[00:00] There's a misconception that movies shot
[00:02] with digital cameras [music] and those
[00:03] shot with film cameras work in contrast
[00:06] with one another. That one process
[00:08] [music] negates the other. Like you're a
[00:10] film person or a digital person. But a
[00:12] movie shot digitally [music] can be
[00:14] printed and projected on film. And a
[00:16] movie shot on film will very likely at
[00:18] some point go through a scanning process
[00:20] [music]
[00:21] for at least digital effects and
[00:22] editing. And with IMAX, both ends of
[00:25] that equation, the scanning and the
[00:27] recording of large format 70 mm film
[00:30] require purpose-built equipment and an
[00:33] experienced [music]
[00:34] technician to operate those machines. I
[00:36] visited the 70 mm film scanning and
[00:38] recording labs [music] at IMAX
[00:39] headquarters to watch these machines in
[00:42] action, including one of the most
[00:44] beautiful bespoke machines I've ever
[00:46] [music] seen, this film scanner that has
[00:48] scanned almost every single IMAX film.
[00:52] Hey, Fred. Hello. Such a pleasure.
[00:55] Likewise, thank you. Um okay, so this is
[00:57] the old scanner, and that's the new
[01:00] scanner. I have so many questions about
[01:02] this, but I want to just start with like
[01:04] how long have you been working for IMAX?
[01:06] I've been working for IMAX I'm in my
[01:07] 15th year now.
[01:08] >> 15th year? Have you been scanning for
[01:10] them the entire time?
[01:11] >> Scanning and film recording. Amazing.
[01:13] >> So, if you have a piece of IMAX film and
[01:15] it needs to be a digital image, that's
[01:17] me.
[01:17] >> That's you. And if it's a digital image
[01:19] and you need a piece of IMAX film,
[01:21] that's also me.
[01:22] >> Amazing. Okay, so I I we're going to
[01:24] talk about the process
[01:26] uh that film goes through in your room
[01:27] here. But I right off the bat, I walk in
[01:31] and I see a machine with a marble
[01:33] countertop and these space-saving holes
[01:36] and chrome polish, and then I touch it
[01:38] and I'm like, wait a minute. Cuz cuz
[01:41] Greg said outside that this was one of
[01:43] This is serial number one of this
[01:44] machine.
[01:45] >> This is number one. This is the only 65
[01:47] mm
[01:49] scanner that that this company built.
[01:51] Well, dude, whoever made this
[01:52] >> 35 mm scanners afterwards, and they made
[01:55] like, I don't know, pile of them. But
[01:56] this is the only one for 65.
[01:58] >> Okay, but whoever made this is an
[02:00] important artist. Yes. Okay, you agree.
[02:03] This is a masterpiece.
[02:05] >> Yes. Yes, sir.
[02:06] >> Oh my gosh. And then when you were
[02:08] calibrating, I watched this whole thing
[02:09] move or there's all these servos inside
[02:11] here. Yep, motors and belts and you
[02:14] can't lift the hood because it's
[02:16] granite. And it's made granite so that
[02:18] it's super stable so that it's
[02:19] measurements are the same. OH MY GOD,
[02:21] IT'S NOT even just aesthetic. It Yes.
[02:24] It is
[02:26] temperature. Uh because a few degrees in
[02:29] temperature can change you know, metal
[02:31] will change a little bit and that'll
[02:33] throw this whole thing out of alignment.
[02:34] So they built it on granite, polished
[02:37] granite. Because you're scanning pixels
[02:40] and you can't have any variance
[02:42] whatsoever. We are scanning a frame this
[02:45] big.
[02:45] >> Yeah.
[02:47] And how many pixels is that total?
[02:48] >> And we are scanning it at a over 8,000
[02:51] pixels across.
[02:52] >> Crazy.
[02:53] The way this machine was set up is it
[02:55] only does a vertical line of pixels at a
[02:57] time. Okay.
