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Joe Cream

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  1. I'm producing a feature that shot on Super 16. We shot about 60,000 feet of film, and have about 60 flats of negative in storage. The final edit has around 1200 cuts. This is my first film originated project, so bear with me if I'm asking obvious questions. Background: We did a cheap telecine to DVCAM for editing, and had our post house do the Cinematools database, etc. (In retrospect, it would have been better to do all of our dailies in HDCAM-SR and then edit from downconverts.) The DP and director are not planning to go crazy with power windows or anything in the final transfer so we were planning to do a supervised telecine for the final product. We'd like to finish on HDCAM-SR, and I had a few questions about possible workflows: - Do we need to have our negative cut before doing a new HD 4:4:4 telecine session? Or would the telecine operator be able to just find the needed clips from our flats using the keycodes? (Or would we just end up sitting there forever...) - Another possibility I heard about is having the lab pull the used takes from the negative and assembling them for telecine. Is this worth doing or is there a down side? -Anyone experienced with this kind of workflow have any advice on how much time to budget for the telecine session? After we conform using CT and FCP, and add a few FX and transitions, we were planning to do whatever final tweaks needed at a post house that uses Color, and then dump to tape, DPX sequence for filmout, etc. Thanks in advance for your advice
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