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Small Miracles: Rank Cintel Telecine Super 8 Transfer on a Professional System Text: Doron Hirshberg Photos: Myron Lenenski

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Small Miracles: Rank Cintel Telecine Super 8 Transfer on a Professional System Text: Doron Hirshberg Photos: Myron Lenenski smallformat 03*2007 test SMALL MIRACLES: RANK CINTEL TELECINE SUPER 8 TRANSFER ON A PROFESSIONAL SYSTEM TEXT: DORON HIRSHBERG PHOTOS: MYRON LENENSKI My recent goal was to gather eighteen edited hours of my Super 8 wildlife films from the last 30 years and transfer them to broadcast quality video. I chose CinePost in Marietta, Georgia to transfer the footage using a wet gate video transfer on a Rank Cintel Turbo. Be- cause of the nature of small gauge film, post production was required to remove scratches, stabilize the frame registration and color correct some of the footage. The end result was beautiful, rich im- agery that shows how far you can go with Super 8 if you have good footage to begin with. Doron Hirshberg (right) at CinePost, together with colorist John Kuhn at a Rank Cinetel Turbo. smallformat 03*2007 ̈ Twenty-one years ago, I transferred pressive, wise man showed me the way ner, a system that sends an electron left: Myron Lenenski, my film, “A Symphony of Magic – Wild to the best results when I sometimes beam to scan the picture area – similar the owner of CinePost. Orchids in Israel,” on a Rank Cintel got lost in an ocean of technical op- to an electron beam microscope – but it right: Gary Kennedy, film telecine at SFVL Studios in London tions. Myron even proposed the stun- reveals so many details in dark picture prep technician. (nowadays it’s “The Machine Room”). ning and exciting idea of having my S8 areas that even a normal eye looking at David Atkinson, a dear English gentle- film on Hi-definition for those televi- the film against a strong fluorescent man, is the manager of the studio and sion stations that use broadcast 16:9 ra- light wouldn’t see them. The vivid, nat- highly devoted to the Super 8 format tio HDV. This can be done at CinePost, ural colors are deep and saturated, as well as 9.5 mm, on which he’s done a and it shows just how far you can go making Kodachrome look as beautiful great preservation project. Thanks to with Super 8 if you have technically as can be. Images are extremely sharp David, I managed to transfer my own good material to begin with. This for- and natural, pan shots – even rapid film onto a one-inch type C-format mas- mat, far superior to ever-changing video ones – don’t blur the image, as can ter, with stunning results that led to a formats, will live much longer than sea- sometimes be seen on 16 mm footage. BBC2 prime time broadcast. This time sonal video fashions! When you view a Rank Cintel image, around, after much searching through- John Kuhn operates CinePost’s you immediately get a feeling of cine- out Europe, I discovered CinePost and Rank Cintel Turbo. If a value can be put matic quality. was stunned by the results of the test on extremely rich experience since the film they transferred for me. early seventies, then John is a “treasure CinePost studios are based in Mari- chest.” I have never met a person with etta, Georgia (USA), in a humble build- such wide knowledge and rich experi- ing in an industrial area. This modest ence with almost any film or video for- and nondescript studio reveals the se- mat you can name. Luckily for me, John Doron Hirshberg cret of its top quality Super 8 transfers has tuned the Telecine machine to in global terms: extremely professional make film grain nearly invisible in most The author of this article is a Su- people who never stop thinking about cases, and very fine and gentle in those per 8 film amateur who is inter- how to improve a given image and – shots where it becomes visible. He ested in the beauty of nature. His above all – who have the talent and knows every button, knob and function films have been broadcasted on facilities to do just that. Myron Lenens- of this very complex machine and fid- BBC2 public television (London, ki, head of CinePost studios, specializes dles around with it like a great maestro. UK). Hirshberg is living in in hard disc mastering of all film for- I’ve never tried any other Telecine Jerusalem, Israel. He started film- mats (S8, Regular 8, 16 mm and 35 mm). machine, but as far as I’m concerned ing with Kodachrome only since he But beyond the technical know-how, the Rank Cintel Turbo is a miracle. Not was a kid, back in 1972. he’s gifted with deep wisdom. This im- only does it utilize a flying spot scan- 60 test smallformat 03*2007 Kevin Christopher, digital Small problems restoration artist. The most noticeable problems with small-gauge formats