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Missing a piece of the puzzle!
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I’ll give them a call Monday. They weren’t my first choice for the HD transfer, but it might be good option.
Thanks,
Sebastian Leda
Editor
Digital Post Services -
Please do it off the negative not the work print!
For Telecine you do not have to do a traditional a/b roll thats if you are working in a lab for an interneg or interpos and 16mm only, the video post process changes all of that, thank GOD!!!
Typical HD telecine would be to bring the neg into the room and forward throught and transfer the selects. Sync things later. Maybe with your cut you can not ID the selects with great speed, kind of backwards but, no ones lookin.
Chris
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Yes, what you are saying is what I’ll probably end up doing if I don’t end up transfering at the original telecine house. And I’m definetly going to telecine to HD from the neg. The A/B roll was just an idea, but I knew it wasn’t going to work.
Sebastian Leda
Editor
Digital Post Services -
[Blub] “Please do it off the negative not the work print!”
Blub,
In the case of a telecine to tape there is no workprint. Did you go to happy hour?
DRW
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I think at a telecin
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I think that what Blub was trying to explain is that I didn’t need to cut an A/B roll to transfer to HD, that that was only used for making Interpositives in 16mm, which to a certain extent is true.
My intention was to telecine from the negative A/B roll instead of making an IP and telecing the IP to HD. But it was a silly idea on my part to beging with because I will end up with two D5 masters that have the shots in the right order with trims, but blacks in between every shot.
Hopefully what would happen is that the Telecine house I want to use can lay the corresponding timecodes to the keycodes from the off-line cut list like Mishka and David said.
Sebastian Leda
Editor
Digital Post Services -
I think that what Blub was trying to explain is that I didn’t need to cut an A/B roll to transfer to HD, that that was only used for making Interpositives in 16mm, which to a certain extent is true.
My intention was to telecine from the negative A/B roll instead of making an IP and telecing the IP to HD. But it was a silly idea on my part to beging with because I will end up with two D5 masters that have the shots in the right order with trims, but blacks in between every shot.
Hopefully what would happen is that the Telecine house I want to use can lay the corresponding timecodes to the keycodes from the off-line cut list like Mishka and David said.
Sebastian Leda
Editor
Digital Post Services -
Many times people transfer the work print in order to get it to video form and ship that around in the early stages of editing, before the camera negative gets messed wtih. Not a good idea but there it is.
I remember seeing for years entertainment news storyies where they had clips of the up and comming film with all the tape and greese pencil marks all over it, AMAZING. I always was shocked by studios and producers letting their films be seen in this state, maddness.
Chris
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Chris,
That was a long time ago… Workprint isn’t on the menu anymore… I still own some of those grease pencils myself.
DRW
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Oh my God I am older than I think. Your right, work print? Dah.
I guess I though that directors and producers of a curtain weight and pull (within the studio system) still had the assistant editors conforming a workprint from the Avid cut list. They would then project this in the lab or studio screening room to see just how it looked and felt on an actual screen. I have not walked into the Technicolor lab in NYC for over 10 years, (makes me want to cry) I have lost touch with how it is done now, its been a while since I was running a feature film.
The times are a changing, I was so busy looking over my sholder at my past I forgot we were doing things differently these days.
Chris
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