Shot feature film in super 16...can DVX match well for insert pick ups?

K

kwanku

New member
Hello,

I am new to this forum....well new to forums in general.

Here is a long, but interesting story made short.

My writing partner and I wrote a little psychological mishmash of a script called "Dimples" a few years back. By the grace of the film gods we were bestoyed the chance to get it off the ground, independently and on a fairly meager...but doable budget. I, with my past prayers to the film gods on a very long list intact...was given the opportunity to direct. I took it. We originally thought about shooting the film on the DVX, but we ultimately chose to shoot Super 16. The film looks great. I was very pleased. We are now in post and i am gauging where we need insert pick ups. Our budget does not cater to a large pick up list. I was hoping to save some money by shooting thes pick ups on video and matching them the best i can to the original footage.

These pick ups are mostly stand alone, do not involve actors and are going to be composed in extreme CU or CU. Only one long shot with some depth, but is a characters POV and can be "off-kilter" Anyway, this short versiou of the story is longer than i wanted it...but i wondered if anyone could help me out in terms of what the chances are that i can get the DVX to give me a image comprable to SUPER 16 within the composition guidelines described above. My cinematographer is doing some research, but she is all about film.

by the way the film is www.dimplesthemovie.com

Please let me know.
 
DVX cut into super 16,

it'll show.

You'll spend too much time trying to match it up, and even if you do manage to get close, it'll show.

Do your pickup's in super 16, you'll end up with a better result.
 
Here's one way to look at it...

Here's one way to look at it...

If the DVX looked enough like S16, then why shoot film?
 
another idea

another idea

... Even R16 on a K3 with short ends and one light Xfer would be better than trying to match DVX to S16....
 
Hey,

thanks for the reply. Much appreciated. I am not the most techy savvy mothersucker in the world. Just like to be creative. So i appreciate your knowledge. I just figured....right now, we are on a very tight budget. We have come this far, and produced a very nice looking and effective film. I do not want to do anything (especially as director) do bring down it's merit. My thoughts were two fold...one that we could save time(lab/telecine) and money which i could utilize for a few post perks. I know the money difference is not huge...but in this wonderful world of low budget filmmaking, I am pickin up pennies off the street and throwin them into the budget. Anyhow, the other issue was time. I have a few weeks to wrap this offline and move on...we are attempting to wrap the film by Aug 1 for various distribution reasons. Well...really, what it comes down to more than anything is time and i guess the lab and telecine left a bad taste in my mouth because at our budget level the people we are workin with are two steps away from workin with the mafia. Well...it was worth a try....THANKS AGAIN! anymore ideas or thoughts on the matter are much appreciated. Now, you are aware that the inserts i am getting are essentially that inserts and not whole scenes and or matching cuts between actors??? Also, how does just a DVX image in general hold up on a film out and projected. Any idea? Just curious. Thanks again!

Sincerely
 
Yes, telecine'd 16mm looks much different from the dvx, especially with good stock. The dynamic range and gamma just look entirely different, although the motion rendering seems nearly identical.

Still, if you relit very carefully for video and it was only a few shots with careful CC, it would be possible.

However, if you want to cut 16mm together with dvx footage that had been outputted to film, I wouldn't even consider it. It would just look too different. But if you're editing 16mm telecine'd to DV together with DV, there's a chance it would look good enough, but it still wouldn't look as good. You'd need to be really good at CC and most of all good at lighting, but I don't think it's impossible.
 
Quick question...and i may be reachin, but I see some talk about the XL2 on this overall forum. Does that camera fair any better in this circumstance???

If it is dumb question just say so...
 
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