16mm capture settings

[Michael Gissing]

[zoe mackler] “I have:
16mm digitized to DV tape.”

For a project you wish to scan back to 16mm, you shouldn’t telecine to an SD codec, particularly DV.

I would have requested 1920 x 1080 ProRes files (not tape).

[Shane Ross]

I agree…16mm to DV was OK like 6-7 years ago. Now, HD would be a better option. DV happens to be the worse professional SD format out there. And if I was doing a film that was shot on film and transferred to tape, I’d either look at getting ALE or LOG files and working on getting the negative cut, or transfer to high end HD so that a good Digital Intermediate can be made for a film out.

Shane

GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def

[David Roth weiss]

I also agree — anything except DV would have been so much better.

David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.com

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.

[Michael Gissing]

[David Roth Weiss] “I also agree”

Geez David, anyone would think its Christmas. We are being far too agreeable -ho ho ho.

[Zoe Mackler]

Thank you for the responses. I understand your recommendations; however, this isn’t my circumstance.

I logged and captured in PRO, so if anyone would care to advise capture/export settings given the circumstances I have, rather than the ideal one I don’t, I would appreciate it.

Best,
Zoe

[Michael Gissing]

Tapes are DV so use DV capture settings (via Firewire). Final edit timeline should be 10 bit Uncompressed or ProRes422 (if your drive speeds can’t handle 10 bit uncompressed). You didn’t say what the frame rate was so specifics of which DV capture setting can’t be given.

Take the file to a facility to scan back to film

[Zoe Mackler]

Ok, thank you very much. I believe I went ahead and captured at CCIR 601. The 16mm film was shot at different speeds but I imported at 24f. The projected frame rate is 24.

[Trevor Ward]

If you’re not doing a lot of color grading or graphics or effects work, do the whole thing in DV. If the tape is DV, then you’ll never get better than DV from here on out. Doing DVCPro 50 or prores standard definition, or uncompressed SD is a waste. If it was me, I’d convert everything to ProRes (not ProRes HQ). Then I’d make the edits and color grading and effects and graphics. Then I’d export out the file as it’s new native, ProRes.

If you DO decide to go with a less compressed form (because of Color, effects, etc.) then DON’T go back to DV tape. Take the file to the lab.

-trevor ward
Red Eye Film Co.
http://www.redeyefilmco.com
orlando, fl