Tc from super 16 or inter neg 35?

[rubens]

hello,

 

last summer we did a low budget feature film. Steve+Sky

shot on s16, reversal film. >cross process.>blow up to inter pos35>inter negatif35.

from that inter negatif35 we did traditional grading and prints.

 

now the producer wants dvd and tv version. should we go back to the reversal neg and do the scanning from there. or should we scan from the inter neg 35? please help. there is no AB edit of the negatif 16.

 

what should we do? feel free to visit . www.steve-sky.be

 

ciao

 

Ruben

 

Im scared the release is next wednesday..

[David Mullen ASC]

You generally don't want to run a spliced negative through a telecine so I'd use the next generation, the 35mm I.P..

 

I've never gotten a consistent response from post houses as to whether they'd rather work with a contact-printed S-16 interpositive or an optically-printed 35mm interpositive. The optical printing adds artifacts -- mostly dust and dirt, some enlarged, although you can clean that up digitally to some degree if you spend the money. But 35mm is generally a better element in a telecine -- less weave for one thing.

[Mitch Gross]

Use one of your 35mm elements. The 35 IP would probably be best. I'm curious--normally the color grading is done as early as possible. From my S-16 original neg. I have a silent S-16 print struck for color timing purposes. The timing corrections are incorporated into my 35 IP blowup. When we strike a print from the 35 IN it's usually pretty close although we might have to make some slight adjustments to allow for shifts due to all the intermediary steps. Was this done for you or are you saying that the IP blowup was done at a straight 25-25-25 on the printer and all color timing was done in the 35 release print stage? Seems much more expensive and much less control to me this way.

 

Best of luck on your upcoming release.