Inconsistency Between Capture Scopes and Timeline Scopes

Hello everyone,

First of all, thank you for taking the time to read this.

I work at a company dedicated to film digitization and preservation. We're currently using a Cintel Scanner G3 HDR+ together with DaVinci Resolve Studio 19.1.2 Build 3.

We've encountered an issue where the scopes during capture show different luminance values compared to the same material once it has been captured and placed on the timeline. We understand that the material has a flexible dynamic range due to the use of CRI, but we’re trying to understand why these values are not consistent before and after capture.

Could this be expected behavior, or might it indicate a problem with our workflow or settings?

Any guidance or clarification would be greatly appreciated.

I’m attaching two images showing the difference in scopes for reference. Left is during capture and right is after capture

Could this be a Video/Full Data Level problem? I've never asked for my film scans to be done with blacks up at 20.

[Gavin Lucas]

Don't believe so as Data / Video would show as grid overlays at 100% FSD data 110% FSD Video
Most likely a T/L node is active and being applied, as unable to replicate. Create a new T/L and verify.

Marc and Gavin, thank you very much for your responses. For other reasons, we had to do a clean installation of the operating system and reinstall all the related programs, and that resolved the issue. I suppose it was a bug. I appreciate your time.

Marc and Gavin, thank you very much for your responses. For other reasons, we had to do a clean installation of the operating system and reinstall all the related programs, and that resolved the issue. I suppose it was a bug. I appreciate your time.

I can tell you at Technicolor/Hollywood, when we did film scans there, we went to the Nth degree making sure a) nothing was clipped or crushed in the scan, b) everything was "balanced" in terms of RGB outputs, and c) there was no funny business going on with black level or peak white level.

I argued for the use of a "calibrated" film chart pre-scan, but the problem with that is the number of possible film emulsions we got in made that impractical.

The new G3 scanner is pretty amazing, and I think it surprised a lot of people at NAB.