nikon d90 footage to 35mm

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Daniel Aragão

Active member
Hello !!

ive finished a 20min short film with the d90 and i HAVE THE MONEY to do a transfer to 35mm. So, im asking here first to see if someone already did it before, and if so, tell me WHERE and how it was? i will render out to TIFF SEQUENCE and that's all.

by the way, if somebody knows a cheap and good place to make a transfer to 35mm, tell me. here in Brasil the cheapest place costs about 500 dollars for a minute without the sound. so maybe in Nyc i can do it for less. anybody out there to help me?

if there aint no 35mm film from the nikon, mine will be the FIRST. cause know im commited to do the transfer ANYWAY.


Thanks
 
Please, oh please share with us why in the world you would possibly throw SO much money at a D90-originated movie? Where could the upside possibly be?? As a proud but realistic D90 owner...how could any short be worth money that could be used to reshoot and/or buy lights, audio, ANOTHER CAMERA... things you could keep and use forever and ever...

with all due respect and great puzzlement,
chuck
 
that's right!!

the film was SO GOOD that after finished someone said to me, I GIVE YOU THE MONEY TO DO A PROPER TRANSFER TO 35MM TO HIT THE FESTIVALS.

ive shoot with the d90 cause i like it. but i wont do it again. the film is B&W and looks VERY VERY GOOD. so, now i have it all edited and the support to do a Transfer, dont care how it was made, looks good and PROFESSIONAL, and i have to do the transfer!!!

so, anybody willing to help?
 
sorry I don't have any info on transfers but I'm sure somebody will. not many members on at this time of day in the north.

Matt shot his feature on the D90 and I think he's going to 35mm so he might give you some tips when he gets done with those swedish girls.
 
Yo Daniel!

Here in South Africa we have a few Top end Post Facility houses where anything is possible. I guess on your side of the world so too. There's a professional system called the ARRI FILM RECORDER. You supply a HardDrive with your film as a Sequential TGA's. The Arri Film recorder automatically up-rez the file with the correct looka-up table (FILM log File) and shoots the tga TO FILM. The process is relitively quick and the as long as your footage files are of good quility, your end NEG will be super good. Ask your local Facilities if they have one of these machines arround. maybe they have the Kodak Film recorder. You can always strike a deal with them.

Then you have the second option. You line up a film camera fited with an Aspherical lens, say a 50mm 1.2T Canon/Zeiz and film your final film of a HIGH REZ Monitor. There's a couple of issues doing it like this as you have various factors that could make for a nasty NEG. You will have the colour cast of the Monitor screen and the fine pixels it has. (But with todays HD monitors I doubt that this would be of great concern)
You will shoot stop motion not real time.
Then you have the other factor of exposure. So this is a more INDY way of getting your D90 footage to film. Some people have had some relative good success with this method, but I suggest that you only do it if you have time to do some propper tests.

Hope some of this makes sence?
 
Hey Daniel,

We haven't transferred any Nikon D90 footage, yet. We had a couple inquiries about doing a Canon 5dmii transfer but none have come into house.

You can see our prices here. These are some of the best prices around because we are a small transfer house out of Austin, TX. If you want you can do a 1 minute test to 35mm to see how the d90 will look or you can request our 35mm demo reel to see the quality of our transfers.

We do a lot of work for US productions but also a lot for foreign filmmakers. Recently, we did a 20 minute transfer for a Brazilian production called 'Ronco da Barriga.' We've been doing high quality 35mm transfers from SD and HD sources for almost 10 years.

A tiff sequence or an uncompressed 4:2:2 8bit or 10bit quicktime would work as a delivery method. Let me know if you have any questions or you can email dvfilm@dvfilm.com.

Best,
Andy
 
i'm having a meeting with the post house doing my transfer tomorrow. hopefully they'll give me a free test. then all you have to do is come to sweden and i'll screen it for you. :-)

why blow up to 35mm? to screen it in theaters obviously. most of them don't have digital projectors of the kind that comes anywhere near the quality of film, regardless of origination medium. the brightness and dynamic range just isn't there.

why shoot on the d90 if you can afford a transfer? because if i had shot 35mm i wouldn't have afforded the transfer. :-) or do you mean why not the red or the ex3 or whatever? for the stealth factor, one man camera team, low light performance and short dof mainly. and because it's cool.