[02:58] >> So it's slicing the image 8,424
[03:02] times per image. That must
[03:05] That must take a while.
[03:06] >> put 12 and 1/2 seconds.
[03:08] >> 12 and 1/2 seconds per frame?
[03:10] >> Per frame. So every IMAX that's ever
[03:13] been scanned went through this scanner
[03:15] until Until VERY RECENTLY. YES.
[03:17] >> WOW. THAT IS A
[03:20] That you kind of have to work backwards
[03:22] from deadlines and deliveries just to
[03:25] ACCOMMODATE THIS.
[03:27] >> YES.
[03:28] WOW.
[03:29] >> YEAH. Is this machine was semi-retired
[03:32] at this point? Is it emeritus? I'm
[03:34] sorry, it is very
[03:35] >> [laughter]
[03:35] >> very much semi-retired. I do test it,
[03:38] you know, weekly to make sure that it's
[03:40] still running because this is our
[03:42] backup.
[03:42] >> Right. If this goes out, this This is
[03:45] it. Now, the nice thing is we haven't
[03:48] had to use it. Right.
[03:49] >> This has only seen me testing it for
[03:53] a year now. Or a year? All right.
[03:55] >> So it's not actually been in production.
[03:58] It's such a
[03:58] >> is capable of being being that 25 years
[04:01] after it was made. For a machine. I
[04:04] mean, there's a way in which I can tell
[04:06] that the people that put this together
[04:07] love machines and also love products.
[04:10] Yes.
[04:11] >> Like they weren't just making a one-off,
[04:13] they were making it a beautiful product.
[04:16] >> Yes. This is inspired by I feel like
[04:18] German manufacturing from mid-century,
[04:21] from Scandinavian. I mean, it's like
[04:24] there's so much. Wow. Yeah. Okay, now
[04:27] let's talk ABOUT THIS PROCESS.
[04:28] >> [laughter]
[04:29] >> LET ME PUT A PIECE OF FILM ON. OKAY, NO
[04:31] MIND. SO,
[04:33] take a piece of film and we thread it
[04:36] up, starting this side.
[04:39] It starts Make sure it doesn't want to
[04:40] walk away on us.
[04:41] >> Fair.
[04:46] Make sure we take a few up, a few rolls
[04:48] laps up on the on the roll.
[04:50] And then
[04:52] I like to pull a little bit extra and
[04:54] thread it through here. So threading up
[04:56] the gate first so that it sets correctly
[04:58] and then with the sprockets,
[05:01] make sure it locks in place.
[05:04] So I just want to highlight here for a
[05:05] second like, you know, film is all about
[05:08] the fast shuttling and with precision.
[05:11] Yes.
[05:11] >> That's got to be an exponentially harder
[05:13] problem at this size and scale,
[05:16] especially for tiny variances of
[05:19] sprockets, which I would imagine you
[05:20] guys have reduced as close to zero as is
[05:22] humanly possible.
[05:23] >> Exactly. And that's why you may notice
[05:24] the film path is very precisely defined.
[05:28] I'm not making loops. I'm not making
[05:30] approximately the right size. I'm going
[05:32] it fits right here, it fits right here,
[05:34] and everything lines up exactly.
[05:36] >> So this machine knows what to expect
[05:38] when this piece of film is through that
[05:39] sprocket hole and when it's going to get
[05:41] over here and it's never wrong.
[05:43] >> And it's never wrong.
[05:44] So,
[05:46] then
[05:46] >> Oh, and now it goes through all these
[05:48] things.
[05:48] >> all all these things. So,
[05:51] there is, I believe, a an edge code
[05:54] because film comes with uh from Kodak
[05:56] comes with a an edge code printed right
[05:59] into the film. Oh, okay.
[06:00] >> It's a latent image until obviously they
[06:02] process the film. Unfortunately, this
[06:04] one does not work, never has. So, it's
[06:07] there. It was there with the idea of
[06:09] making it work, but it never did.
