And you'll need to manage the LCC workflow to ensure properly-even exposure and color across the frame. And you'll need a very good lens used near-wide-open to avoid diffraction. And you'll need a very diffuse lighting source to avoid/minimize the effect of edge rendition that torger referred to. You'll need to keep the film quite flat for the same reason. You'll need methodology/equipment to hold the camera and film in perfect alignment as even a small fraction of a degree of non-parallelism will cause a soft corner. Note that there are no shortages of challenges involved. For anything 4x5 or smaller, assuming use of an 80mp back and a 120 ASPH lens at f/8 our results are comparable to drum scans as measured by the FADGI standards for film digitization.įor large institutions these systems are far, far, far more price effective on a cost-per-item-scanned (accounting for the cost of labor and facility overhead) because the negatives can be scanned as quickly as they can be placed into the holder (rather than a 4-20 minute scan time on a film scanner) and are imaged in raw (meaning that a session of 1000 negatives can be inverted, pushed/pulled, curved, rotated, cropped en masse etc without the open/save/close of a TIFF workflow). We do this at a high level with our Cultural Heritage Film Scanning Kit.
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