Cost of film out?

[Oliver Smith]

Forget all the costs before this point. I have an edited DI from 16mm and I want to filmout to 35mm.

 

Let's say it's a 90 minute feature. What are the costs?

[Stephen Williams]

Forget all the costs before this point. I have an edited DI from 16mm and I want to filmout to 35mm.

 

Let's say it's a 90 minute feature. What are the costs?

 

Hi,

 

$50,000 + depending on who you ask. What exactly do you mean by an edited DI, DVC Pro HD, HDV, HDCAM, HDCAM SR, 2K?

 

An optical finish is probably cheaper.

 

Stephen

 

Stephen

[David Mullen ASC]

What does an "edited D.I." mean anyway?

 

Part of "D.I." means that you scanned the film to a high-enough resolution digital format that there is minimal quality loss. It's not the same thing as having done an offline cut of video dailies.

 

Laser recording generally will cost $50,000 or so for a feature.

 

An optical printer blow-up from Super-16 to 35mm through an IN/IP is somewhere around $25,000 or so, last time I checked.

[Oliver Smith]

What does an "edited D.I." mean anyway?

 

Part of "D.I." means that you scanned the film to a high-enough resolution digital format that there is minimal quality loss. It's not the same thing as having done an offline cut of video dailies.

 

Laser recording generally will cost $50,000 or so for a feature.

 

An optical printer blow-up from Super-16 to 35mm through an IN/IP is somewhere around $25,000 or so, last time I checked.

 

What I was trying to say was: if I had it all on digital ready to be printed, what would the costs be?

 

Thanks for the info.

[David Mullen ASC]

"On digital" doesn't necessarily mean that the quality is good enough for a D.I.

 

Conversely, it doesn't necessarily mean either that you edited the movie in video with a negative conform in mind.

 

You need to pick the finishing process to print before you begin editing to make sure you follow the right procedures. I would guess that you have an offline video edit of the project, made from standard def (PAL or NTSC) video transfers, since that is the most common scenario. Hopefully if you plan on cutting the negative, you edited the movie with those restrictions in mind in terms of how many frames on each side of a cut you might need, especially if you need to "zero cut" the negative so you can blow-up directly from the S16 neg to 35mm without going through a S16 IP.

 

For a D.I., you would have the costs of taking your EDL and rescanning the selects at 2K or 4:4:4 HD, doing a digital conform, color-correction, clean-up, and laser recording.

[Keith Mottram]

For a D.I., you would have the costs of taking your EDL and rescanning the selects at 2K or 4:4:4 HD, doing a digital conform, color-correction, clean-up, and laser recording.

 

Unless you had already transferred the lot to SR at beginning (or data), did a low res offline, reconformed, then CC'd. this for low budget would be the best result as you would have your master for other deliverys. if you did an optical and blow up you would have to factor in opticals and be restricted on many post matters which would enhance a low budget production. out of interest how much roughly would a 16mm- 35mm neg cut/ blow up be straight cuts and no opticals?