blow-up to 16mm, what about the sound?

[Nigel]

What you will need to do then is get your soundtrack to Magstock then to an Optical. From there the neg cutter should be able to "synch" the two easily since it won't be dialog--it won't be like dailies on the old moviola. It will just require one mark at the head. Good Luck

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[rollemfilm]

this is done all the time. the best thing to do is contact the lab you will work with. you'll need to time the final print with a countdown slate at the head of the picture. you'll also need to work with a recording studio of some kind. even if it's just a digital 8 track recorder. the best thing if you can afford it is go to a sound for pictue recording studio. they will have monitors so you can view the picture adding sound effects and music where you want. check out the magazine Mix. they often list studios who can do this. but, the first step is talking with your lab that will lay the sound track. get their advise and move on from there.

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[Cranium]

And we're quickly approaching the price of a workprinter once again. I know it's starting to sound like a broken record, but the damn thing's like a friggin Swiss army knife for small format filmmakers.
OK, so you don't want to edit the film digitally, fine. Edit the film, THEN transfer with the Workprinter. Once it's in the computer you can cut the audio to the picture, even with the most simple editing apps. Then just export a 44.1kHz .wav of the soundtrack, and burn it to CD. Then just get that transferred to mag, or however they need to do it for your particular project.
You've got as much time as it takes to do it the way you want, and you're not spending $40+ and hour for a decent studio.
It doesn't take a megabucks soundcard, either. Just about any of the ones out there now will have decent enough specs for 16mm optical (not to mention the sound systems at a lot of festivals!)


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Mikel Z

[MovieStuff]

<BLOCKQUOTE><font size="1" face="Courier, Arial">quote:</font><HR>Originally posted by Cranium:
Then just export a 44.1kHz .wav of the soundtrack, and burn it to CD.
<HR></BLOCKQUOTE>

The only thing you would want to do before making the wave file is a slight speed change on the sound since the frame rate that you're cutting to is not a true 24fps but 23.97 or what ever (I get confused, myself)

-OR- Just make sure they know at the lab that the sound came from a video edit so they can use a different speed reference.

-OR- Just run the movie off onto video tape and let them take it from there since they'll have the means to do a layback accurately with an automatic speed change using the video control track as a point of reference. That's the way I did audio for film edits for years. I would just transfer my workprint to video with a non-drop address track and then work out my sound. Later the lab would take that and do a layback to mag track for perfect synch to the neg. Actually I did it many times without any address track. Made no difference. All they need to know is the rate differential.

Roger

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Roger Evans
MovieStuff
http://www.afterimagephoto.tv/moviestuff.html

[Matt Pacini]

Hey kids!

I've never done the "audio-to-mag track- to optical track" thing before.
Sounds pretty freakin expensive, paying for mag track, then optical track, for the entirety of the film, not to mention the lab time, etc., to do the transferring.

How much would you guestimate this costs these days, for let's say, a 90 minute feature?

Matt Pacini

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[rollemfilm]

not sure of the exact price, but i think ST Productions will blow up a super8 feature to 16mm for about $80,000.00. i tried to access their web page but didn't want to wait. i think that price includes a mono sound track.

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[MovieStuff]

<BLOCKQUOTE><font size="1" face="Courier, Arial">quote:</font><HR>Originally posted by rollemfilm:
not sure of the exact price, but i think ST Productions will blow up a super8 feature to 16mm for about $80,000.00.
<HR></BLOCKQUOTE>

That's insane. I had Jet Benny blown up to 16mm at Interformat for less than $7,000, including the mag transfer and they're about the best there is. Anyone charging $80,000 for a 16mm blow up won't stay in business long. What super 8 shooter has $80,000 for a blow up? Hell, for $80,000, I'd just shoot on 16mm to begin with!

Roger

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Roger Evans
MovieStuff http://www.afterimagephoto.tv/moviestuff.html

[This message has been edited by MovieStuff (edited January 08, 2002).]

[rollemfilm]

like i said, i'm not sure that's the price. i can't seem to get to ST Productions web page. they listed a lot of price packages. some were even higher. that also maybe a 35mm price. i'll keep trying to get access.

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[el don]

i finally decided to do my next project wwith PLus-X, so i could edit it with just a cement splicer, like Pedro said in the "digital overboard thread", because i want tokeep the film aspect, and i want to blow-up my ten minute short movie to 16mm so it could be shown (i strongly hope) at least in festivals. My film could be silent (no dialogues), but i'll want at least some "ambient" noises, and maybe music. I know some labs put sound on super-8 film, but how do they sync it? Is it possible to put the sound after on the 16mm film? Does anybody already done that? Thank you for helping.

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[Nigel]

It is not really as bad as you guys are making it. You can get ProTools for free now from DigiDesign--This is a great DAW to do you mixing on. From there you can output it to DAT, 1/4" even cassette if you really wanted. Then you take your mix to the lab and they put it on Magstock. You can "synch" it or someone else can using but one mark at the head(Use a Slate clap it is easiest). Then once you have you workprint all set you send it to your neg cutter with your magstock and you will get back your first answer print. Good Luck

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