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16mm PROCESSING/TELECINE STILLS QUESTIONS

TELECINE 16MM film 7219

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#1 agonzales

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Posted 02 March 2015 - 01:09 PM

Hello,

 

INFO:

 

1) I shot some R16mm/S16mm tests and had a telecine at two different labs. The R16 was done at Lab 1 and the S16 at Lab 2 (also a second telecine of the same R16 footage was done at the same lab, Lab 1.)

 

2) All the stills are shot in the exact same location. Meter: F1.2 and on 7219

 

3) The S16 is shot at F2 with a 9.5mm Zeiss Super Speed Prime

 

4) the R16 stills were both shot at F1.3 with a 16mm Zeiss Super Speed Prime.

 

Shots:

 

R16 Lab 1 (Tele 1)

 

R16 LAB 1.jpg

 

R16 Lab 1 (Tele 2)

 

R16 LAB 1 (TELE 2).jpg

 

S16 Lab 2

 

S16 LAB 2.jpg

 

 

Questions:

 

1) Why does the S16 image seem to have so much more light than the R16 images when it is actually closed a full stop down (F2 vs F1.3)? (Again the R16 was done at lab 1 and the S16 at lab 2)

 

2) Why is the S16 image much more green and then the two R16 images so different from one another, (one is redder and the other white, same footage)? How are these choices made at the lab? 

 

3) Finally, based on the meter reading of 1.2 and the 7219, does one process/lab stick out as more accurate as far as exposure, obviously the more light the better. Could lab 1 have under processed? Could lab 2 have over processed? I assume they have the same processing times. But how do I know what I am going to get?

 

needless to say I need some adepts here as this is pretty confusing

 

I appreciate your time

 

thank you

 

 

 


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#2 Tyler Purcell

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Posted 02 March 2015 - 01:58 PM

Unless you paid for a managed telecine, most operators will throw a roll of film on the machine, do a basic correct on the first shot they see and let it roll from there. It's called a "one light" transfer and unfortunately it's what you get unless you pay a lot more. A good telecine artist will give you a flat image with almost no correction, like your bottom S16 image. That's actually the best image you have out of the lot for sure. The two top one's were clearly someone on the telecine machine trying to make corrections, that's NOT what camera negative looks like at all. 

 

So your 2nd lab looks great. All you need to do is download DaVinci color correcting tool from Blackmagic design's web site, do a quick tutorial and correct the material after you're done editing. Getting a super flat image from the telecine is what you want, so you can fix it later. 

 

Hope that makes sense… 


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#3 agonzales

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Posted 02 March 2015 - 02:27 PM

It does. Thanks Tyler. 


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#4 Robert Houllahan

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Posted 03 March 2015 - 05:01 PM

It is the difference between a LOG or LOG like (ungraded) image (the S16) and a graded REC709 pass on the telecine. Most people who want to do correction themselves get a 2K LOG data scan (or a flat pass) however if all of the telecine work was sent out that way 75-80% would come back as being too washed out and too low contrast. Without specific instructions the color grade is at the subjective discretion of the colorist who does the grade and most REC709 material is graded to have contrast and not a LOG look.


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