Matching 16mm Film for reshoot

J

Jmtasu

Active member
We are embarking on a pretty major reshoot for a film we shot on Super 16mm, crunching the numbers we are trying to decide between film and digital for the reshoot.

If it were just stand alone scenes that needed to be reshot, I would probably go with digital hands down, but some scenes had sides out of focus, so we would be switching back and forth between original footage and reshoot footage.

Any suggestions for shooting in digital to match 16mm? Is it even possible for inserts?

What camera would you suggest? - even though we would most likely use a red or alexa lol.

Has anyone done this before?

Just looking for any help you guys may have, thanks much!
 
the footage from the clip was too soft to tell. did you do a 2k or 1080p scan? did you re-compress the footage multiple times?

the brief night shots did not look right. but i skipped over it.

the scene with the car was about 2 stops underexposed(did you do that on purpose?), and it seems some events will take place at night. what film stock did you use for the daytime and the nighttime scenes?

1- if your only re-shooting the daytime scenes, you won't have much trouble matching the footage(as long as it's not -3 stops under or more)
2- if your re-shooting night scenes, you probably will have to re-shoot scenes whole. it's a good idea for continuity anyway.
3- you could use expensive software for removing and re-adding grain to match the footage between film and digital.

if the inserts are less than 1 sec on the timeline and only used once, you won't need much work to match film with digital

alexa would be easier to match.

side note: it's very unsettling when the writers, director, editor, main leads, and producers don't have a clear vision on the synopsis and plot summary. and don't understand genre types.
 
Aside from issues matching the texture, grain, coloration, highlight roll off, etc., you need to think about how you use your Lenses. The Alexa and Red both have larger sensors than an S16mm Frame. The DoF on them will be much more prone to being shallow. You ideally need to get an S16mm DoF or shots wont match well and new scenes feel alien. If you try to achieve a greater, S16mm type DoF by stopping the Lenses down, you will need more light - you could try using a less sensitive ASA/ISO setting on the Camera. You also need to think about what Lens Lengths you will need to use to match the Lens Perspective of those used on the S16mm footage.

Obviously, use the same make and preferably model of Lenses to match the Bokeh, Flares, Coloration, 'Feel' of the Lenses used previously.

Several Big Movies have used a mixture of Film and Digital - 'Slumdog Millionaire' used a mixture of SI2K and Film, 'Collateral' I think has some Film mixed in with the mainly Viper footage and 'Apocalypto' has the odd 35mm Shot in there with the, Genesis I think, footage. Obviously these productions had some serious money to throw at Post Production.

I think if it's Shot right, the Lighting is good - matches, and Graded sympathetically, an audience won't really notice - it won't leap out or seem completely different - DoPs and Editors, etc., may notice, but the majority of the audience won't.

You also hear of major Films that have Shots in done on Camcorders - 'The Departed' having some HVX200 footage

http://www.dvxuser.com/V6/showthread.php?88008-HVX-in-The-Departed

Again, I don't think they were short of funds for Post.

I have Shot footage on a Sony EX1 to match into scenes shot on S16 and new scenes for a Film shot by a different DoP. The DoF of the 1/2' chip in the EX1, when the Lens is pretty much wide open is not far off S16mm. I don't the footage I shot leap out as not matching, I was in fact quite surprised at the results. I didn't see the Film on a big screen however, though I did see it in the Editing/Grading suite.

I don't suggest you use an EX1 if you can afford anything better, there's obviously issues with resolution, dynamic range, coloration, the Lens not being of Film quality, etc.

Really for the best match you need to use Film. The same Lenses, same Stock, same Lab, same Telecine, etc.

However, you should be able to keep costs down, explain your circumstances to all the rental companies, Lab, etc., you used before and ask for help.

Super 16mm Film kit is not enjoying the use it used to have. Consequently there's a bunch of it sitting round fairly idle at rental houses that haven't sold it off yet. You should be able to twist arms there for a very cheap rental if not a freebie.

Try buying re-cans or short ends. See if you can find some Stock that's just gone out of date - this cannot be sold at normal price and is usually heavily discounted - your Lab should be happy to clip test it. Plead your case to the Stock manufacturer for a discount.

Plead your circumstances to the Lab for a discount too - and your Lighting rental co. If you Telecinied to tape previously, Telecine to a hard drive, it's cheaper. See if you can get a junior op to do the Telecine in down time or have it at unsociable hours - usually cheaper.

Remember, everything in the Film Business is negotiable.

Good luck,


Neil.
 
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