Blow up to 35

[Enrique Lombana]

Hi,

 

Quick question. From my understanding, if you shoot on DV, HD, 16 or S16 etc, you will have to do a blow up to 35 for it to be shot in theatres. Now if you already shoot in 35, doesn't it still have to be transferred to tape for editing? When exactly is this blow up done?

 

 

I appreciate your clarification on this,

Enrique

[Nate Downes]

Hi,

 

Quick question. From my understanding, if you shoot on DV, HD, 16 or S16 etc, you will have to do a blow up to 35 for it to be shot in theatres. Now if you already shoot in 35, doesn't it still have to be transferred to tape for editing? When exactly is this blow up done?

 

 

I appreciate your clarification on this,

Enrique

 

No, you edit the digital, which has key-codes to then tell someone called a Negative Conformer to then use to cut your negative for you, which then you pull prints off of.

[David Mullen ASC]

If you shoot in a 35mm release format like standard 4-perf 35mm 1.85 or anamorphic, you can cut the negative and make contact prints and project those with a soundtrack on the print.

 

When editing a workprint or a video transfer of the 35mm negative, you generate a list of time code & keycode numbers that tell the negative cutter how to cut the negative match the edit.

 

If you shoot 16mm or Super-16, you have to either optically blow it up to 35mm, or transfer it into a digital format and transfer that onto 35mm film. If you shoot in a non-theatrical release print format, like 3-perf 35mm, 4-perf Super-35, etc. then you have to either optically convert it to standard 35mm for release printing, or scan it into a digital format and transfer that to film.

 

If you shoot in video, you transfer the video to 35mm.

 

Technically, it's not really a "blow up" if you are just transferring digital files to 35mm film. Usually the process is called "film recording".

[Enrique Lombana]

Beautiful, thank you!