Chris_Burket

Sounds like you have it figured out but let me ask acouple questions.. Why do you want to do your final color from your negative instead of tape to tape? Are you not confident the first colorist can give you a good base look? If so, thats fine and you can go back to your neg, but if you get a nice base look on your digibeta, just go tape to tape with that. Now, to go back to your negative for a retransfer, HD, or even a DI, this is what I'd suggest. When you transfer, have your audio and video timecode burned in as well as your keycode. Make sure you get a flex file from your first session. If you are using 1,000 ft. flats of neg to transfer, transfer each flat starting at 15 minute increments. Like flat 1 is 01:00:00:00, flat 2 is 01:15:00:00. Or if you don't have much film, you can transfer one flat per hour. Flat 1 = hour 1 flat 2= hour 2 etc... The hole punch should be on the first frame transferred at :00. A frames should fall on :00 or :05, but the telecine people already know all this. After you are done editing, generate an EDL with KEY NUMBERS and ROLE NUMBERS. Then take this cut list to your next colorist and have these shots re-transferred with handles of course. Also, MAKE SURE TO GET A FLEX FILE FROM THIS SESSION TOO! Then, re-digitize this newly transferred tape and relink the media via key numbers. Now, you have a locked offline version with your new color corrected media attached to it. Now if you want to online in HD, SD, whatever, you can export an EDL with TIMECODE numbers, and go to an online bay. Now you have your online master. At this point, you'd usually do final color, but you've already done this so your finished with picture. Now you'd do an audio layback and your done.

I'm wondering what the differences are between these cameras as far as noise level, video tap, viewing optics, motors, etc...??? If one was interested in shooting on super 16, which camera would be a good choice for a sound sync narrative project? And why? I've primarily shot with Arri cameras, like the Arri S and SRII. How do these cameras stack up?