Dirk DeJonghe

You can get along nicely with Prores 422 in case of B&W, only the first number 4 (Luminance) if of importance.

We have been one of the pioneers for the Aatoncode system. It used to be visible, man-readable numbers plus barcodes on film and man-readable numbers printed on white SEPMAG stock. It then evolved to telecine via Keylink putting man-readable numbers in the image plus machine readable timecode in 3-line modified VITC on Betacam SP or Digital. Since everyone is now receiving rushes on fileformats, either we sync the timecoded audio to the man-readable audiotimecode on the picture (in case of rushes), or some users use an timecoded clapperboard. The good old clapperboard still works with a crystal controlled camera. A digital audio recorder should be sufficiently stable to allow lip-sync with the clapperboard. I think you can find a good selfblimped camera with crystal controlled motor for less than doing a DIY hack on a noisy old camera.

2 perf has no place in this discussion, it is strictly a capture format just like S16.

David, In post #7 the OP stated he wants 4 perf anamorphic, the title is misleading. The special S35 to Scope lens we have allows only one setting: from S35/2.25 to Scope. At any other frame size the results are suboptimal. In some countries in EU it was common to shoot on S16 for shorts, make a contact answer print, and then a direct blow-up to print, the optical sound being exposed on a 35mm contact printer. We did hundreds of those shorts, only one print was required for festivals. For feature films shot on S16 we worked via IP blow up, contact DN. When doing a S16 to Scope feature we had to use the optical printer for both steps (IP/DN) giving an exceptional quality from a very small negative area.

We had the pleasure to work on 'Toivon Tuolla Puolen' for Finnish director Aki Kaurismaki. Both a DCP and 35mm print will be shown at the Berlinale. The 35mm print is directly from the orginal negative shot on Vision3 500T, DoP was Timo Salminen. More details on this link: https://www.berlinale.de/en/programm/berlinale_programm/programmsuche.php?screenings=efm_festival&page=1&order_by=1&documentary=&section_id=60&cinema_id=0&country_id=85&date_id=0&time_id=0

If you shoot S16 with spherical lenses, we would first do a S35 Interpositive Blow-Up. From this we can squeeze the image to be anamorphic going to the Duplicate negative stage. Then contact prints with optical soundtrack can be made. We haven't done this in the last ten years, but the equipment and the people are still there. Another way is to use anamorphic lenses on the camera and do a direct blow-up (only for small number of prints, after conforming the negative).

Patrick, we use Fedex daily. Never a problem with Xray. I can get the package collected from your location, send me details by mail;

Processing Ultra16 in my lab is no problem, cannot do telecine or scanning or printing;

Since you volunteered, send me some information, we can talk.

Phil, Is there any software that allows easy editing of this metadata parameter in DPX? We could create a project for 6fps, another one for 12 fps etc. Then reconcile the frames after renumbering etc. There must be an easier way.

We work on a project where some sequences were filmed at 18 fps, others at 12 fps and others at 6 fps. The customer wants this shooting framerate embedded in the metadata of the files. On our Baselight, the software embeds the project framerate, this could be 18 or anything else, but the same for the whole project; I think it is the projection framerate that should be embedded (if any) and not the shooting framerate. This is for old archive material, the purpose of the job is to have long-term storage digital masters. How would a projectionist (who is not the author of the film) know where to switch to 6 fps if he was even able to do this, Wasn't the intention of the author to have a faster pace when he shoots at 6fps?

The software we use is called Film-O-Sync: http://www.zachpoff.com/software/film-o-sync/ I don't work with it, just look over the shoulder. We use it to play Wav files into our optical sound recorder.

David, I meant using the workprint to screen the film just as you would with a reversal original. There is a free software program that will run a wav file in sync to a 24 Hz signal generated by a projector. This may be useful for low-cost projection alternatives.

If you have a flatbed at your disposal, SEPMAG would still work for the basic sync sound. Since nobody is still mixing with multiple SEPMAG machines, I would then do a telecine from the workprint + SEPMAG and add the M&E tracks in an NLE to get a final mix. The final mix can then be transfered to SEPOPT if going to a 16mm or 35mm print, or used as digital sound in DCP or other deliverables. We still do 16mm SEPOPT tracks, mostly for artists and experimental films, it has the undeniable 16mm optical feel that is part of the show, strictly mono of course;

You can have a simple workprint made, nothing prevents you from using it a projection original; The added bonus is that you can make another copy if you need to . The current price is 0.75€/m + VAT 21%.

Negative cannot be spliced with ultrasonic only with cement or tape (last resort).

Just this month, I had two productions: one was a Super16 short film, direct blow up to 35mm after making a S16 contact print first, all photochemical workflow, the other is a feature film, shot on 35mm with both a photochemical grading and digital grading for DCP. Just to say the film grading is still very much alive. For small runs, a direct blow up is more economical up to about 5 prints. We print a S16 print first, project it and do further color corrections if needed, the same grading information is then used during the blowup to positive or to interpositive. For direct blow-up you need to pland ahead concerning fades, titles etc. With good lenses and modern stocks, the results are breathtaking.

Looks like X-ray damage to me. Did the magazine pass X-ray inspection with the reel partially exposed?

We have factory fresh 122m rolls of 7222 in stock, just across the border from you.

We can supply Orwo or Kodak 16mm B&W print stock. Minimum order 610m rolls. Contact me by PM.

Any title that has been bulk printed must have an Interpositive somewhere. From that 35mm Interpositive, we could make a reduction 16mm duplicate negative. With a new (mono) soundtrack this can then be contact printed to 16mm printstock. The image quality is very good for 16mm but the sound is limited. Would anyone who is now paying a dozen €/$ for a Bluray with 5.1 digital sound be willing to pay maybe 700-900 €/$ for a 16mm collectors print? In the late 1980s Rune Ericson of Sweden developed a system where smaller remote theatres would receive Super 16mm reduction prints with sync DAT sound. The savings on shipping prints were enormous but it never got off the ground.

Gareth, I started my career in Ektachrome reversal, first ME-4 and ECO-3, then VNF-1. I was one of the very few to run 35mm ME-4 process. Once you have seen a 7203 printed and projected, I don't think you will want to go back to reversal. Ektachrome was good in its day, we have moved on.

You may think scanning prices are crazy, just remember, when you work with employees, the equipment is the cheapest factor in your operation. For each Euro that one of my employees takes home, I have to pay 3.68 Euros. These are only the payroll related expenses, there is more than that before you can even start to run the company.

I think most customers would be happy with the prepaid stock + processing + workprint deal we have: any Kodak Vision 16mm negative stock (50D up to 500T) in 100 ft or 400 ft reels. You buy the prepaid stock from us, it comes with a sticker and you get a workprint or HD Quicktime. Send a PM for prices, they are very close to the Reversal stock plus processing only.

I had a S16 production that used 50D stock to shoot sunlit exteriors in Greece. The cameraman had to do some reshoots and used his own 35mm camera. It was an older Cameflex with vintage lenses. After seeing the results he regretted his decision.