Choose A Location To Save The Scanned Frames; Check The Codec - Blackmagicdesign Cintel Installation And Operation 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.

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 for a 35mm or 16mm
image. This keeps the audio waveform visible for optical audio and to accommodate
perforation visibility for stabilization. 16mm is cropped to 2304x1712. The resolution
of the capture files depends on the source film format after overscan for perforations
and the audio area are removed. Super 35 film is captured to Ultra HD at 3840x2880
pixels, while Super 16 scans at nearly HD resolution with 1903x1143 pixels. The Cintel
scanner creates Cintel Raw files with variable bitrate lossless compression by default.
This is visually lossless compression and achieves a 3:2 reduction in file size. 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.
Cintel Raw Image files don't have dedicated debayering controls in DaVinci Resolve.
To control the quality of debayered CRI files, use the 'decode quality' and 'play quality'
CinemaDNG settings located in the Camera Raw panel of the project Settings.
Capturing from Cintel using DaVinci Resolve 28