wondering about the the true difference between getting a supervised telecine from super 16mm to digibeta with keycode while color correcting right then and there from the negative original into the telecine to digibeta --- in comparison to just doing a onelight telecine from super 16mm into the digi beta and color correcting it later with the avid symphony for example.
is there a real difference ?
will i really get more picture and color information on the digibeta if i do the supervised telecine ???
i have experienced both workflows, and would appreciate your input on the subject.
we have shot 2800feet of s16mm footage and just got the film developed and wondering about how to go about it with the telecine.
we have another 6000feet to shoot in January.
s16 supervised telecine to digibeta VS s16 onelight telecine to digibeta with cc on avid symphony
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