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Super 16mm to 2k or HD


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#1 Rafael Moraes

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Posted 20 September 2010 - 02:20 PM

Hi,

I just shot a short (about 1000 feet for final cut) in Super 16mm and had it processed and transferred to DVcam for editing. We have about 10 lab rolls. Now that we have a final cut we are going back to the lab with the EDL for re-transfers. Our film out will be HDCAM with a possible 35mm in the future (depending on screenings and festivals). I was wondering what would be the best DI workflow for this step. I know that 2k scans into DPX is the best resolution possible for this, but that in HD quicktime files there isn't much loss and the price is way more reasonable, and that would fit out indie budget better.

We are looking to scan and grade on the lab all the way to HDCAM. We need reframing and color correction all through the footage. Would HD make it less manageable for that and I would not be able to print into film? and is 2k that much better and worth it for a short that will be mostly screened on HDCAM, TV and DVD?

Thank You,
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#2 Will Montgomery

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Posted 20 September 2010 - 02:32 PM

We need reframing and color correction all through the footage. Would HD make it less manageable for that and I would not be able to print into film? and is 2k that much better and worth it for a short that will be mostly screened on HDCAM, TV and DVD?

2K only gives you a little more wiggle room than HD. Perhaps you could do 2K but make major framing decisions in the transfer then you could make smaller moves later. Then have the colorist adjust to give you as much information as possible for later color correction.

Output to the new ProRes 444 and you'll have plenty of data for editing, color correcting and minor re-framing. Should also be plenty for a film out although someone else here may have more experience with that.
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#3 John Sprung

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Posted 20 September 2010 - 04:06 PM

2K only gives you a little more wiggle room than HD.


True -- and Sony noticed that. The latest upgrade to HDCam SR also does 2K. So, the difference and debate can go away.





-- J.S.
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#4 Brian Drysdale

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Posted 20 September 2010 - 04:09 PM

There are plenty of films that have been shot on HDCAM and then transferred to 35mm, although HDCAM SR these days may be a better option for your master if you're going the tape route.
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#5 Rafael Moraes

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Posted 20 September 2010 - 05:48 PM

2K only gives you a little more wiggle room than HD. Perhaps you could do 2K but make major framing decisions in the transfer then you could make smaller moves later. Then have the colorist adjust to give you as much information as possible for later color correction.

Output to the new ProRes 444 and you'll have plenty of data for editing, color correcting and minor re-framing. Should also be plenty for a film out although someone else here may have more experience with that.


Thanks guys!
Just one doubt, so beteween choosing 2k and HD transfer in this case there isnt much difference on resolution, but is there on color range or grain if i transfer HD and project on HDCAM SR on a theater screen?
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#6 Elliot Rudmann

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Posted 20 September 2010 - 10:49 PM

There won't be a difference of color range, and the grain will (theoretically) be marginally smaller in the HD version compared to the 2k version, as a slight down-rez will hide some (like an standard def 16mm transfer will "hide" more grain than an HD transfer of the same footage).

But like I said, the difference of grain between HD and 2k footage will be so marginal that it probably won't be noticeable.
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#7 Rafael Moraes

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Posted 20 September 2010 - 11:16 PM

I will go on for HD transfer and work on the color and framing into a ProRes 4444 and HDCAM SR out.
Thanks again!
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#8 Will Montgomery

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Posted 21 September 2010 - 10:00 AM

I will go on for HD transfer and work on the color and framing into a ProRes 4444 and HDCAM SR out.
Thanks again!

Let us know where we can see the final!
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#9 Rafael Moraes

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Posted 22 September 2010 - 09:03 PM

Let us know where we can see the final!


Sure do!
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