S16 to 35mm Blowup costs

Pritesh Chheda · September 7, 2004

We plan to shoot a feature on S16mm and telecine it for editing. Just wondering what the cost would be for 35mm blowup? Any tips while shooting S16 so the 35 blowup looks very close to S16 (sharp lenses, very less grainy stock etc.)? Any literature that I can read or any shops that I can talk to? The feature will be a thriller with 99% shot in one house. Modern Film Noir.

Best,

P

Mitch Gross · September 8, 2004

Pritesh,

I didn't hear back from you from my email. I have posted on this extensively in the past. Check the archives of the forum for lots of info.

David Mullen ASC · September 8, 2004

I shot a Super-16 feature about seven years ago and we blew it up to 35mm twice, the first time directly from the zero-cut negative to a single 35mm print, and then we later blew it up again but to a 35mm IP, from which we made a 35mm IN and then multiple 35mm prints.

I remember the cost of the single direct blow-up print at Colorlab in Rockville, MD was about $12,000 per print, while making the 35mm IP, IN and print was more like $28,000.

But not many labs can blow-up directly from a S16 negative to a 35mm print or IP, and you have to zero cut the negative to do this. Most labs will make an S16 IP from the A-B roll S16 negative and blow that up to a 35mm IN, which is also a little cheaper since an S16 IP is cheaper than a 35mm IP.

Dominic Case · September 8, 2004

S16 IP is cheaper than a 35mm IP

cheaper, but not as good. You get what you pay for.

Best pathway is to blow up at the first stage - to IP. If you cut the neg in traditional A&B rolls for this you will invite problems with the splices. labs have various methods: either have the A&B rolls cut with handles and use zerocutting on the printer (good, but sometimes you don't have the frames in the negative for the zerocut extensions or handles); or have the neg cut over length (or full takes) in single rolls, blow up, then have a neg cutter assemble the IP to the correct length. You can cut in effects, titles, credit rollers etc at this point.

Many labs also advise seriously against a direct blow-up print from the original neg. The addiional wear and tear on original neg involved in making this print (on a step printer) can't be undone, wetgates notwithstanding, and so your subsequent prints or dupes will all suffer. Better to get an IP made - it protects your original.

When shooting, use the next slower stock than you would choose for 35mm, to get finer grain. Overexpose by about 2/3 stop - also to keep the grain in check. Wherever possible, think 35mm. Be super-critical in your focus, and (especially in dark, flat scenes) ensure you have a small bright area to give the scene a bite. A backlight or toplight can be effective here.