like Super 8 are scratches, dust particles, and – occa- sionally – terrible grain. Another signifi- cant difficulty with my footage was the elevation of tape-spliced scenes one sec- ond before the end of the shot. This is clearly caused by the significant tension of the Rank Cintel Telecine machine, and the longer you leave the film in a stopped position the more it will be stretched and then raised even more. This effect cannot be ignored when you watch the running film. Some of my films had been scratched when I ran them through the Agfa family projector for editing. This projector was my best choice because I could play it back and forth like a reel- to-reel tape, and it has single frame ad- sion off, which is irreversible. Blue or Beautiful and rich images, and I could- vance to precisely position the cutting green scratches are emulsion scratches. n’t find the scratches; although I know point. Luckily, it only scratched the Scratch elimination is a major they’re certainly there! I had seen them The home of CinePost, base (shiny) side of the film, unlike and painful problem that is especially and thought I could never get rid of Marietta, Georgia, USA. many projectors that scratch the emul- bothersome, especially when you care them. The CinePost people use a wet so much about your precious footage that you’ve worked so hard on. It’s painfully visible, always annoying, and distracts from your filmed images. Scratch elimination Scratches are simply not meant to ex- ist, period! is a major and painful I searched all over Europe, and all problem that is espe- they had was dry gate Telecine. In cially bothersome, Canada, the combination of Super 8 and wet gate doesn’t exist, as far as I know. especially when you The last refuge was America – the great care so much about homeland of Super 8 legends such as Lenny Lipton, Dennis Duggan, and oth- your precious footage er great filmmakers who were part of that you’ve worked the legendary “Super 8 Filmmaker” so hard on. magazine back in the seventies. But even in America there are very few Telecine studios that really elimi- system that wets the film prior to its nate scratches from the tiny Super 8 arrival at the Telecine gate. format, which is disregarded by the A scratch on the base (shiny) side “big boys” with their impressive 16 mm, of the film diffracts the light beam, 35 mm, and 70 mm tools. causing it to become visible as a black After much research in Europe, I line along the film. When this scratch discovered CinePost and was stunned is filled with liquid, it still exists physi- by the results of the test film they did cally on film. However, it becomes for me. I sent them shots that were transparent, since light travels through clearly scratched, and some of them the fluid without diffraction. It’s like had a dancing partial scratch in the an aquarium: if the inner glass is middle of the picture area. The result? scratched, you’ll see it against the light, smallformat 03*2007 test 61 There’s always a second chance, even after you painfully watch those defects that manage to escape even the highest quality Telecine studios. but it will vanish at a certain angle if film edge toward the splicing point you add water to cover it. The wet pass and fixed them with clear 16 mm splic- also cleans dust particles and other dirt ing tape (other tapes might leave adhe- from the film, except for particles that sive marks on the film). I made sure adhere to film plane, which remain visi- the left edge overlapped the right edge, ble. You will never get one hundred and then I carefully adhered the splic- percent clean film, but even this can be ing tape according to the film’s frame- fixed – as I will discuss later. line. Afterward, I turned it over and adhered the other side. I then pulled Preparation: the two edges apart gently and pushed The key to success the tape between the two edges with It took me well over 400 hours over the the tip of my nail so that they no course of six weeks to replace around longer overlap. Now, the edges tend 6500 splices in preparation for the towards the central splice point rather transfer, as well as manually scanning than stretching significantly to the the endless film from both sides, look- sides and raising the image in the ing for dirt stuck to the film plane. I Telecine gate. Surprisingly enough, it had originally chosen Fuji 500 Single-8 worked perfectly! My films were trans- splicing tape since it is extremely thin ferred to PAL DigiBeta cassettes, and and strong (Fuji probably matched it to the cut of almost every splice was per- the polyester Single-8 films that cannot fect! No elevation whatsoever, no focus many recent shots like this and one The transfer machine: Rank be cement-spliced).
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