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S 16mm transfer to Standard 35mm


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Hi there,

 

I will start shooting a S16mm short in a couple of weeks. The director wants to go to 35mm print afterwards.

I've never done that befor so I wasn't 100% sure about the 'right' way of doing it. Also there is some Animation invoved as well.

We were thinking of getting a 2K telecine on Digi Beta or HD, doing the edit and the animation and credits on the DI and give it back to a post house for final grading and an Arri Scan and 35mm print We don't want to go through the hassel of neg cutting.

Does that sound about right? We are working on a limeted budget so we thought that might be the best route.

 

Alos when shooting S16mm for a final 35mm print, are there certain things I should be aware of? It will be Standard 35mm print for European market.

 

Any thoughts and tips would be greatly appreciated.

 

Thanks,

 

Rob

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Robert,

 

using the words 'limited budget' and Arriscan, 2K etc in the same sentence is not very wise.

 

Your choices in order of price are:

 

1. Do standard telecine of rushes to Beta, DVCAM etc, have negative cut from EDL, make direct blow-up from negative to 35mm positive, if simple titles: have them shot on rostrum camera.

 

2. Do standard telecine of rushes to Beta, DVCAM etc, have full takes selected from EDL, have HD or 2K scan to DPX files, have conforming and grading in calibrated grading theatre, direct output to 35mm positive on film recorder.

 

3.Do standard telecine of rushes to Beta, DVCAM etc, have full takes selected from EDL, have HD or 2K scan to DPX files, have conforming and grading in calibrated grading theatre, recording to 35mm intermediate negative, positive 35mm prints.

 

We do all in-house and there is no way you can do choices 2 or 3 for the price of a direct blow-up. If you need more than a couple 35mm prints, then an intermediate blow-up would be advised and you come close to the price of choice 3.

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Guest tylerhawes

Hi Rob,

 

We've done several S16 features with a workflow of DVCAM Dailies for edit, transfer selects to HDCAM-SR log, conform, color in our theater and ArriLaser out to film. The titles and opticals are typically part of that workflow.

 

One main question: are you planning for dailies, or could it be weeklies?

 

The best thing to do would be just call us and talk about your film so that you could get an estimate. I'm not the financial guy here, I'm a colorist, but I know we've made it happen on strict budgets before...

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