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$175/hour vs $350/hour


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#1 firsttimedirector

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Posted 25 August 2005 - 06:31 PM

Ok, I'm in post now and wondering if it's worth going w/ a student rate of $350/hour at a well respected company (their rate card is almost 4 times as much) and be ready to be bumped or should I go with also a professional company at $175/hour (their rate card is $200/hour). It would be supervised telecine on a Spirit 2K in both cases. I have 17k ft of Super 35mm. I guess my question is can telecine make or break a film or is it pretty much the same thing?
Also, should I hire an editor before transfering or can it wait after telecine. And finally is there a way to only telecine what I'll actually use so I don't have to sit there for 12-14 hours or do I have to do everything I shot?
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#2 Stephen Williams

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Posted 26 August 2005 - 02:44 AM

Ok, I'm in post now and wondering if it's worth going w/ a student rate of $350/hour at a well respected company (their rate card is almost 4 times as much) and be ready to be bumped or should I go with also a professional company at $175/hour (their rate card is $200/hour). It would be supervised telecine on a Spirit 2K in both cases. I have 17k ft of Super 35mm. I guess my question is can telecine make or break a film or is it pretty much the same thing?
Also, should I hire an editor before transfering or can it wait after telecine. And finally is there a way to only telecine what I'll actually use so I don't have to sit there for 12-14 hours or do I have to do everything I shot?

<{POST_SNAPBACK}>



Hi,

The telecine colorist is the most important point, if both telecines are Spirits with 2k color correction?
Telecine can make or break a project.
If you slated the scenes, and know the best takes, then neg cut and only transfer the good takes.
I would test the cheaper company. Then you can choose. Another possibility is Best Light at the cheaper company, neg cut and final grade at the better? one!

Good luck

Stephen Williams Lighting Cameraman

www.stephenw.com
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#3 tylerhawes

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Posted 26 August 2005 - 04:19 PM

You don't mention if the telecine is only for dailies and offline editing or if it will be used for the final picture with perhaps some additional color work on it.

If using for final picture, then I'd suggest you think of doing a flat telecine that protects Dmin and Dmax to HDCAM-SR, edit off of gamma-corrected dubbs (or captures to whatever offline NLE you use), and save the serious color decisions for the DI suite. This will preserve choices for creative color decisions even after editing, and you'll have the option to experiment some in post rather than the one-shot color grade you're talking about doing in the telecine...
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Visual Products

Glidecam

Ritter Battery

Aerial Filmworks

Metropolis Post

Media Blackout - Custom Cables and AKS

Tai Audio

Wooden Camera

FJS International, LLC

Broadcast Solutions Inc

The Slider

CineTape

Gamma Ray Digital Inc

Paralinx LLC

Abel Cine

CineLab

Rig Wheels Passport

Opal

rebotnix Technologies

Technodolly

Willys Widgets