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16mm to 35mm – Best Quality!
I know this is a digital world but i’m about to edit a 16mm film which will end up on 35mm. Will i get a better quality of final image if:
1. Transfer the dailies to HD, edit the film, color correct and then output to a Digital Intermediate then to 35mmOR
2. Do it the old fashioned way of cutlists, assembles etc then transfer the final 16mm cut film to 35mm.
Any ideas, theories, past experiences and methods are appreciated. Of course i will be in my zone and totally at home and prefer to do the route 1. But i need to get the best picture possible.
cheers
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4 Replies
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3. Do it the old fashioned way of cutlists, then scan 16mm to 2k Cineon, assemble, grade and print to 35mm.
This is usually referred to as Digital Intermediate.
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Mishka’s right – that’s the best way….
However, if for logistical reasons you have to do #1 – we just output an entire feature to 35mm via this method and it looks pretty damn good. Super-16 to D5. Color graded in 1080 on a Da Vinci. Scanned back to 35mm. Just saw our final composite print w/ dolby 5.1 projected at Fotokem yesterday. It was an awesome solution for an indie feature.
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Yeah I was dreading that just because im out of my comfort zone. Im going to do a few tests with some stock 16mm. Ive used avid with negative before and it has gone well, i just havent dived into cinema tools yet. Shame on me. The filming doesnt start till july so ive got a bit of practice time! Thx for your input guys.
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Also depending on your DI house and your budget – they can take your negative rolls uncut and scan your EDL in based off timecode. That way you never have to actually cut and splice it together (esp. since 16 isn’t as tough as a 35). So a 2K scan straight from 16, color grading session for a week with the data on their server, etc…, straight out to 35mm.
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