16mm workflow ideas.

[Matt Bizer]

Ok, I am shooting a low budget short on 16 in june. what I am looking to find out is the best workflow after shooting. I wanted to send my footage in to a lab for mini dv dailies.

 

I have a $2500 post production budget with a final output as digital HD or DVD and I need to figure out my best route.

should I edit with the mini DV dailies and then go back and have the edited footage worked through with a colorist and then put on HD or digibeta??

 

I want to get the biggest bank for my buck and I think a local colorist may be cutting us a deal.

 

would it be more practical to just have it done best light and just go with it?

 

This is my 1st experience in working with editing and workflow of my own project shot on film.

 

If anyone can give me a better perspective on it I would be more than thankful.

 

 

 

-Matt

[Robert Houllahan]

Ok, I am shooting a low budget short on 16 in june. what I am looking to find out is the best workflow after shooting. I wanted to send my footage in to a lab for mini dv dailies.

 

I have a $2500 post production budget with a final output as digital HD or DVD and I need to figure out my best route.

should I edit with the mini DV dailies and then go back and have the edited footage worked through with a colorist and then put on HD or digibeta??

 

I want to get the biggest bank for my buck and I think a local colorist may be cutting us a deal.

 

would it be more practical to just have it done best light and just go with it?

 

This is my 1st experience in working with editing and workflow of my own project shot on film.

 

If anyone can give me a better perspective on it I would be more than thankful.

-Matt

 

Depending on how much footage you have and what kind of deal you are getting...

 

I would make a Simultaneous Keycode transfer with a Best light grade to 2 DvCam tapes (one Clean, One Keycode Burn-In) I would generally avoid MiniDv for keycode transfer but you could go that way.

 

With the set of 2 tapes you can edit your footage with keycode, Foot+Frame numbers, etc and then re-batch from the clean tape to make a clean copy.

 

Plus

 

Take the Keycode transfers and just work on the Selects with your Colorist for the online grade and finish to HD or Digibeta.

 

my $0.02

 

-Rob-

[Kevin Zanit]

Typically for DVCam dallies, expect to pay around $200-250 an hour. Depending on what you are doing, budget for about 1.7-2x real time. So if you have 2 hours worth of material, expect to pay for about 4 hours (it is usually less, but budget for the worst case).

 

You would get all your footage transferred with windows burnt in, etc, as well as get a "flex file" from the transfer house.

 

The specifics of the editor lining things up with your flex file is not something I know anything about. So, I'll skip to the next step:

 

The editor generates an EDL that is converted to correspond to your roll #s and key code, etc. You then take this with all your original elements to the transfer house that is doing your HDCam telecine.

 

They transfer only the stuff you need based on the EDL to your desired format (HDCam in your case). Expect to pay anywhere between $375-500 an hour for transfers on a Spirit, and slightly less on a Shadow.

 

How many hours depends on how fast you are with your color correction, and how well your EDL lined up (no major problems, etc.).

 

The editorial details like your dissolves getting up-rezed, etc I once again now nothing about.

 

This is a very dumbed down version.

 

Kevin Zanit

[timHealy]

You should talk to your post house or maybe several post houses and see what they suggest is the best route for you.

 

best

 

Tim