[06:10] >> Copy.
[06:11] >> So we go around there. These two
[06:13] basically are controlling the tension.
[06:15] How much tension do do we take up?
[06:17] >> I see.
[06:17] >> And And watch when I spin it up, see how
[06:20] that Mhm.
[06:21] >> And it'll find a balance. And as the
[06:23] film is transported, it'll make sure
[06:25] that this thing's pulling at the right
[06:26] amount, even if the roll's really big or
[06:28] really small.
[06:29] >> So that it's never winding it too tight
[06:31] or too loose, it's always at a specific
[06:33] >> Oh, exactly. Wow, of course it has to
[06:35] be. Because too loose and your film goes
[06:39] on the ground.
[06:40] Too tight and you risk snapping the film
[06:43] or
[06:44] pulling the film past the the sprockets
[06:46] and creating problems that way.
[06:48] >> I cuz if film is surprisingly brittle.
[06:51] Yes. I remember as a projectionist, I
[06:53] remember having one smacking around and
[06:56] creating a lot of celluloid confetti.
[06:58] Yes.
[07:00] >> [laughter]
[07:00] >> When we get into film recording, I'll
[07:02] tell you about chewed-up film.
[07:04] >> Okay.
[07:05] >> Cuz those machines like to chew film
[07:06] occasionally. So do you only do tension
[07:09] on the take-up side?
[07:10] >> let me do this side as well. It's the
[07:12] same thing just in reverse.
[07:14] Or this.
[07:15] Go around this way. This way and then
[07:18] pull tight.
[07:20] And that lets it find its level.
[07:22] >> gate closes when I DO THAT.
[07:23] >> OH, WOW.
[07:25] >> It automatically knows, oh, I got
[07:26] tension on both sides. That means I can
[07:28] try to close the gate. That's some
[07:30] really nice user experience right there.
[07:32] >> When the gate tries to close, if it
[07:35] can't pin that one Yep. and that one
[07:38] >> Yep.
[07:38] >> Those pins actually go through the film
[07:40] from the other side to hold it in
[07:42] position. Yep. If they go if if
[07:45] everything's not lined up correctly,
[07:47] they will try to pin through the film.
[07:48] Very gently, they'll do it and they'll
[07:50] stop.
[07:50] >> won't poke through it.
[07:51] >> And they'll go, nope, there's something
[07:53] there. Nope, you know what? Forget it,
[07:54] I'm not doing this. So it's not going to
[07:56] punch a hole in your film. That's
[07:58] beautiful.
[07:58] >> 25 years ago,
[08:00] somebody made this brilliant decision
[08:03] that has saved so many rolls of film.
[08:05] >> If any of the people that worked on this
[08:06] is watching this video, reach out to us
[08:08] in the comments cuz I want to talk to
[08:10] you about this thing. Do you even This
[08:12] this beautiful. These these circles and
[08:14] lights here.
[08:15] >> It's almost a face. It Oh, there there
[08:17] is. It's almost a little like a droid.
[08:19] Yeah.
[08:20] Okay, so now the film is loaded up. So
[08:22] once it's loaded up, I try to make sure
[08:24] I I will advance a frame, a couple
[08:26] frames just to make sure that it is
[08:28] actually going to transport correctly.
[08:31] Like that.
[08:32] >> So that was one frame.
[08:33] >> Those This is one frame.
[08:35] Gotcha. That's moving 15 perfs.
[08:37] >> It's moving 15 perfs at a go. Okay. And
[08:40] as you can see, very smoothly. Yep. Yep,
[08:42] through custom etched and machine
[08:44] buttons that didn't get bought in a
[08:45] catalog. Right?
[08:47] Yes.
[08:47] >> [laughter]
[08:48] >> Then I'll wind down to the beginning of
[08:50] the roll because this is leader for
[08:52] handling purposes. That way I don't have
[08:53] to handle people's film.
