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16mm workprint rank cintel transfer

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I have a 16mm workprint with seperate 16mm magnetic soundtrack that I need transfered via Rank Cintel (or similar) to Digibeta (or similar) in the Los Angeles area but have not been able to find a place to do this. It would be much appreciated if anyone can tell a place, preferably the least expensive, that can do this. Thanks in advance.

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FotoKem could certainly handle that.

 

Whether they could run the telecine & mag machine in interlock, that's not too common these days.

 

Punched hole and a bleep, you'll be fine.

 

Note you'll have to pull down the sound speed somewhere, but no big deal.

 

-Sam

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Cinesound in Minneapolis provides interlock with their Marconi line CCD telecine to Digibeta. They are price competitive and always give me good service. Ask for Dennis O'Rourke:

 

www.cinesound.net

 

Question: you are wanting to transfer workprint? If you've just cut your project on a flatbed it's going to be all marked and scratched up. But if it's not cut yet, why not transfer camera original negative?

 

You requested a Rank Cintel transfer; how important is that telecine brand? Or are you merely referring to the general 80's era telecine standard?

Edited by Robert Hughes

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What mean by I need a Rank Cintel (or similar modern equivilent) is that the workprint has many splices in it and would likely not run through a projector type telecine. I say workprint but it is actually a master positive with seperate magnetic track. Many of the shots are composites from negs. so only exist on the master positive.

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What mean by I need a Rank Cintel (or similar modern equivilent) is that the workprint has many splices in it and would likely not run through a projector type telecine. I say workprint but it is actually a master positive with seperate magnetic track. Many of the shots are composites from negs. so only exist on the master positive.

 

Hi,

 

Splices will jump on any telecine, including a Rank Cintel. It was acceptable for news footage in the past.

 

Stephen

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Maybe I have the name wrong or something but I'm talking about the scanning kind with no gate. It should not jump because there is no claw or anything. The type I'm refering to wasn't around when they used newsfilm.

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Maybe I have the name wrong or something but I'm talking about the scanning kind with no gate. It should not jump because there is no claw or anything. The type I'm refering to wasn't around when they used newsfilm.

 

The Rank Cintel flying spot TK was around for spliced news footage in Europe. In fact it was used for numerous TV programmes that were shot on reversal and they transmitted edited camera original before video took over. It doesn't jump (in a projector sense), but you do notice the splices passing through. The editors used to clean the film before taking it to the TK.

 

If you've got the neg, it would be better to use that for the final master. Unless, of course, you're just planning to use the workprint to create a viewing video copy for funders etc.

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The one time I did it with a Cintel (probably a Mk III, not sure) they did sort of jump although I don't think there was a "sync" loss.

 

I'd talk to the facility first.

 

I suspect a Sony Vialta telecine might not jump, don't know...

 

I've actually had this done with a Kodak "TV Pageant" - not a proper telecine but.... it looked fine for my purposes (which were to get a TC window burn & TC track for music syncing & audio, on projects that I cut on film..) BUT be careful as typically this kind of setup -- which is more or less a video camera looking at a projector -- will be using line frequency and NOT blackburst on the projector side (IOW it will be transferring at 24 not 23.976, and the accuracy of the 24 is sort of dependent on your power companies' flywheels... I've gotten away with it tho...)

 

-Sam

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