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

dave wyatt and dan filming Mirrors
dave wyatt filming dan
our fire bar

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


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.

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.