[08:57] And if we look through here,
[08:58] >> Oh, yeah, see the color test.
[08:59] >> see the We can see the picture and I can
[09:01] actually make adjustments to
[09:06] Oh, I can go one perf at a time so that
[09:09] I'm in frame. Gotcha. So that's the one
[09:12] perf jog.
[09:13] >> Yes. Amazing. Which is stop plus
[09:16] forward. I can also, of course, do stop
[09:18] plus backward to go the opposite
[09:19] direction if I need to.
[09:21] And we are almost ready to scan a frame,
[09:23] but before I do, make sure I take the
[09:25] calibration strip.
[09:26] Oh.
[09:27] >> scan like that, but it will not look
[09:29] very good. So What does the calibration
[09:32] strip do? It's a color calibration?
[09:33] >> It's It's a color calibration and it
[09:35] basically emulates the unexposed film
[09:37] that is processed.
[09:39] We call it the film base. Gotcha.
[09:41] >> So it is
[09:43] just a piece of clear Right, that is
[09:46] sort of the neutral of film. Yes. And
[09:48] yes, it's a little scuffed up. It's been
[09:50] used many years.
[09:52] >> [laughter]
[09:52] >> The fact that it's here and not here
[09:55] throws it so far out of focus, you don't
[09:57] the blemishes or what have you.
[09:59] >> the blemishes don't matter. Speaking of
[10:00] which, one of the things that we do in
[10:02] this room is we have to control the
[10:04] temperature and humidity very tightly. I
[10:06] would imagine the humidity could affect
[10:07] image quality, right? Humidity will
[10:10] cause the film to warp.
[10:12] The IMAX frame is so big that it
[10:14] actually can warp as it goes into the
[10:16] gate and still feed through the machine.
[10:19] Is it because the celluloid is slightly
[10:20] hygroscopic, it absorbs a little water?
[10:22] EXACTLY.
[10:23] >> WOW.
[10:23] >> EXACTLY.
[10:25] And we've had
[10:26] we've experienced it where it's like we
[10:29] scan something then when we scanned it a
[10:30] couple days later it's like, wait, why
[10:33] is it a different focus? Wow, that's
[10:35] amazing.
[10:36] >> Let's We really jumped on it, made sure
[10:38] that everything was
[10:40] properly set up and So then temperature
[10:42] and humidity control is part of the
[10:44] calibration process of this room. Yes,
[10:46] and that's why you hear air running
[10:48] continuously
[10:49] >> in this room. So you got a lot of
[10:51] hoodies and fleeces. You make sure
[10:53] you're buttoned down warm and you
[10:55] [laughter] take care of the all of that
[10:57] you make sure that that's good. Um and
[10:58] this is the business end of the scanner
[11:01] coming through this way. Uh so the light
[11:02] column is here, the light is underneath.
[11:04] Gotcha. Goes up and I think they use a
[11:06] prism or a mirror and deflect it into
[11:08] the camera which is here. Gotcha. Um And
[11:12] it is a linear array so it's not taking
[11:14] the entire picture at the same time.
[11:16] It's taking
[11:17] one set of pixels vertically up to 6,144
[11:20] [laughter]
[11:22] pixels vertically. So the scanner is
[11:24] just basically one pixel wide and film
[11:27] frame tall. Uh ish
[11:29] >> Yes. ish Exactly, yeah.
[11:33] 12 and 1/2 seconds.
[11:34] >> 12 and 1/2 seconds.
[11:35] >> I I'll be frank, knowing what it's
[11:37] trying to do that sounds fast.
[11:40] But it also sounds slow.
[11:42] >> Incredibly slow. [laughter] When we look
[11:43] at the other machine you'll be like,
[11:45] that is very very slow. Um can we just
[11:47] able to actually just witness a scanning
[11:49] sequence? Um yes, let give me a moment
[11:52] to set that up.
