Latest post Fri, Oct 30 2015 12:56 PM by gumbaedit. 1 replies.
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  • Fri, Oct 30 2015 12:12 AM

    • matthewh
    • Not Ranked
    • Joined on Thu, Oct 24 2013
    • NY
    • Posts 98
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    Super 16 mm workflow research, recommendations

    Hi there.

    I'm soon to start cutting a feature that will be shot super 16 but i'm not yet up to speed with current s16mm film workflows. At this stage, beacuse i don't know exactly what the producers will settle on for deliverables I'm looking for general advice.

    Would people usually use a high quality telecine or scan as their new master these days and rarely ever go back to film at all?  

    I've read about the necessity of checking the accuracy of the telecine timecode/key numbers... Is there a great resource in addition to Michael's 24p site I should be starting to read? Where would you start?

    thanks very much for any pointers.

     

     

    OSX 10.14.6 - Media Composer 2019.12.0 iMac (Retina 5K, 27-inch, Late 2014), 4 GHz Intel Core i7, 24 GB 1600 MHz DDR3, AMD Radeon R9 M295X 4 GB [view my complete system specs]
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  • Fri, Oct 30 2015 12:56 PM In reply to

    • gumbaedit
    • Top 500 Contributor
    • Joined on Thu, Oct 13 2005
    • Richmond, VA
    • Posts 527
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    Re: Super 16 mm workflow research, recommendations

    Best advice is to find a lab that has 16mm capabilities and talk to them about workflow.  They'll tell you whether or not you should go back and rescan the neg after you lock picture or if it's best to have it scanned at full resolution before the edit and then go back to the files at picture lock.

     

    Keep in mind that many movies are shooting on Arri Alexa at pro res 4444, so if your neg has been scanned properly from the get go, there may be no need to go back to the neg at the end.  You can still track the keycode just in case, but you may never need it.

    6 core Late 2013 MacPro 3.0 gHz, 16 gigs RAM, MC 8.8.5 on OSX 10.12.4, DNxIO, Flanders CM250, BMD Desktop Video version 10.9.1 [view my complete system specs]
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