User Manual

TIP If deselecting the ‘Auto adjust audio scan height’ checkbox, make sure
the ‘height’ setting places the guide box at the optimal position for the frame.
Making manual adjustments can help if you need them, but don’t forget to turn
the automatic features back on afterwards!
 Audio waveform color is white: Depending on the scanned film type, the audio
waveform may be black or white. If the waveform is white, make sure the corresponding
checkbox is enabled. This will ensure the white information in the waveform is used
during audio extraction. If the waveform is black and the surrounding audio area is
white, disable the checkbox so DaVinci knows to use the black information in the
waveform. Other automatic features, such as mid point and mono detection, also rely
on this setting being set correctly.
 Override firmware stability: In rare instances, the condition of the film may have
created large movements in the frame due to the internal firmware stabilization.
Thiscancause the audio extraction guide box to misalign with the optical track. If this
occurs, enabling ‘override firmware stability’ lets the audio extraction guide box track
the film perforations independently and adjust its positioning for potentially better
results.
 Variable density audio: If your film contains variable density audio, make sure you
select the ‘Variable density audio’ checkbox so DaVinci Resolve knows the type of
audio to extract. The default state is set to ‘off’ for variable area audio soundtracks.
TIP If you haven’t used variable density audio before, you can visually identify
it as a tight sequence of shaded lines, similar to a bar code with the lines
squeezed closer together. By comparison, ‘variable area’ soundtracks appear
as an audio waveform.
Color Space and Sizing
A pair of 1D LUTs, ‘Cintel Negative to Linear,’ and ‘Cintel Print to Linear,’ have been provided
tohelp you convert scanned media to a color space in which you can do further work. You can
apply these LUTs via a node in the ‘color’ page to convert the original scans to a Linear color
space. However, if you want to convert the image to Rec. 709 or to Cineon for further
adjustment, you’ll want to apply a second LUT in a second node. The default color space for
print is a 2.2 gamma standard log curve, and all others are 2.046 film density log gamma.
In general for negative film, it’s best to “color invert” after the second LUT is applied.
Furthermore, normally some grading is required on the Linear data to remove black offsets,
due to Dmin, for proper conversion into the destination color space. There are a variety of VFX
IO LUTs available in the 3D LUT submenu of each node’s contextual menu that let you convert
an image from Linear color space to any other color space you want to work within.
For more information, see the DaVinci Resolve manual section ‘Applying a LUT Within a Node’
in Chapter 30, “Working in the Node Editor.”
Chapter – 17 Capturing from the Cintel FilmScanner 394