually change those settings
again, even for clips that you've logged from different parts of a film roll. This means that the log
and capture style of working is only advisable in situations where it makes sense to log multiple
clips that share the same light source master wheel and RGB control adjustments.
Otherwise, it's recommended you make lighting adjustments on a clip by clip basis, as you scan
each clip, in situations where you need maximum image quality for finishing. Keep in mind that
the goal for these adjustments is to maximize image data from the scan, not to create the final
look of the clips, which you'll accomplish later in the grading phase of work using the controls
of the 'color' page.
To adjust the light source settings, find a typical image for the section of roll or for the first
series of shots you're going to scan, and adjust the light source while viewing the built in
video scopes.
Adjust the light source master wheel to set the intensity of the light source used to illuminate
the film, raising or lowering the level of the R, G, and B channels all at once. For a typical
camera negative, this lets you adjust the black point of the film image. In a negative print, the
darkest part of the image corresponds to the highlights of the film image. Set the light source
master wheel to sit just above the typical Dmin value of 95, as measured on the histogram of
the video scopes, which guarantees that the highlights won't be clipped by the Cineon LOG
conversion that DaVinci uses to debayer the CRI image for grading. For positive film, manually
adjust the light source levels so that no part of the highlights or shadows of the signal is being
clipped. Typically 1000 in 10 bit or 4000 in 12 bit.
You can turn on 'show reference levels' in the waveform, RGB parade, or histogram scopes,
and set the 'low' value to indicate the digital Dmin value of 95.
Once that's accomplished, adjust the RGB controls to rebalance all three color channels by
varying amounts to alter the color temperature of the light source used to illuminate the film,
to produce the most useful, or neutral, color balance in the scanned result.
Capturing Using DaVinci Resolve 40