[11:53] Oh, one other thing you you hear the
[11:56] hear the hiss? Yeah. That's actually we
[11:58] actually have air knives on it.
[12:00] Partly to blow off the dust, partly to
[12:03] keep the film, you know, moving in it
[12:05] smoothly. Right, right. Where are the
[12:07] air knives? Are they here?
[12:09] >> They are actually in this. Right, right.
[12:11] Okay.
[12:11] >> So with if there was no film in the gate
[12:13] I could show you you could stick your
[12:15] put your hand in the gate and see
[12:16] actually feel them. Gotcha. Uh but the
[12:18] whole goal is when it's here no dust has
[12:21] been able to get anywhere near it.
[12:22] Exactly. Uh I really appreciate you
[12:24] walking me through this. This is it's
[12:26] it's amazing. Let's talk about this
[12:28] brand new one. Yes.
[12:30] So what's the biggest difference between
[12:31] the new machine and the old machine? Is
[12:33] it just speed? Part of it speed, part of
[12:36] it is the process that it takes the the
[12:38] image. Mhm. Um the old machine took it a
[12:41] single vertical line of pixels at a
[12:43] time. This actually will scan an entire
[12:45] frame except of course a gigantic frame
[12:48] like an IMAX frame because an IMAX frame
[12:51] is so big. So it actually scans the IMAX
[12:53] frame in thirds. Oh, so it does 1/3,
[12:56] middle third, other third. Yes. And it
[12:59] does its own stitching of them? Um no,
[13:01] we actually do that on a separate
[13:02] machine. Oh, amazing.
[13:03] >> We could do it on the separate on the
[13:04] same machine but it is a separate
[13:06] process.
[13:06] >> Gotcha.
[13:07] That allows us to do a little bit of
[13:09] extra work if we need to do some
[13:11] processing or something like that in
[13:12] between. Okay. And this one you may
[13:15] notice threads up the opposite direction
[13:17] from the the other machine. Goes right
[13:19] to left.
[13:20] >> It goes right to left.
[13:22] Apparently if we went left to right this
[13:24] whole apparatus would be have to be
[13:26] upside down and this whole big thing
[13:27] would have to stick up in the air. So
[13:31] >> Yes. That's so funny.
[13:32] >> Because I was I was freaked out that
[13:34] it's horrible when you have to scan on
[13:35] both machines at the same time.
[13:36] >> Oh cuz you're going back and
[13:38] uh yeah.
[13:38] >> and forth and you're like, which one is
[13:40] wound the right way? Sometimes you just
[13:42] have to stop and just yeah, I can
[13:44] imagine. This is where being on the
[13:46] computer helps because on the computer
[13:48] forward is always forward, backward is
[13:50] always backward. [laughter]
[13:51] Okay.
[13:52] >> So the setup is actually similar here as
[13:54] you do a rough setup and then you do the
[13:56] spool winding. Exactly, yes. Then fill
[13:58] in the details as it were.
[14:03] That's
[14:05] There we go. And this one also has
[14:06] tension arms. Gotcha.
[14:09] Some things don't change. You always
[14:11] need tension arms to make sure that the
[14:12] motors on the
[14:16] on the rolls of film aren't taking up
[14:18] too tightly or too loosely. And your
[14:20] goal is that each tension arm is
[14:21] vertical. Roughly. It they au-
[14:23] automatically will you know, they'll
[14:26] stop if at a certain point. I go mostly
[14:28] go approximately the right place,
[14:29] sometimes a little past and then they
[14:31] stop cuz that's where they need to be.
[14:34] It's called reader. We can read the key
[14:36] codes that are that Kodak puts on the
[14:38] film
[14:39] and that way the editorial people can
[14:41] tell us scan these exact set of frames
[14:43] and we can say
[14:45] okay, wherever it is on the roll find
[14:46] it, scan this.
[14:47] >> Well that makes that process much
[14:49] faster.
