Jump to content


Photo

16mm workflow ideas.


  • Please log in to reply
3 replies to this topic

#1 Matt Bizer

Matt Bizer
  • Basic Members
  • PipPip
  • 52 posts
  • Cinematographer
  • Albuquerque, New Mexico

Posted 26 April 2007 - 01:55 AM

Ok, I am shooting a low budget short on 16 in june. what I am looking to find out is the best workflow after shooting. I wanted to send my footage in to a lab for mini dv dailies.

I have a $2500 post production budget with a final output as digital HD or DVD and I need to figure out my best route.
should I edit with the mini DV dailies and then go back and have the edited footage worked through with a colorist and then put on HD or digibeta??

I want to get the biggest bank for my buck and I think a local colorist may be cutting us a deal.

would it be more practical to just have it done best light and just go with it?

This is my 1st experience in working with editing and workflow of my own project shot on film.

If anyone can give me a better perspective on it I would be more than thankful.



-Matt
  • 0

#2 Robert Houllahan

Robert Houllahan
  • Sustaining Members
  • 1627 posts
  • Industry Rep
  • Providence R.I.

Posted 26 April 2007 - 02:38 AM

Ok, I am shooting a low budget short on 16 in june. what I am looking to find out is the best workflow after shooting. I wanted to send my footage in to a lab for mini dv dailies.

I have a $2500 post production budget with a final output as digital HD or DVD and I need to figure out my best route.
should I edit with the mini DV dailies and then go back and have the edited footage worked through with a colorist and then put on HD or digibeta??

I want to get the biggest bank for my buck and I think a local colorist may be cutting us a deal.

would it be more practical to just have it done best light and just go with it?

This is my 1st experience in working with editing and workflow of my own project shot on film.

If anyone can give me a better perspective on it I would be more than thankful.
-Matt


Depending on how much footage you have and what kind of deal you are getting...

I would make a Simultaneous Keycode transfer with a Best light grade to 2 DvCam tapes (one Clean, One Keycode Burn-In) I would generally avoid MiniDv for keycode transfer but you could go that way.

With the set of 2 tapes you can edit your footage with keycode, Foot+Frame numbers, etc and then re-batch from the clean tape to make a clean copy.

Plus

Take the Keycode transfers and just work on the Selects with your Colorist for the online grade and finish to HD or Digibeta.

my $0.02

-Rob-
  • 0

#3 Kevin Zanit

Kevin Zanit
  • Sustaining Members
  • 1223 posts
  • Cinematographer
  • LA

Posted 26 April 2007 - 02:41 AM

Typically for DVCam dallies, expect to pay around $200-250 an hour. Depending on what you are doing, budget for about 1.7-2x real time. So if you have 2 hours worth of material, expect to pay for about 4 hours (it is usually less, but budget for the worst case).

You would get all your footage transferred with windows burnt in, etc, as well as get a "flex file" from the transfer house.

The specifics of the editor lining things up with your flex file is not something I know anything about. So, I'll skip to the next step:

The editor generates an EDL that is converted to correspond to your roll #s and key code, etc. You then take this with all your original elements to the transfer house that is doing your HDCam telecine.

They transfer only the stuff you need based on the EDL to your desired format (HDCam in your case). Expect to pay anywhere between $375-500 an hour for transfers on a Spirit, and slightly less on a Shadow.

How many hours depends on how fast you are with your color correction, and how well your EDL lined up (no major problems, etc.).

The editorial details like your dissolves getting up-rezed, etc I once again now nothing about.

This is a very dumbed down version.

Kevin Zanit
  • 0

#4 timHealy

timHealy
  • Basic Members
  • PipPipPipPip
  • 1262 posts
  • Other
  • New York

Posted 26 April 2007 - 08:40 AM

You should talk to your post house or maybe several post houses and see what they suggest is the best route for you.

best

Tim
  • 0


Rig Wheels Passport

Gamma Ray Digital Inc

Media Blackout - Custom Cables and AKS

Aerial Filmworks

Technodolly

Abel Cine

Tai Audio

Broadcast Solutions Inc

Glidecam

CineTape

Visual Products

Wooden Camera

FJS International, LLC

rebotnix Technologies

The Slider

Paralinx LLC

CineLab

Metropolis Post

New Pro Video - New and Used Equipment

Ritter Battery

Willys Widgets

Gamma Ray Digital Inc

Aerial Filmworks

FJS International, LLC

Tai Audio

Visual Products

Willys Widgets

CineTape

Wooden Camera

Abel Cine

Metropolis Post

New Pro Video - New and Used Equipment

The Slider

Rig Wheels Passport

rebotnix Technologies

Technodolly

CineLab

Media Blackout - Custom Cables and AKS

Ritter Battery

Broadcast Solutions Inc

Paralinx LLC

Glidecam