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Where can I have S16mm film developed and telecined inexpensively?
I’m looking to do a very very low budget music video. It’s a SIMPLE concept and we can get the whole thing done with approx 1,200 to 1,600 feet of film (3 or 4 400″ loads). I’ve called around a bit and it seems that the prices are just through the roof. I know that Fotokem and Technicolor charge a lot because they’re good. Is there a “secret” place where I can get S16 film developed and transfered to digibeta without spending a small fortune?
We’re really trying to avoid shooting on VIDEO or Super-8. Any suggestions?
Thank you,
Michael -
17 Replies
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I don’t know how to put this, other than just saying…
Use the tools that your budget allows for!If your budget won’t support a super 16 shoot,
then use the tools the budget will support,
Or have the client increase the budget. -
What a horrible thought. Letting money be the deciding factor.
I know there are labs that charge less. -
>>What a horrible thought. Letting money be the deciding factor.
What planet do you live on? Here’s a flash: Money ***IS*** the deciding factor. If you have it, you can do whatever you want. If you don’t, you can’t. Simple.
>>I know there are labs that charge less.
And you acquired this knowledge… how??
FotoKem is one of the most reasonably priced labs in the country, and they specialize in student and low budget work. If you can’t afford it, you can’t do it. -
Mike-
I’m from a planet called the working middle class. Creatively speaking, and otherwise, I try not to be controlled by money (or lack of in this case). That’s hard for you to understand?
By the way, contrary to what you wrote- Fotokem is one of the MOST expensive labs.
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Michael,
Because I work mostly with video tape now, I must admit that I am not familiar with current lab prices, but I can tell you that in my student days at UCLA film school, Fotokem was a favorite lab because of their low prices, student discounts and favorable credit terms.
As I recall they allowed me the better part of several years to pay off the 1st trial and release print of my thesis film, which I was required to submit in order to graduate and get my degree.
I think most labs are open to negotiate a discount for first-timers in the hope that they’ll cultivate a career long loyalty which can payoff big time when you bring them a long form project later. Give it a try!
Of course, this is one of the main reasons why the DVPRO100 and HDCAM formats are ploriferating so quickly. I think even in the case of your 1200-1600′ film job, if you get a good one day rental price on a Varicam you might find the savings significant as opposed to film stock, developing and telecine. With the 24p function and electronic imititation of “cine gamma” the resulting image, especially when viewed on a CRT or other monitor (as most music videos are) is very similar.
Good luck,
JS
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John-
Thank you very much. I appreciate the information. I’ve been on the phone with a couple different people down at Fotokem- I’m not a student so I don’t qualify for those discounts, but perhaps it’s just a matter of speaking to the right people. I’ll give it another go!
I’m starting to think that the varicam is more of an option- I’m sure if treated properly in post in can be made to look like 16mm.
Cheers!
Michael
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Michael,
It’s actually a matter of treating it correctly when you shoot! As I said the camera can be setup to imitate the gamma curve of film stock and in combination with the 24p frame rate and careful “film style” lighting and camera operation, believe me, you’ll fool a lot of people.
Post production, especially, the sophisticated Da Vinci type of color correction is the same for both film and video, and frankly should be avoided when cost is an issue (as it seems to be with you). This is another aspect where the WYSIWYG nature of HD production can actually save you time and money, and help you get the look you want right from the GITGO. Of course, some skill is required to do so, but the same is really true with lighting and exposing film.
JS
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One of the secrets to getting a good deal is the art of wheeling and dealing. If you do not allow money to control you then you better be a damn good deal maker.
Hire an experienced producer who has many industry and facility contacts.
That is how many productions find the money they don’t have to make their production a reality.
The high end labs charge more because of the experience and caliber of their personell, as well as having state of the art equipment, a full time engineering staff and lots of overhead.
Tony Salgado
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>I’m from a planet called the working middle class. Creatively speaking, and otherwise, I try not to be >controlled by money (or lack of in this case). That’s hard for you to understand?
Quite frankly, yes. You can’t buy a Bentley if you only have $10,000. And you can’t buy a house in Malibu if you only have $150,000. And you can’t shoot on film if you can’t afford the processing and printing/transfer costs, regardless of how creative you think you are and regardless of how much you might want it.
What I find hard to understand is why you think you have some inalienable right to do this, or to demand that companies change their rates to allow you to.
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Mike Most-
Thank you for sharing your perspective. I can understand where you’re coming from and trust that the labs that charge a premium for their services share your view.
Don’t forget that the MAJORITY of these labs are usually dealing with companies wielding TONS of money… so it’s not a big deal to ask for a big buck. Good for them.
I however, am not currently in the position to pay that kind of money. I don’t think that means I shouldn’t get to make pretty pictures. Apparently, you do.Just for the record though
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