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  1. Hello everyone, If this has been covered in a previous post please link, I was unable to find much on a few cursory searches. I am requesting advice or suggestions for a good lab who I can send Super 8 cartridges to for processing, telecine, and most importantly good quality post and colour grading. I am based in the UK (London). Normally I rely on someone local who hand-process the film and does all the post for me. I have always been very happy with his work, but I'm interested to see what kind of results I can get from a 'lab'. I am aware of Andec in Berlin ( andecfilm.de ) and
  2. Hello everyone! I've always noticed that music videos (shot on film) from the early 80's tend to look very different to the ones shot in the late 80's. Early 80's music videos tend to have something different, like a softer look, more flickering and also dust. As I wasn't alive back then, I'm assuming that telecine systems in the early 80's used video camera tubes and late 80's telecine used either better video camera tubes or CCDs. Is this difference due to telecine systems? Maybe type of film used? Early 80's The Human League - Don't You Want Me The Clash - Rock The Casbah
  3. ....my first EVER footage shot on 16mm is coming back me via certified post tomorrow or the day after.... ...the footage has been Telecine'd to HD size and exported as ProRes 422 on a pen drive.....its coming to me clean of timecode marks etc so I can use in the final edit...... My question is......does anyone use Telecine for final piece edit? Obv its to save money on 2k/4k scans that I ask.... .......the final piece will be on social media and at its largest viewed size on a 43" TV at the factory for tourists to watch when the master blowers are not there making glass at the
  4. Hi All, I was just wondering whether anyone would be able to comment on their experiences with both Cinelab London and iDailies. Ideally, I'm looking for those who have used both companies and would be able to provide some kind of comparison. I understand that the differences between the two will mostly boil down to pricing and service, but I wondered whether their telecines and scans differed at all. (They do both, Cinelab in particular, have a number of option with regards to the type of scan they will give you - HD, 2K Spirit, 4K, etc.) I'd be interested to know also whether people
  5. As the title says: What is the optimal frame rate for a music video, shot in Europe, with an European band, in an 230V 50hz environment, but with a potential international release? 25? 24? 23,97? Which has the least problems when converting to different broadcast standards?
  6. Hello, Nice meeting all of you. I been shooting a bunch of super8mm this past year, and really enjoying the process. Im just starting out to play with 16mm and will appreciate any answer or help. (no need in-depth or long replies) - I just got a "new" Krasnogorsk K-3 - I was wondering where can I send it to check up/service in Los Angeles Area. Any tricks and tips about that camera? - Where can I get a proper loop for it? - Where is the best telecine lab you guys know in the US? - Super8mm - where can I service my cameras? I got Canon 1014AZ that needing a service as the motor sta
  7. Hi everyone, I'm writing a piece on the history of colour correction/grading through the ages and was wondering if any of you have been in the business long enough to have first hand experience of grading with film before it went digital? If any of you have any information about who to talk to or know of anywhere that still processes film (preferably in London), please let me know!
  8. Hello colleagues, I'm shooting my first film on 35mm in the of next month and I've been in contact with a lab in Stockholm about the developing and scanning. The quote they sent me, however, has left me a little puzzled - and instead of potentially making a fool out of myself with them I'll take my chances with you guys (ha). They want to charge me for 2 scans - 1k AND 2k. The lines in the quote are the following: Scan 1K onelight 35mm 4perf Scan 2k EDL to dpx Is it really necessary to have a total of two scans? Since skipping the 1K could potentially save us a substantial
  9. I'm a student who is about to shoot a 5min 35mm short. The final look we are going for is one with very minimal grain and no noise. This 5207 test video shot by Kodak is a good example of what we are looking for.    https://www.youtube.com/watch?v=qCxr7YeD0C4   The key thing here is minimal grain and noise. I've been looking into various post houses and the equipment they have and came up with this list:    Fotokem - Spirit  Metro Post - Director Gamma Ray Digital - ScanStation Cinelab - Xena Nolo Digital - Arriscan FilmVideoSolutions - Spiri
  10. Hey everyone! So I live in NYC and I've been shooting Super 8 as a fairly serious hobby since last summer. I love it. This forum has been a source of so much info. I've already bought several cameras, shot vacations, field trips, events, etc. Problem obviously is it ain't cheap! And even more of an issue is minimums. Given that I don't normally shoot 4+ rolls at a time, I've been forced to wait for weeks if not months while I slowly shoot more rolls until I meet the minimums. I've gotten developing from Spectra with their film+processing packs for ~$40/roll but that of course doesn't i
  11. I've recently started shooting on 35mm and I have been extremely frustrated by the exorbitant quotes and turnaround times I am getting from post houses around the L.A area for scanning my films. Coming off RED Dragon..once I saw my first scanned 35mm test roll (also had a print made which I viewed on one of my moviolas) I knew I was never going back to digital. Film was everything I always wanted. I am toying with the idea of finding 5-10 independent filmmakers, in the L.A area who are shooting on 16mm and 35mm to come together and invest in a high quality, fast, high resolution scann
  12. Hi there, Recently I made some very low light tests with a new camera, and when I got the material back from telecine, I noticed a light spill of some sort on the left edge of frame. I framed it in black so it's easier to see. Don't mind the poor quality of the transfer (plus the image is kinda grainy, because it was exposed intentionally under limiited light conditions). Couple of things come to mind. Could it be light spill from the sprockets on the telecine? One other thing is that, the door and viewfinder I was using has a kind of a mirrored double image on the left side which I
  13. Hi my name is Ricky Dominguez form Luna Films in Puerto Rico and we want to transfer all the 16mm material (22,620 ft) that was recorder for a documentary in the 90’s and I want your opinion in what is the best option that you recommend and why. First we have 21,820 ft of negative material and 800 ft of positive from a workprint because the original (negative) material was lost. What should we use to do the transfer, film scanning or telecine, witch one is better and why. What machine would you recommend to do the transfer. What size, 1080, 2K, 3K, 4K and why. Occasionally we will use
  14. Yes, another 16mm question :) I have two 16mm color double-perf Kodachrome prints (less than 400' each) that I've been storing at the Academy archives in Hollywood. These prints from 1965 & 1968 document two world premieres here in Los Angeles and the color & condition of the both rolls are stunning. I don't think they've ever been projected. When we found them, we originally screened them on a flatbed Moviola and thought we had color reversal film. Closer inspection of the film over the light table revealed it was, in fact, Kodachrome. My question is: what is the best way to b
  15. michel

    POST PRODUCTION

    Dear Friends, i am Michel From india and i would like to SHOT with mini DV and then covert into TELECINE into 16mm / 35mm kodak stock.
