| date | May 2006 |
| type | short film |
| director | Jonathan Stewart - DeFusion Films |
| origination format | Super-16mm |
| camera | Arri SR3 |
| post-production format | 720/25p uncompressed RGB (10-bit log datacine DDR) |
| my roles | co-produce, organise the post-production, co-edit & co-grade |
| project website (including trailer) | MirrorsTheFilm.com |
Post-production workflow
- Super-16mm developed at Technicolor
- Scanned at Midnight Transfer on a Spirit 4k
- Scanned at 1920×1080
- Downconverted to 1028×720 on a clipster @ Midnight Transfer (we had to downconvert because we didn’t have enough storage space for the full 80 minutes of footage at 1920×1080)
- Transfered onto 2×250GB USB2 hard disks as DPX files
- Imported into After Effects 7 Pro and converted to DV for off-line edit
- Off-line edit done in Adobe Premiere Pro 2.0
- Edit imported back into After Effects and the DV clips were manually replaced with the DPX files
- Graded using Synthetic Aperture’s Color Finesse
midnight transfer
Hi,
Was the transfer to digital very expensive?
I'm trying to budget for a film at the moment and I wondered what were the costs involved in going from super16mm to digital.
Thanks,
Dan.
Midnight transfer
Hi Dan,
Midnight Transfer offer a very competitive price. Definitely give them a call.
Broadly speaking, there are 2 ways of getting Super16mm material into the digital realm: either a "data scan" or a "telecine". A data scan is more expensive but aims to transfer as much information from the neg to the digital realm; usually resulting in set of 10-bit log DPX files. Data scans are great if you plan to grade in the digital world. A telecine tends to be cheaper but you need to make your grading decisions in the telecine suite as a telecine transfer doesn't capture all the information from the neg.