Scan to DPX, TIFF, WAV, ProRes, QuickTime, H.264 and more — at the SAME TIME!
Simply stated, Lasergraphics’ motion film scanners are the fastest and easiest way to make film available in multiple digital formats – from a single scan!
Unlike traditional telecines and most competing scanners, Lasergraphics motion picture film scanners enable minimally-trained operators to digitize film to multiple formats including ProRes, Quicktime, 10-16 bit DPX, 16-bit TIFF, uncompressed AVI, H.264, WAV Audio, etc. – all in a single pass – without any secondary scanning, transcoding, or post processing!
The unlimited output library (depicted below) is displayed down the left side of the scanner control software GUI. Just select as many different outputs you want to create from a single scan of the reel. It’s that easy!
Lasergraphics film scanners allow you to simultaneously scan images and optical or magnetic soundtracks with real-time output to multiple, independently color-graded, sound-synced ProRes SD-5K 4:4:4:4 XQ, 4:4:4:4 HQ, 4:2:2 HQ, 4:2:2, 4:2:2 LT, or 4:2:2 Proxy …
…plus other movie files such as QuickTime; MPEG-2; AVI (uncompressed YUV 422); H.264; and others – with no manual sound synchronization and all scanned simultaneously from one pass of a single reel.
Competing scanners and traditional telecines typically scan at 24 FPS or less, and require additional equipment (e.g., Telestream Pipeline, Sondor) plus a transcoding phase to produce a QuickTime ProRes (4:2:2 only) file. Most other film scanners do not include a soundtrack reader and require a separate device to read the soundtrack. This forces film to be scanned twice on two separate pieces of equipment and requires third-party finishing software to synchronize separate image and audio files, effectively doubling or even tripling overall workflow time and jeopardizing fragile, old or damaged film assets.
The following video compilation was prepared by Lasergraphics for a recent trade show. Every film clip was scanned only once, none of the videos were graded, none were restored, some included optical soundtracks, and no transcoding nor other post processing steps were performed. Check out the videos with optical soundtracks – perfect real-time sound sync and no hisses, ticks or pops!
Let’s face it, transcoding sucks – and being forced to re-scan the reel to obtain multiple outputs wastes time, costs money and greatly increases the risk of damaging your invaluable film assets.