[14:49] >> makes it much faster and very accurate.
[14:52] Okay.
[14:53] >> So instead of having to take those
[14:54] numbers and go, okay, what's the number
[14:56] at the beginning of the roll, do these
[14:57] calculations, how far down do I have to
[14:59] go?
[14:59] >> And then go ahead and pick. Exactly,
[15:01] just find it.
[15:02] So that's kind of what we have for the
[15:05] setup on that. And again notice it is a
[15:07] vertical operation rather than a
[15:09] horizontal one. Uh hence the glass doors
[15:11] and the dust mitigation. But it's
[15:13] effectively the same machine just more
[15:15] than an order of magnitude faster. Yes.
[15:20] Dude, I
[15:21] already just in the last 10 minutes here
[15:24] my mind has been blown like three or
[15:26] four times and it's all about the scale.
[15:28] The scale of this frame of film is is is
[15:31] diabolical in terms of all your
[15:33] processes with it. Yeah. This is
[15:35] scanning. You guys also do a lot of
[15:37] recording. What's the other part of this
[15:39] process? Can we walk through that?
[15:41] >> you don't have film and you need film.
[15:43] Let's do that.
[15:44] >> Okay, good.
[15:45] All right. This is film recording. Yes.
[15:48] IMAX has been around and has been
[15:50] scanning for a long time. So this is
[15:52] real legacy equipment back to the early
[15:54] days. It is. If you remember the Silicon
[15:57] Graphics machines
[15:58] >> Yes, very well. Yeah, we used those to
[16:01] run these machines.
[16:02] >> Oh, hilarious. Good god, I remember one
[16:04] year at the ILM Christmas party that was
[16:06] actually the door prize for best costume
[16:08] was an O2 workstation. Nice. Okay, so
[16:11] what is the technology that is used to
[16:13] get the image the digital image printed
[16:15] onto the film?
[16:16] >> So to get the digital image printed on
[16:18] the film in the base here we have
[16:22] obviously boards and stuff that run that
[16:24] run this. But the big thing is the the
[16:26] tube. The tube?
[16:27] >> the We literally have a cathode ray
[16:29] tube.
[16:30] >> What? Like the old tube tube TVs but way
[16:33] more advanced obviously. There's a CRT
[16:35] at the heart of the scan of this
[16:37] printer? There is. So obviously the CRT
[16:39] machine gives you the precision that
[16:41] you're looking for on a pixel by pixel
[16:43] color fidelity by color fidelity basis.
[16:46] Yes.
[16:47] >> That's astounding to me.
[16:48] >> Exactly, yeah. Um does it do it in a
[16:50] mono color and then you use filters for
[16:52] the color? We do indeed, yes. So the
[16:54] tube itself is is a particular white and
[16:57] then we run it through some filters. So
[16:59] we have a We don't use the clear filter
[17:01] but we could if we needed to. There's a
[17:03] red, green and blue filter. I'm going
[17:04] backwards here. That's the blue filter,
[17:06] the green filter. So it's like the old
[17:08] the old three strip process reversed in
[17:11] order to obtain the imagery. That is so
[17:14] cool that the CRT provides the precision
[17:17] that you need.
[17:18] >> Yes.
[17:19] So
[17:20] this is the tube.
[17:23] And as you can see it is rather big.
[17:25] God. The piece the piece here at the end
[17:27] >> Yeah. is what they call the thick glass
[17:30] because if dust settles on the tube
[17:33] you have a problem. It sits there the
[17:35] entire time and you have a speck
[17:38] on your movie.
[17:40] And if the camera pans, you know, the
[17:42] the
[17:43] >> [clears throat]
[17:43] >> the speck just sits there and you can
[17:45] totally see it. So they the way to do to
[17:47] avoid that was that they came up with is
[17:50] to put a big really thick piece of
[17:51] glass. More than half the weight sits
[17:53] just in this glass. Wow. And it puts the
[17:56] the piece of dust if there is one way
[17:59] outside the focal plane.
