mixing 3perf and 4perf S35

[Paul Marschall]

Against my better judgement I may be doing this for a feature shoot. I know this could cause confusion in post so I'm trying to find the best way to clearly communicate to everyone (loader, lab, editor, etc.) which is which. Other than CLEARLY labeling camera reports and slating the heads of camera rolls what would you recommend I do?

[Max Jacoby]

I did this on a feature once. We marked 3perf/4perf on the slate, the mags, the neg report sheets and let the script supervisor know. Otherwise try not to shoot 3 perf and 4 perf on the same roll (obviously!). This film went through a DI, so it wasn't much of a problem, but I'm not sure that during optical post it is possible to mix the 2 formats.

[Michael Most]

Against my better judgement I may be doing this for a feature shoot. I know this could cause confusion in post so I'm trying to find the best way to clearly communicate to everyone (loader, lab, editor, etc.) which is which. Other than CLEARLY labeling camera reports and slating the heads of camera rolls what would you recommend I do?

 

It is very common to mix 3 perf and 4 perf on a primarily 3 perf project, as it is likely that there will be a need for either specialty equipment or additional cameras that are not available in 3 perf. There are very few, if any, 3 perf eyemos around, and there are also very few high speed 3 perf cameras available at any given time. It is also unlikely that stock footage would be in 3 perf, and equally unlikely that 2nd unit would be equipped with 3 perf.

[Paul Marschall]

It is possible to do an optical path mixing 3 and 4 perf, just a matter of A/B/C (and maybe D) rolling the neg cut.

 

I am hoping for a DI, but not yet approved.

 

Thanks.

[GWilliamPatrickB]

Against my better judgement I may be doing this for a feature shoot. I know this could cause confusion in post so I'm trying to find the best way to clearly communicate to everyone (loader, lab, editor, etc.) which is which. Other than CLEARLY labeling camera reports and slating the heads of camera rolls what would you recommend I do?

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I have worked 3 & 4 perf mixed before. Shoot a framing leader for each and keep rolls seperate. Make sure the reports are correct and the rolls are labeled.

[Dominic Case]

Used a roll numbering convention that clearly differentiates the 3-perf and 4-perf rolls. That will help everyone all the way throughpost production. THe most critical time is either in neg matching (if you go traditional) or in neg extraction or preparation for scanning (if you go DI). THe saving grace for the neg handler will be to have each roll identifiable in the EDL, so they can be sure that the 3 & 4 perf stuff is measured and fframe-counted against the Keykodes, and above all is kept separate.