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35mm to DI work flow


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#1 Eric Styles

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Posted 11 July 2006 - 03:51 PM

Hi, Just wondering on whether anyone has advice on shooting 35mm at 24 FPS, rushes transfer to HD at 24FPS, cutting on Avid Media Composer / Final Cut Pro at true 24FPS, before re-scanning for DI finish,
Last film I worked on, we transfered rushes to DVCAM, but at 25FPS, and this time I'd like to offline in much higher resolution and be able to conform the rushes tapes for any preview / Test screenings. Idealy I'd like 720p 24 rushes that I can upsample to 1080P for preview screenings.
Any thoughts would be very welcome.
Thanks
Eric Styles
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#2 Max Jacoby

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Posted 11 July 2006 - 06:40 PM

I think editing in HD is a good idea. The picture is sharper so you can spot focus errors more easily. And also like you mentioned it allows for a better quality preview. I attented some previews recently that were projected in HD and compared to SD it is an experience much closer to the final thing, so you'll get a much better idea how the film will look like on the big screen.
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#3 Eric Steelberg ASC

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Posted 11 July 2006 - 06:52 PM

You can read about what we're doing on my last feature here:

http://www.cinematog...showtopic=13534

In our case, dailies for watching were done on SR and DVD, editorial got DVCAM.
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#4 Eric Styles

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Posted 12 July 2006 - 01:22 AM

Thanks for the responses, but we have the budget to re--scan the neg to 2K and have a sepearte DI for our final picture master. I enjoyed this route on my previous film. However, I'm keen to avoid the 24/25 PAL issue, (the film will be cut in Europe) keep all our rushes offline/test screening in True 24fps, and offline with much higher quality rushes.
Anyone know what affordable ways to acheieve HD 720 or 1080 rushes runnig at 24fps?
Oh by the way, anyone had a good time doing a DI at PICTORION in Germany?
Thanks
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#5 David Cox

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Posted 13 July 2006 - 10:15 AM

Thanks for the responses, but we have the budget to re--scan the neg to 2K and have a sepearte DI for our final picture master. I enjoyed this route on my previous film. However, I'm keen to avoid the 24/25 PAL issue, (the film will be cut in Europe) keep all our rushes offline/test screening in True 24fps, and offline with much higher quality rushes.
Anyone know what affordable ways to acheieve HD 720 or 1080 rushes runnig at 24fps?
Oh by the way, anyone had a good time doing a DI at PICTORION in Germany?
Thanks


If you are unable to get "one lights" to HD (most labs use older telecines for one lights and so are not HD telecines) then you might find that requiring to offline in HD adds a sizeable expense because you will have to transfer your rushes on a new(ish) HD telecine.

If you can find someone that can transfer at HD but at 25FPS, you can still use this. When digitising in the Avid, it is possible to tell it that your rushes are actually running at 24FPS. The avid will then do the time code conversion to get back to 24FPS. This is how it works if you transferred your rushes to standard def - where there isn't a 24FPS standard def format. In this case, you transfer to (say) Beta SP at 25FPS, but the Avid "knows" that its effectively digitising at faster than real time - i.e. digitising 1 second and 1 frame every real second.

Provided you're in a post facility that is used to dealing with 24 FPS stuff, you shouldn't have any 24/25 issues. The thing that normally trips people up is sending viewing copies to the musicians and audio mixers. If you're not careful, they get a version of your 100 minute film running at 25 FPS (too fast) and you get back a sound track that finishes 4 minutes before the pictures! When making 25FPS tape copies, make sure they contain a frame compensated (slowed down) version of your film so everyone gets a film that runs at the right duration. These viewing copies will have artefacts from the 24/25 conversion, but there purpose is solely as a reference not as a picture master.

Hope that helps

David Cox
Baraka Post Production Ltd
www.baraka.co.uk
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#6 Chris_Burket

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Posted 17 July 2006 - 01:47 AM

Have you dailies transferred to D5 or HDCam SR. If you are on a Final Cut system, digitize them in DVCPro HD 720p. Then you can cut and output to D5 or SR for screenings.

If you are on AVID, you'll need to be on adrenaline to cut in HD.
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