[18:02] Oh, that's brilliant. That's so
[18:03] brilliant. Yeah.
[18:05] So you guys are are printing on the same
[18:08] kind of reels like two, three minutes at
[18:09] a time? Yes. What is the how slow is how
[18:12] good I was not going to say how fast is
[18:14] this. How slow is this?
[18:15] >> So once upon a time we could get a lot
[18:17] better speeds but with the CRTs as they
[18:20] age they get dimmer and we have to
[18:22] expose the image longer in order to get
[18:24] the same exposure.
[18:26] >> Am I correct that all the CRTs that have
[18:28] ever been built for this are already
[18:30] built and you're just grabbing new old
[18:33] stock where it shows up?
[18:34] >> And seeing if we can get them
[18:35] refurbished which is a job
[18:37] unto itself.
[18:38] >> Oh my, can't even imagine. These are
[18:40] technologies that are rapidly their
[18:41] support structure is disappearing all
[18:43] the time. It is, yeah. So they get
[18:45] slower as they age.
[18:46] >> Yeah. Currently we're running somewhere
[18:48] between a minute and two and a half
[18:50] minutes per frame. Oh my gosh. You
[18:52] thought 12 and 1/2 seconds was slow?
[18:55] A minute to a minute and a half. Um and
[18:57] this is so like Christopher Nolan shoots
[18:59] on film, he brings a couple of different
[19:01] shots that need a an effect done to them
[19:03] that is executed on these.
[19:05] >> Exactly. Incredible. My joke is
[19:08] I got tired of watching paint dry.
[19:11] Grass grew too quickly [laughter] for me
[19:13] so I went into film recording.
[19:15] Hilarious. How many backup CRT tubes do
[19:20] you have in stock currently?
[19:22] How about the other question?
[19:25] >> [laughter]
[19:27] >> I have like seven machines in the room
[19:29] and about four of them are working. Oh
[19:31] my gosh.
[19:32] >> Because of the CRTs. Um so I I would
[19:34] imagine there are people working on
[19:35] solving this problem currently. Yes.
[19:38] >> Okay. There are various solutions by a
[19:39] couple different groups trying to find
[19:41] basically find replacements for the CRT.
[19:43] Because this still exceeds the precision
[19:45] of anything currently being built. And
[19:47] reliability. You want something that's
[19:49] not only precise but is reliable that
[19:51] you can put a thousand feet of film, do
[19:54] it a frame at a time, and 4,000 frames
[19:56] later
[19:57] get it processed, look at the print, and
[19:58] go, "Yep, that looks good." Amazing.
[20:01] >> Every time. Um I notice it's freezing
[20:03] cold in this room. You're way colder
[20:05] even than in the other in the scanning
[20:06] room.
[20:07] >> That's a little bit accidental. It's
[20:08] supposed to be the same temperature and
[20:10] humidity as the other [laughter] room.
[20:12] Um because we used at one point we used
[20:13] to have 18 of these machines. If you can
[20:15] imagine 18 of them packed into this room
[20:18] You needed to pump a lot of cool into
[20:20] here to keep them all running optimally.
[20:22] Exactly. Wow.
[20:24] >> So, we've made some adjustments to the
[20:26] temperature to accommodate for fewer
[20:28] machines, but it's still cold. So, in
[20:31] this day and age when some filmmakers
[20:33] can leave critical decisions about a
[20:35] shot up until days before the film's
[20:37] release, they must have a rude awakening
[20:39] when they come to you guys for post. I'm
[20:41] sure they do. [laughter] I'm hoping that
[20:43] they go, "Oh, okay, let's figure this
[20:45] out. Let's make sure that this works."
[20:47] Well, I mean because the deadlines are
[20:49] real deadlines. Um this has been such an
[20:52] eye-opener. Uh thank you so much, man.
[20:54] This is
[20:55] incredible.