/matt
 
as for cost look for a place that has a cinevator, a norwegian machine that's basically a dlp projector that projects the image on the film through a macro lens in realtime. they're much much cheaper for sd/hd compared to laser recorders or whatever meant for digital intermediates. is it good? you bet.

/matt
 
Hey Matt!

Heloisa passos, a dop here in brazil who already won sundance, told me about a transfer in OSLO, i think she was talking about this same machine that you're doing yours.

sound good

do you have the contact of this house? i want to contact them.

maybe we can chat in private. what's yours email?

thanks

DVFILM, sounds good. maybe i need a more cheaper solution, cause i want to spend some money on sound. if you have a better price for me, just send me an email: danielaragao@gmail.com
 
yes, that's the one. it's actually the same company, they are in stockholm, oslo and copenhagen. email me at mattias@beauty.se. i'll mention you at the meeting tomorrow, maybe bringing in more customers will help me get my free test too. :-)

/matt
 
squig said:
there's plenty of films shot on the dvx and transfered to film, why not the D90 or GH1?
Click to expand...

I generally agree. Depends on the project.

My questions were not any swipe at his film or the camera. Just being curiously helpful... :-)

IMHO, Spending thousands of dollars for a film print seems avoidable in most circumstances I can imagine. Especially if you're talking about digital projectors.

If the ultimate goal is to experience the film geek glee of having your own work on a 35mm print ... Go for it.

But if ultimate goal is to create the best-possible viewing experience for the best work you can present, then why not transfer to HDCAM or even SD digi-beta? Don't you guys think pro color timing and audio post would add much more to the perceived production value than simply transferring to film?

A 35mm print still needs color timing and audio mixing.

But If you have to pick just one...I personally would take the latter.

(Would love to see your movie regardless, bTW)

cheers and good luck!
 
kfrogg

im only making a 35mm copy cause the governament of my state is giving me 10.000,00 dollars to make it. I HAVE TO MAKE IT. the money is for this, only for this. I can do a free hdcam copy here if i want, and i will do it for sure.

i hope it will be possible to make the 35mm copy with what i can afford.

to do it here in brazil will be nightmare. we only have ONE labo for the whole country and its expensive.

my goal is to make a copy for something like 6-7k and spend the rest with my travel and etc.
 
kfrogg said:
IMHO, Spending thousands of dollars for a film print seems avoidable in most circumstances I can imagine
Click to expand...
you need to imagine more. it's a reality that a 35mm print makes festival distribution *much* easier, plus it looks much better at most festivals since they rarely use real "d-cinema" projectors, if they accept digital submissions at all. i don't know about daniel but in my case i will *obviously* grade the film and mix the audio before blowup, who said anything about choosing one?

/matt
 
mattsand is right on with the benefits of having a 35mm film print. You open a lot of doors to screening opportunities by having at film print and having screenings that look great. I've personally have and had friends whose screenings have been damaged by an uncalibrated digital projector.

There isn't anything geeky about having a 35mm print...it just maximizes your viewing possibilities and with any film you want to try and get as many people to watch it as possible.

Daniel, I believe that Brazilian project I mentioned before was government sponsored as well. Congrats on that!

Best,
Andy
 
Daniel Aragão said:
kfrogg

im only making a 35mm copy cause the governament of my state is giving me 10.000,00 dollars to make it. I HAVE TO MAKE IT. the money is for this, only for this. I can do a free hdcam copy here if i want, and i will do it for sure.

i hope it will be possible to make the 35mm copy with what i can afford.

to do it here in brazil will be nightmare. we only have ONE labo for the whole country and its expensive.

my goal is to make a copy for something like 6-7k and spend the rest with my travel and etc.
Click to expand...

Daniel - that is the best possible reason! Party on!

That is perhaps the greatest compliment when someone else gives you money to implement your vision!

FYI - My comments were based solely on my personal experience. I've had films in a number of festivals, including "real" Academy-sanctioned ones. All were digital projections. (And yep, some where ruined by operator error, not the format...)

All my projects are self(under)funded so, yes, I would have to choose timing and mix over getting a print. If I had this extra money, I personally -- again my own experience here -- would spend it on making another film and pushing my craft.

I'm still not clear on how a print would give you more opportunities to screen a film...
maybe there's a angle I'm not seeing, or a venue I'm not aware of...let me know!
 
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