Search the Community

Hi all, I've recently finished shooting a music video on 4-perf 35mm, 5219. I'm about to send the film off for processing/transfer and I'm sort of stuck as to whether I should get an HD telecine or a 2k scan. The price difference given the amount of film I'm working with is not that large of a concern. My lab of choice (the wonderful Video and Film Solutions in Maryland) uses a Spirit for both. Now obviously, as it's a music video, it'll only ever be viewed on computer screens, so I'm sure the difference won't be too drastic between the two, but there are still some factors to consider. First off, a solid amount of the video is shot in a city (Richmond, VA) at night, with only available light, meaning I was basically consistently rating the film at around 2000 ASA, sometimes higher. So grain will definitely be an issue, and on top of that, I plan on pushing a few of the rolls 1 stop. From my previous experience with 2k scans, it seems as if the higher resolution relative to HD makes grain seem even more apparent in scans than it does in telecine, so would the combination of the thin negative, the push, and the 2k scan make the grain way too intense? I understand that "way too intense" is a vague quantifier, so I guess to put it a bit better, would I be better off in terms of keeping the grain at a manageable level (given the negative that I'll be working with) with an HD telecine or a 2k scan? And I guess in a more general sense, what would be the advantages (or disadvantages) of going with 2k in this situation? Also, this may be a stupid question, but just to clarify my understanding, it's definitely possible to maintain the 1:33 aspect ratio with an HD telecine, right? Any time I've previously had HD telecine of 35mm it's been automatically cropped by the lab to conform to a 1920x1080 frame. But theoretically wouldn't it be possible to maintain the full 4-perf frame with no cropping if I specifically instructed the lab and just have bars on the left and right of the frame? The film was framed for and always intended to be presented in that format. Any help is greatly appreciated! Thanks, Dylan

Ok, this is my first film shot with motion picture film. I read as much as I could about it a jumped right in. This weekend we filmed a very fun and cheesy, short for a Zombie Film Challenge. I'll be sending the footage to the lab on Tuesday. I had a relatively simple one-location story (my garage) with the lighting you see in the photo. In the back, the large white square on the ceiling to the far right behind the practical is a 250 watt Lowel Pro Light. In front there is a 500 Watt Lowel Omni Light and to the far right a 1000 watt Strand Bambino Fresnel on full. I didn't use my light meter. :( I felt a bit unprepared and rushed. I shot with the 16mm Switar wide open the whole time. I may have shot a few seconds with the Switar preset 10mm but that lens for some reason seems confusing to me even though I've read how to use it. I shot most of the garage scenes on Vison 500T and some on Vision 200T and one on Vision3 200T. My question is do you think I should order 1 - 2 stop Push processing for the garage footage given the film stock used, the lighting conditions and me shooting wide open? Thanks.

Hello everyone, I'll be shooting a short film this month, for which I need to emulate the look of an early b&w silent film. It is a bold look but has to be watcheable as the entire movie is shot this way. I'll be shooting on Super 16, and was considering a couple options regarding film stock and processing: - Shooting black and white directly on 7222 stock, exposing normally. I like the idea, the stock is naturally grainy, but the dynamic range is quite limited. - Shooting 200T 7213, under-exposing the neg and then push-processing by one stop. Black and white would be done in post. It is risky, as the image is probably going to be grainy, high-contrast and the blacks will be muddy ; but I was thinking all of this would help "sell" the look. - Shooting 500T 7219, over-exposing 2/3 stop and then pull-processing. Black and white done in color grading as well. I like the idea of keeping color information to grading, and this looks like the safest option to me. As far as lenses and diffusion is concerned, it will be a series of old superspeeds, which I will be diffusing with something like a Glimmerglass or a black soft net. I know I should shoot tests, and I will. But I'd be glad to hear your opinions and if you think there's an obviously better option. Thanks ! G.C.

The Cambridge SUPER 8 Group is running a workshop to shoot and develop a roll of Tri-X black&white movie film as negative Week-end of the 25/26thJanuary 2014/Cambridge, maximum of 6 participants Starts at 10:00 am to 5pm both days This include one cartridge of Tri-X Super 8 film (runs 3 minutes), development chemistry, loan of camera, and telecine transfer to DVD ● Join us in a two-day DIY workshop in which you learn the basics of using a Super 8 movie camera, see some monochrome masterpieces from our worldwide archive to inspire you, devise a shooting plan, then take the leap of irrevocably filling those 3500 tiny frames with rich monochrome Kodak magic. We loan the camera, you provide the imagination! ● The next day, we’ll hit the darkroom – a real one. Using a special spiral (a challenge in itself!), each film is loaded into a developing tank to be soused with chemistry, stopwatch in hand, washed, unrolled and hung up to dry, as you see your efforts appear in full effect like a hatching dragonfly. ● Each film will be run through a vintage projector to shine your unique and permanent image on a screen for the first time. Later you’ll get a positive-image telecine digital file to edit as you please - plus your original 50’ of unique film to last for… 50 years? 100 years? Longer than your digital media will ever survive? Something for your grandchildren, as the legacy of real film already is in our own time? To register interest contact us via the website http://www.cambridge-super8.org/2013/12/10/super-8-workshop-in-january-2014/

Hi all, I'm a film student in Ireland D.O.P.ing on a Super 16mm short in a few months time and am looking for advice on processing and transfer. At the moment I have an assortment of short ends of various stocks (At the moment, almost 200ft of Vision 2 500T, 30ft Eterna 500T and a few more short ends on the way) I am wondering if labs out are willing to develop short ends of different stocks, even very low amounts, and count them all as the one total in regards to pricing. I don't know anything about developing pricing as the last time we shot S16, the college organised stock, processing and telecine. I am also looking for labs in Ireland/UK/Europe that develop 16mm at competitive rates for a student, the budget is low but I am willing to spend to get the look as I believe it is essential for the film. Thanks all.

Looking for some advise - I am a producer creating a budget for a feature narrative but with ten minutes of 16mm or 35mm film and I just have no where to start in creating this category. In addition, I need some solid advice on who to go to in Chicago or surrounding areas who is talented with editing. Help? Thank You!