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Adrian Bull

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Everything posted by Adrian Bull

  1. Hi David Shot out extensive amount of DV footage to 35mm for a Grace Jones documentary Bloodlight and Bami (On Netflix now) dir. Sophie Fiennes, which needed to cut in with new 16mm concert footage. Results were really surprising, but certainly moved it away from looking like video. Process was a rec709 grade on all of the DV footage that was then shot out to Fuji4503 35mm intermediate stock using an Arrilaser2 and then scanned back to 2K using Arriscan. We do this a lot for commercials where they have shot digital or are heavy on VFX and then want a more authentic film look - shoot back to film, often print (sometimes bleach by-pass) and then scan back to data for final grade. Cheers Adrian
  2. Hi Luis As well as the changes in telecine technology from tubes to CCDs, probably the most significant change was from composite video to component. What you would have seen on TV at the time would have been almost exclusively composite video throughout the 80s many promos would have been mastered on beta SP from the late 80s and you would likely be seeing these now from these component masters. Later period still, but check out Oasis - Do You Know What I Mean - original 96 against remaster in 2016 - shot on 35mm - 96 was from URSA to SD Digibeta , whereas 2016 version was from 2K scans using Arriscan. Working on something really exciting currently from late 80s that will get a 4K HDR finish from 35mm - original was transferred and finished on 1 C-format! Cheers Adrian
  3. Hi Jacek Unfortunately we only scan motion picture film - Super8 though to 70mm - for photographic film I can recommend Aperture in Rathbone Place, W1 if you are London based. Regards Adrian
  4. Hi Sjur Shoot 25fps and do a frame rate conversion IF you need a 24 or 29.97 version. Even with pitch correction I wouldnt adjust the speed of a music track by 4% - it can change it quite dramatically. I would be surprised for most of the distribution requirements these days if you really need a 24/29.97 version.
  5. I can confirm we are still doing 35mm prints at Cinelab London
  6. Just to clear up a couple of points on the post route for LCOZ. The rushes were flown daily from Columbia to the UK, and whilst shooting in Northern Ireland most days there were two deliveries. The film was scanned 4K for the final conform and grade - double flash HDR using the Arriscan. The film negative was created from the 4K output using a High Speed Arrilaser. There are three prints in existence all struck from the master negative - as far as I know all three prints are still in the UK. Always love the debate on cost of film vs digital - for film, budget is always dependent on discipline and shooting ratio. I don't need to chip in on why I think film is better - all I ask is for people to look at the pictures, and make your choice. LCOZ is an epic and I saw print projection again in the last couple of weeks and it is captivating. My only disappointment was that at 141mins it should have been longer. When films look like this they are a dream to watch...
  7. Hi James Come and see us at Cinelab, will be very happy to show you the answers to your questions! We are in Slough, 10 mins from Pinewood and only half an hour on the train from Paddington. email for my attention to enquiries@cinelab.london cheers Adrian
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