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film to hi def workflow question (s)
Hi
My director want to “shoot a project on super 16, then transfer it to Hi Def and edit it” (he got inspired by the workflow in “zodiac”)
so………
i am not sure what the colorist we use has. I have read trade articles about transfers to HDCAM @ 24 and capturing, editing, and even finishing in FCP.
what about DVCPROHD? it sounds good for disc space and realtime, but can i xfer film to dvcprohd and be able to de interlace it so i can work at 24 fps native?
for that matter, does it matter if I edit it 24 or 30? i have a kona LHe, so can that re interlace on the fly?
yes there are many questions, and i have not even asked about hard drives!
if anyone has a proven workflow, lemme know. AND can anyone point me in a good direction to find more info
TIA
bee eph
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6 Replies
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yea, call any post house in Los Angeles… this is done hundreds of times everyday-
35mm transfer to D5 or HDcamSR… etc. dig in those tapes at dvcproHD 23.98- cut your project, media manage the timeline, online your D5/HDcamSR/HDcam etc… and you’re done- super simple and the LHe makes it oh so easy with their built in Easy Setups.
-Jordan
Post Production Specialist
The DR Group
Los Angeles, CA -
thanx jordan
do you know if anyone is transferring directly to dvcprohd? i think that may be the only deck we can get.
and, as i am in a dark room in minneapolis, chained to my console, and cannot use the phone, 🙂 i was wondering if there are web sites where this is addressed?
other than the awesome creatice cow!
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[Bob Flood] “if anyone has a proven workflow, lemme know. AND can anyone point me in a good direction to find more info”
Hey Bob,
DVCProHD is an option now all over now. Bonolabs near Washington D.C. (www.bonolabs.com) has a very cool service in which they will telecine your film footage dirictly to DVCProHD onto a hard drive, which they then FEDEX to you for download. Its a great service and quite cost efficient. Tim Bono is the man to talk to. Tell him that I referred you and he’ll be sure to charge you extra… 🙂
When you’re ready for your film out, Filmout Express in L.A. is a great place to go. Gilbert is the man to speak with there…
BTW, just keep everything at 23.98 all the time and you’ll never have to worry about a thing. I’m starting to digitize a new project today that will ultimately end up at Filmout Express. Its being shot on HDCAM at 23.98 and I’m coverting to DVCProHD via my Kona LH. If you care to quiz me in a few days feel free to drop me a line at info at drwfilms dot com.
DRW
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DRW
thanx mon! I will look up bonolabs and check them out. we will probably stick with a local xfer house, and will finish to video, distributing on DVD
just want to be safe on the whole 23.98/29.97/ pulldown/pullup thang, so i will be contacting you later.
bee eph
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Since you’re only finishing to video – I would recommend getting your 16mm transferred to regular HDCAM, 1080p/23.98. You can rent a player-only HDCAM for cheap, load everything via SDI into your Kona card and have it digitize as 1080p/23.98 DVCPRO-HD. Won’t take up too much room, you can edit on FW drives, you’ll be editing with native 24fps frames, and the Kona will output a live 29.97 fps NTSC signal for you if you want to use a NTSC monitor to cut with.
easy and rock solid. I personally don’t like DVCPRO-HD tapes, will all their 30fps and flagged frames, etc… and so prefer a real 23.98fps tape.
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charlie
thanx! that sounds like a plan. will look into this further.
bee eph
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