User Manual

Choose a Location to Save the Scanned Frames
Once all this is done, scroll down to the ‘capture info’ controls in DaVinci Resolve’s film
scannerpanel, and click the ‘browse’ button to choose a location for the scanned files.
Youcanuse the other fields in this section to set what prefix you want to add to the name of the
scanned files and enclosing folders. The ‘file name prefix’ updates the file name preview that’s
shown at the top in the header. The header also shows the file path, resolution, frame rate,
duration, and the format. Specify what roll, reel, clip, and program information you want
associated with the scanned media. The ‘timestamp prefix’ checkbox in the ‘Capture info’
controls is selected by default and will save your clips to independent sub-folders within the
destination folder, together with a timecode prefix in the file name.
If you want to save all your clips together in one master destination folder, simply deselect
the checkbox.
NOTE: When you capture an HDR clip, the scanner completes a high exposure scan
and saves it in a hidden folder named .HDR inside the same folder as the standard
scan. If you delete the .HDR folder, the scan converts to a normal clip after refreshing it
in the media storage and re-importing the clip into media pool. This is useful if there is
a problem with the HDR portion of the scan, as you can easily convert it to a regular
CRI clip.
Check the Codec
DaVinci Resolve selects the ‘Cintel Raw’ codec by default, or you can choose ‘Cintel Raw 3:1’.
The Cintel Raw Format
The Cintel Raw Format Bayer pattern of each film frame scanned with your Cintel
scanner’s sensor is saved with embedded scanner metadata as a 12-bit linear Cintel
Raw Image, or CRI, image sequence. When grading in DaVinciResolve, CRIimages
areautomatically debayered as 12-bit log encoded image data.
The logarithmic encoding is similar, but not identical to Cineon encoding. Forexample,
negative film is encoded using a Gamma of 2.046 for density, while print film is
encoded using a full range Gamma 2.2 curve to ensure that no image data is clipped.
Both of these logarithmic encodings can be converted to a linear color space using the
‘Cintel toLinear’ 1D LUT, before converting to other color spaces you may want
to work in.
The film is scanned using the full sensor aperture of 4096x3072 to keep the audio
waveform visible for optical audio and to accommodate perforation visibility for
stabilization. The image is then cropped and the resolution ofthe capture files depends
on the source film format after overscan for perforations andthe audio area are
removed. For more information about scanning resolutions for different types of film,
see the ‘specifications’ section.
The Cintel scanner creates Cintel Raw files with variable bitrate lossless compression
by default. Thisis visually lossless compression and achieves approximately 3:2
reduction in file size depending on image content. However, Cintel Raw 3:1 uses lossy
compression with a ratio of approximately 3:1. This is still very high quality but may not
always be visually lossless. For example, files for 35mm 4 perf are approximately
12.5MB with Cintel Raw and approximately 6.3MB with Cintel Raw 3:1. Files for 16mm are
approximately 4MB with Cintel Raw and approximately 2MB with Cintel Raw 3:1.
Chapter – 17 Capturing from the Cintel FilmScanner 387