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Sony f3k to 35mm transfer


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#1 Naveed Khan Chowdhury

Naveed Khan Chowdhury

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Posted 13 December 2011 - 01:40 AM

Dear sir.
I m a cameraman in Bangladesh working for last 17 years.Now i am planing to start a film from January with Sony f3k which will be transfer in 35mm after completion of shoot. In this situation i need to know many things regarding the transferring method, what lighting ratio should i maintain during the shooting time with Sony f3k to get the best transfer result from Sony f3k to 35mm blowup print.
Can anybody suggest me regarding this ?

Regards



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Naveed Khan Chowdhury
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#2 Phil Rhodes

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Posted 13 December 2011 - 07:18 AM

Hi,

You should consult with the facility that will do the 35mm transfer, as well as the people who will perform colour grading (which might be the same facility). You need to work closely with both these people to ensure everything's done correctly. Generally, if you produce any reasonable image out of the F3, it should be possible to burn it out to 35mm. However, there are likely to be technical subtleties and minor points which will make things go more smoothly and possibly look better, so it's a good idea to have that discussion before you shoot.

I haven't shot with the F3, so I can't give very specific advice. Anyway, I'm sure basic electronic cinematography rules will apply - enough exposure to lift the image out of the noise, but not so much that it clips! Consider your use of the camera's internal colour settings carefully, and discuss your intentions with postproduction.

F3 cameras can have an upgrade that allows them to shoot 4:4:4 RGB, without the colour subsampling that's used on the basic version. This will cost a little more money and you will need to use an external recorder, although you might choose to do that anyway as the F3's internal recording is only at 35Mbps, which is not a very high data rate for 1080p HD. If you use an F3 with the RGB upgrade, you can also use Sony's S-log colour settings, which can help provide more flexibility in grading. You will need to ensure that your grading and 35mm output facilities are prepared to work with S-log material, and you will also need to have monitors on set that have the ability to process the image back to a more normal appearance. S-log is not designed to be viewed directly, it's designed to allow the camera to store image data more efficiently.

The 4:4:4 upgrade and S-log may not be very useful unless you are shooting a lot of visual effects shots or other technically tricky material, but it's worth bearing in mind.

You will also want to consider what data handling facilities your shoot will need, and how the F3's files will be backed up. This can depend on what your production's insurance or completion guarantee (if any) requires you to do. Usually a member of the crew will be dedicated to this task on a large scale shoot, in a position similar to the 35mm loader.

This is very general, but I hope it helps.

Phil
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Visual Products

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Willys Widgets

CineTape

Metropolis Post

New Pro Video - New and Used Equipment

Glidecam

Technodolly

Aerial Filmworks