Select Supervised Transfer

[SSJR]

Does anyone know if it is cheaper to Transfer an entire 5300 feet of S16? or if its cheaper to do a one light , offline an edit and take an EDL into a session with selects? What kind of ratio does a select supervised transfer take. is it still about 3 to 1? Whats the cheapest way to go about doing a cc transfer?

 

Thanks

 

Evan Lane

[Bryan Jacobson]

Does anyone know if it is cheaper to Transfer an entire 5300 feet of S16? or if its cheaper to do a one light , offline an edit and take an EDL into a session with selects? What kind of ratio does a select supervised transfer take. is it still about 3 to 1?  Whats the cheapest way to go about doing a cc transfer?

 

Thanks

 

Evan Lane

<{POST_SNAPBACK}>

 

There is a lot to consider. What is your final output, HD master to be burned back to film, or are you staying with your HD master?

[David Mullen ASC]

Sort of depends on how much time you want to spend color-correcting. Some people will do a one-light transfer that is flat, low in contrast, so that all the info on the neg is preserved on tape, and then later do a tape-to-tape color-correction session to the final edited master. But you usually get the best results from working with the film itself for the final color-corrected transfer.

 

The other option that theatrical features do is to cut the neg, answer print, make a color-timed interpositive from the negative, and transfer the IP to tape doing a shot-by-shot color-correction. It goes faster since the IP is color-timed already.

[SSJR]

Sort of depends on how much time you want to spend color-correcting.  Some people will do a one-light transfer that is flat, low in contrast, so that all the info on the neg is preserved on tape, and then later do a tape-to-tape color-correction session to the final edited master.  But you usually get the best results from working with the film itself for the final color-corrected transfer.

 

The other option that theatrical features do is to cut the neg, answer print, make a color-timed interpositive from the negative, and transfer the IP to tape doing a shot-by-shot color-correction. It goes faster since the IP is color-timed already.

<{POST_SNAPBACK}>

 

 

Im not trying to be so complicated. im not intrested in DI or PI. this is a short 20min film. I am going off to D-Beta as my master. I might take steps in the future to blow up and Color time the film in the IP process. What is cheapest if im staying in video?

[Bryan Jacobson]

Im not trying to be so complicated. im not intrested in DI or PI. this is a short 20min film. I am going off to D-Beta as my master. I might take steps in the future to blow up and Color time the film in the IP process. What is cheapest if im staying in video?

<{POST_SNAPBACK}>

 

 

The problem with selects from S16 is dirt, especially if you are burning back to film from HD blowing up to 35mm. Now staying in video no big deal, a telecine with a good dirt and scratch removal system downstream will catch that. You're looking at about 2.5 hours total running time. Ad switching reels, base corrections, locking up decks and editing (sync? using Aaton code?) Personally I'd just look at my costs, cost per hour telecine one light vs. Best light at 3:1. Whats your footage like, based on what you shot it could take 1 hour to 3 hours per roll, lighting changes, emulsion/stock changes. If your footage is all over the place do one lights. I myself would do one lights, offline, and then decide to cut the neg or go back to the original reels, all this based on dailies and neg cutters rate. I suggest (computa-match) if you want a solid foot frame and edl conversion. There usually pretty clean as well.

[David Mullen ASC]

Well, retransferring selects is not a particularly good solution. It's only done with doing 2K DI scanning, since those costs are high.

 

Otherwise, most people transfer all the footage once for standard video, so the only issue is whether to do an unsupervised one-light transfer, cut the movie in video, create an uncorrected edited master, and do a tape-to-tape color-correction later to create a color-corrected master -- or do a supervised scene-to-scene transfer originally.

 

You can figure that the later scene-to-scene color-correction of the edited project will go faster because the footage is shorter. However, if the one-light transfer is not done well, you'll be going into that session with compromised footage.

 

I'd probably make an attempt to get a good deal on a supervised transfer session for all your camera footage so you really know what the negative looks like personally, and not be scratching your head when you receive a tape from the transfer house and ask yourself "why is this shot so grainy?" etc. when you pop that tape into a machine.