Super 16 Workflow ---> Print to 35mm

Tim Joy

Tim Joy

Veteran
So, if I shoot on super 16, get it transfered to some kind of high res uncompressed digital form for online editing, edit, CC, and render a master, can this be recorded to 35mm to make a print without as much trouble or expense as the old-school optical blow-ups?

This would skip the step of making a 16 neg master/ print, yes?

Also, there are issues with color correction to compensate for the film, yes?


Thanks, Tim
 
Going through a DI with super16 should get great results. Optical blow-ups from super16 are very expensive, its almost the same cost as shooting on 35mm to begin with. There are also some great emulation specific grain reduction tools you can perform on super16 during DI.

You could do this workflow for example:

Generate Timecode in your dailies based of each reel (or use camera time), use the dailies to edit, make an edl for the DI- transfer to dpx LOG sequences.

Pick a print film and use a plug-in like truelight to simulate that films response before the actual print- so you can see what the DI will look like printed. Make adjustments based on the printfilm LUT you chose, and then record to 35mm film.

It might be a good idea to get some advice from an expert on this, I dont think you will find one on dvxuser. Try cinematography.com in the Telecine/Digital intermediates sub-section.
 
Thanks Hunter. Sounds like a good way to go.

Related to this is choosing a stock that will get the cleanest image. I'm shooting sunny day ext. Would it be best to go with the vision 3? 500 asa, or something slower, like a vision 2 200asa?
 
I personally dont like shooting with any high speed stock outside in sunlight, you have to put so much ND in front of the lens and an 85 filter, that it darkens the viewfinder too much. And with super16 you probably are going to want to shoot around a T2 to T2.8 for a more 35mm type look.

You should consider Kodak 5201 (50D)- its a very fine grain stock or the Fuji 64D. I also like kodaks 7212 (100T)- its super fine grained and very sharp. Get the 500T stuff for night shoots or low-light interiors. Thats the cool thing about film though, you can pick the right "sensor" for the application.
 
Good points. I was planning on recording the output from the video tap in order to pick takes and only transfer what was going to be used, but if it's too dark it wouldn't be as useful, or usable.

Ooh. I just thought of something. Can the video tap be recorded at 29.97 if the cam is running at 24?
 
Most video taps are always 60i so yes, 29.97. I would not recommend useing the videotap for creating your edl. Thats going to be a mess and it doesnt account for other issues that can happen. Just get everything transfered to SD, with out any corrections, it will be cheap and then you will have frame accurate timecode to generate an EDL from- its not worth the money spent on a 2k data transfer just to find out you made a timecode mistake.
 
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