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Combining 35mm and Super 16


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#1 Tim Carroll

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Posted 05 March 2009 - 11:45 AM

In the pre-production stage of a narrative I hope to shoot this summer. I have access to an MOS 35mm camera and a silent sync Super 16 camera. In striving for the best image quality possible, I would love to shoot the non synced scenes in 1.85 35mm, and the synced scenes in 1.85 Super 16.

The 35mm scenes would be shot with Cooke Speed Panchros (Series III and Series II) and the Super 16 scenes would be shot with Cooke Kinetals.

Is this going to be a nightmare to match? The Kinetals are higher contrast and a little sharper than the Panchros, so I thought that might work to my favor when the Super 16 is "blown up" or the 35mm is "shrunk down".

If anyone has experience matching 35mm with Super 16 on the same narrative project, I would appreciate any insights.

Thanks,
-Tim
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#2 David Mullen ASC

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Posted 05 March 2009 - 12:42 PM

"City of God" and "The Constant Gardener" mixed S16 and 35mm, using a D.I. Otherwise you have to dupe and blow-up the S16 footage to a 35mm I.N. to be cut into the 35mm original negative, which degrades the S16 even further. Reducing the 35mm footage to S16 through dupes would be silly if the point was to get more quality out of the 35mm -- I'd save your money and shoot S16 for everything then.

But if you're going to do a D.I., then it will be easier to match the contrast of the footage.
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#3 Adrian Sierkowski

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Posted 05 March 2009 - 12:44 PM

Tim,
I wouldn't worry too much so, in the hands of a good colorist you should be fine. I would recommend shooting the 16mm on the slowest possible stock you can in order to help with grain, and I'd also recommend firing off 100Ft of each stock you'll be shooting in it's respective camera and taking it all the way through your post for a test. You shouldn't have too big of a problem in matching, I wouldn't think. But certainly, for something like this it is necessary to test. What's 100FT of each gonna cost you anyway?
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#4 Tim Carroll

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Posted 05 March 2009 - 12:56 PM

"City of God" and "The Constant Gardener" mixed S16 and 35mm, using a D.I. Otherwise you have to dupe and blow-up the S16 footage to a 35mm I.N. to be cut into the 35mm original negative, which degrades the S16 even further. Reducing the 35mm footage to S16 through dupes would be silly if the point was to get more quality out of the 35mm -- I'd save your money and shoot S16 for everything then.

But if you're going to do a D.I., then it will be easier to match the contrast of the footage.


Thanks David, I found the article on "Constant Gardener" in the October 2005 issue of American Cinematographer. I am reading it now.

Best,
-Tim
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#5 Delorme Jean-Marie

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Posted 06 March 2009 - 06:35 AM

hi
it's a technique often used by DP Eric Gautier :
- Leo's Carrax "Pola X"
- Walter Salles "Diarios motocycleta"
- Olivier assayas " Summer Hours"

you might not want to match it verry much, if you'r using 2 formats in a film it's to say 2 diiferents things.
when you shout and when you wisper it's the same voice that doesn't match...
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#6 Delorme Jean-Marie

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Posted 06 March 2009 - 12:56 PM

oh and "Babel" comes to my mind the maroco section is S16, mexican is 35 spherical and japanese is anamorphic
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