35 vs 16 (16s) Blow-Up

Larry Rutledge

Larry Rutledge

Fest Master
If I know I eventually want a 35mm print of my film, is it cheaper in the long run to rent/shoot 35mm from the get go? Or to rent/shoot 16 (16s) and blow up the final to 35mm?

Or is that too vague a question to be adequately answered :huh:

Thanks,
Larry
 
It really depends upon the work flow.

What is the TRT of the film?
Will you use a DI process?
How is going to be edited (offline/online or ?).
Do you need a single release print or do you need to produce many prints?
Do you need an optical sound track on your print?

A bit more information would be useful.
 
I heard it can cost about $400 for every minute of 16mm blown up to 35mm. Might affect your budget a bit.
 
Wow! This is so frustrating. At this point, all I know is I would like to shoot my project on film and it will be a feature, though the TRT is unknown (between 90-120 minutes, I assume).

Every time I ask some one a question I discover 5 to 10 more (at least) questions that I need answers to.

Would it be cheaper to use a DI and have it edited via PC then re-printed to film? Could it be printed to the 35mm stock at that point, or is it cheaper to stay 16mm until the last print?

Initially I will only be creating a single print as I will pursue distribution options. If I stay on 16mm all the way to the end, can I use that at festivals and then make the 35mm blow up a part of the distribution deal? Is that a smart thing to consider?

There will be dialog, sound, score, etc...so I assume I will need an optical sound track...right? Or am I misunderstanding the question?

Thanks again for any help, ideas, insight.

Peace,
Larry


khmuse said:
It really depends upon the work flow.

What is the TRT of the film?
Will you use a DI process?
How is going to be edited (offline/online or ?).
Do you need a single release print or do you need to produce many prints?
Do you need an optical sound track on your print?

A bit more information would be useful.
Click to expand...
 
Larry R said:
Wow! This is so frustrating. At this point, all I know is I would like to shoot my project on film and it will be a feature, though the TRT is unknown (between 90-120 minutes, I assume).

Every time I ask some one a question I discover 5 to 10 more (at least) questions that I need answers to.
Click to expand...

I understand the frustration, but this is a big question in terms of consequences, so it deserves a fully considered response.

Larry R said:
Would it be cheaper to use a DI and have it edited via PC then re-printed to film? Could it be printed to the 35mm stock at that point, or is it cheaper to stay 16mm until the last print?
Click to expand...

Your shooting costs will certainly be lower for a S16 project than 4 perf 35mm by a pretty big margin.

If you are going to go a DI route, then regardless of what format you shoot on you will end up using a non optical final output. So, if a DI is part of your plans, there is no consequences one way or the other as to what format you shoot.

Larry R said:
Initially I will only be creating a single print as I will pursue distribution options. If I stay on 16mm all the way to the end, can I use that at festivals and then make the 35mm blow up a part of the distribution deal? Is that a smart thing to consider?
Click to expand...

I don't think you will find any festivals that project from 16mm, so that isn't an option.

Larry R said:
There will be dialog, sound, score, etc...so I assume I will need an optical sound track...right? Or am I misunderstanding the question?
Click to expand...

The question of needing an optical soundtrack isn't about a sound vs. MOS project, but about what the projection requirements are. There are several choices for types of audio on a print.

Some more questions:

Will your aspect ratio allow you to consider 2 perf 35? (this is a great way to reduce your shooting costs)

Are the types of scenes you are going to shoot require the extra resolution of 35mm or would S16 be appropriate.

Are you shooting in any really low light situations?

Have you considered mixing S16 and 35mm for different scenes; using 35 where needed but shooting 16 where you can to save money?

Is this question more academic or do you have a project and budget in place? If it is the later, you are welcome to PM me and we can correspond on the subject in greater detail (assuming that you don't already have a DP on your project).
 
You have helped as much as you have added new questions :) but I am still in the early fact finding stage, so I expected that.

If you don't mind, I will PM you tomorrow with more specific details about the project. I don't currently have a DP...hadn't gotten that far, just trying to figure out the best direction to go before I start talking to people...if that makes sense (maybe it doesn't...as I said, I'm in the early fact finding stage :) )

Thanks,
Larry
 
most festivals can project 16 ( not S16) ...
many that haven't shot 16 then blow up to 35mm "think" that you could have shot 35mm when you add in the cost of the blow up but there is more to it then just the blow .. they usually forget to take the 35mm thru IP & DN stages ( just like the 16 blow up goes thru) ...

from my experience those that shot 16mm did NOT have the $$ to shoot 35mm at the time of production - so they shot 16 ... edit ... some make a 16mm print to send to a few festivals or to show and get feedback ... then they decide to make the blow up which is usally 1-2 years after they shot it ... so it takes them time to get the $$$ for the blow up ...
 
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