I am teaching an ACES workflow at a film school that has an Cintel film scanner. I never operate the scanner myself, but I’m trying to figure out how in theory one might set the Cintel up to scan to ADX10/16 for an ACES workflow so that I can relay the information to interested students as well as those who do operate the scanner. Does anyone have experience with this?
I have found the ACES Technical Bulletin 2014-005 which seems like it may have the relevant information in terms of technical transformations that need to be implemented, but I could use some guidance on how it might translate into a practical workflow to figure out whether it might be feasible for my school.
In my experience with this scanner, I have found that a majority of the scans done with default settings into a DaVinci YRGB project already look ‘good’, or as close to correct as I can tell, when interpreted with an ADX10 IDT in an ACES project. However, I have encountered a few scans of underexposed negatives that appear to have crushed or compressed blacks that can be recovered if interpreted using certain methods (i.e. using an ADX16 IDT and dropping the gain, which was a method suggested elsewhere on these forums), but also point to the probability that the Cintel is not properly set up for ADX encoding. However, if that’s the case, then I am curious why the ADX10 IDT does seem to ‘work’ much of the time without any adjustment to scanner settings.
Guidance from anyone who is familiar with an ADX workflow or has experience setting up a scanner, especially a Cintel, for ADX encoding would be greatly appreciated!