best workflow for a short to be screened in Cannes Film Festival

[Aviv Kosloff]

My name is Aviv Kosloff. I?m from Israel.

A short film I DP'd is going to participate in the Cinefondacion competition in the Cannes Film Festival. Only 15 films from around the world are selected each year to this prestigious competition. We want to have the best screening copy we can get ready for the festival.

 

After some research in this forum and after talking to an experienced DP I think I know the best workflow from negative to the screening print. But I would like to lay it out here for your scrutiny.

 

The film was shot on 16mm (not S-16) and framed for 1:1.85 with marking on the ground glass, but unfortunately the markings where not 100% accurate. So we have to move the frame up or down a bit on some shots.

We have to fix a couple of scratches on the negative and we want to change the speed of a couple of other shots.

 

So the workflow (as far as I understand it) is:

 

1. Make a negative cut from the 16mm negative.

 

2. Scan the negative into 2K resolution files.

 

3. Grade the colors digitally.

 

4. Fix the problems I mentioned above digitally.

 

5. Record the image to 35mm inter-negative.

 

6. Print a 35mm positive.

 

Is it the best way to go?

To which lab in Europe we should go?

 

 

I would be happy to get your insights and suggestions

[Dirk DeJonghe]

There is no need to cut the negative frame accurate, in fact it is better not to in order to avoid physical splices. just selecting the full takes is fine.

 

Given a correct CMX3600 EDL and a video reference at 25fps screen output, we could scan the final S16 images to Full 2K resolution 10bit Log DPX uncompressed, wetgate if necessary for scratches.

 

Digital conforming and grading is on Baselight in a theatre with Truelight calibrated projection. Any effects, slomo, dissolves, zoooms etc are done at this stage at no extra cost.

 

In a single grading session on the Baselight, we can output files for filmout and for HD/SD video output.

Files are recorded to 35mm intermediate negative, sound is recorded to optical soundtrack negative and synced.

From this negative one light prints based on the digital LAD values are made, screened and if necessary small grading corrections can be made.

 

About two years ago we worked with Amos Gitai on his film 'Free Zone" where the entire second part was done digitally, main shoot was on 35mm negative.

[Guest tylerhawes]

One other possible workflow is replace scanning with Spirit 2K > HDCAM-SR. It can save a lot over scanning and is very high quality. A Spirit is a little softer than a good scan, but a lot of filmmakers prefer that, especially on 16mm since it acts as a subtle grain reduction without removing the 16mm aesthetic. You can repo the shots you need to during the telecine very easily.

 

Too bad you're across the pond or else I could help you in LA. Congratulations on your acceptance!