  16. Hi All, Wasn't really sure where to post this, let me know if I should move it. I have a "Retro8 Pro" and a "Retro16 Pro" scanners for sale from "Moviestuff.tv" Practically NEW, I transferred 5 rolls of S8 and 2 of 16mm. Still under manufacturer's 1 year warranty until Feb. 2016. I'm selling them because I bought the new one (all in one). These scanners are the best out there, I had a roll of film transferred at three different top notch post houses in LA, none of them came even close to what these little guys can do. Roger from Moviestuff has really done an excellent jobs
  17. Retro16 Pro Scanner from Moviestuff. It's practically NEW, I scanned two or three rolls of film then upgraded to the new one (HD Universal). Asking $2500 OBO or trade for motorcycle of same or higher value. Manufacturer will give a 6 month warranty if sent in to check/refurbish at no additional cost (US only), Shipping is also free to lower 48 states. Roland text/call 213 819 8320
  18. I have a "Retro16 Pro" scanner for sale from "Moviestuff.tv" Practically NEW, I transferred 5 rolls of film, then bought the Universal one. I'm asking $2100 OBO with free shippig to Lower 48 states and 6 month warranty from Roger (manufacturer). Let me know if you're interested. Roland
  19. Hey everybody, On another thread awhile ago I saw somebody looking for advice on how to achieve that "Kodachrome look" when there aren't many reversal options left. There was a great suggestion to try making a print of the negative, and transferring THAT. Has anybody done this, and does anybody have any links to the results? 20 years ago in film school, I remember getting a 16mm work print transferred to VHS (!) and I remember it looked cool, but that was a long time ago and I don't still have it. I would love to see iif this is worth doing, or if it's too much hassle / exp
  20. As I mentioned in the Super8 thread, I have a long dreamed of project in the works: A feature that will be partially shot on Super8 film. We are shooting all of the 8mm scenes first and will edit and then see where we are at. Never mind the fact that prices for stock have gone up by 50% or more in the last 18 months :angry: there is also the issue of not receiving responses from the labs or scanning facilities I have contacted. I don't want to be rude and mention which ones, but it seems like maybe some just don't care about 8mm at this point because I am receiving replies to my emails i
  21. Hey everyone, Recently I shot a student film with 16mm Kodak 200t 7213 stock. It recently came back from telecine and it looks much more grainy than the footage I've seen previously online of 7213 or even 7219. A Spirit Data cine was used for the transfer and I got the footage as HD pro res 4:2:2. We rated the film at 200 and underexposed -1 stop. My question is, is this the noise from the telecine or is it just 16mm grain? I attached some screenshots below. Thanks in advance Best Regards Yunus
  22. Hello, I am preparing to scan 610m of 16mm color negative in 2k. The telecine operator offers uncompressed ProRes, DNG, and DPX. I will be editing /grading on a macbook pro that can't run DaVinci. I have graded raw files before (RED and Black Magic), but never a scanned negative. My question is, which format should I ask for? I want to be able to adjust the color and exposure to the same extent I was able to with RED and cinema DNG files. The operator said that these DNG's are not the same as BM DNG's please help!
  23. Hi everybody, So at my school I'm going to have the luck to be the DP of a small short in 35mm. The worflow is this : Shoot 35mm the negative is developped and transfered in both mediocre HD for editing and decent 2K for grading and finishing. I know more or less how contrast works when you get a positive from the negative, that is : shooting the same negative at various EI + the positive give different looks (deeper blacks, more or less contrast in the shadows, less grain, more saturation etc etc) So I wonder how this applies when you scan the negative directly. I'll have a 500T,
  24. Hello, INFO: 1) I shot some R16mm/S16mm tests and had a telecine at two different labs. The R16 was done at Lab 1 and the S16 at Lab 2 (also a second telecine of the same R16 footage was done at the same lab, Lab 1.) 2) All the stills are shot in the exact same location. Meter: F1.2 and on 7219 3) The S16 is shot at F2 with a 9.5mm Zeiss Super Speed Prime 4) the R16 stills were both shot at F1.3 with a 16mm Zeiss Super Speed Prime. Shots: R16 Lab 1 (Tele 1) R16 Lab 1 (Tele 2) S16 Lab 2 Questions: 1) Why does the S16 image seem to ha
  25. 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
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