Post Production

[Helmstone]

Very sorry i need some info, i will plead ignorance.

I have written and directed a Digital film - Canon XL1.

For my next project i want to shoot super 8mm.

But i need some information if you may?

If i shoot my film, do I:

Send film for processing and telecine?

Or

Process film then receive it back, then send whatever i get back for telecine.

How much does this cost? Lets say if you had 5 hours of footage?

At what stage do you get the footage blown up to 16mm, and how much?

If you want the footage to be on MiniDV tape to edit on a comp - Do you then send it to be cine'd back onto film for blow up?

As much advice as possible please! I know i have just asked many stupid random questions, but i really need to shoot my next project on 8mm and the Post productions scares the .... out of me!

If any of you can help, i thank you so much.

[rollemfilm]

Once you find a lab you want to work with, decide what you want/need from them. www.yalefilmandvideo.com will process and transfer your film. One stop shopping. I use Yale for processing but send my footage to www.posthouse.com for transfers. I ahve a good relationship with both labs. This is crucial when spending large amounts of money on an art project like filmmaking. There are plenty of labs that offer processing for super8. But not many places that offer professional transfers. Here are a few off the top of me head:
www.thetransferstation.com
www.pro8.com
www.cinelab.com offers processing, but I don't think they offer super8 transfers. Do a search and you'll find what you need.
Most professional transfers are charged by lab time. 3X the running speed of your footage. So if you have 5 hours X 3 = 15 hours. Most transfers are rated around $200.00-$300.00 an hour. So at $200 X 15 = $3,000.00 plus tape and shipping. You still need to pay for the processing of the original footage.

[Brian Maier]

lab time adds up quick doesnt it? If it were up to me and i had $3000 for telecine i would get buy a workprinter and build a new computer. Pratically the same results and you will be set for all future projects.

Brian

[Helmstone]

Does everybody agree with Brian?

Hmm i don't have enough experience to do that.

When i shoot my footage, do i put the exposed film back in the original box?

I send it to the lab who process it, they send it back to me in what form? How do i store it?

I send it for telecine, they send me back DV cassettes or whatever, do they return the processed film, and again how do i store it?

I edit the footage on DV cassette, do i then convert to DVD or do i get someone to cut the processed film to how it was edited?

Then do i send this to blow up 16mm (if i wanted to of course)

All info please help

[lightfeat]

I only agree with Brian's post if you have a massive project with a hell of a lot of footage. For shorter projects, I recommend using moviestuff for transfers. It is cheap and good. $3000 is way more than you need for telecine - about 10 times too much for an average short.

Lucas

[Brian Maier]

I agree with lightfeat, and after thinking about it even for a 90min film that would be a lot of footage. something to keep in mind is that you are shooting film and not DV. 5 hours of dv tape $40 for good tape. 5 hours of super 8 film around $1200. You are going to shoot much more conservitivly on film than DV.

I could never justify $200hr to myself just for transfering my film to video so i got a workprinter, and i have been very happy. I also have a thing about doing everything myself, i dont like relying on others to do something that i can typically do a better job for less money. There is also a convience issue to consider.

So i would agree with lightfeat and say use Moviestuff's transfer service unless you decide that you really need to shoot that much film then i would say get a Workprinter. I could never bring myself to recommending a labs transfer service at $200-$300hr, not for super 8 at least. That is straight nutty!

[rollemfilm]

It has a lot to do with what your final project will be. Are your films just for home viewing like VHS or DVD or do you plan on some broadcast time or putting your film-video project back onto film like 16mm or 35mm. Remember, transfer time is close to the same price be it super8, 16 or 35mm. You not only are transferring film to video. You are building relationships in the film industry. If you want to be a professional cinematographer, director, sound recordist or what ever, you need to have people out there that know you and your work. It's not always about getting your masterpiece to the film festivals, it's about craftsmanship and professional attitude. I would like to suggest to the original poster that he forget about transfers until you have something to transfer. If you don't even know how to send your film off to a lab for processing, you're getting ahead of the game. One step at a time.
Roger offers good tools for folks to make creativity less painful. The bottom line here is, there are choices and be sure what you want and can do. For my budget, before I buy more gear, I always ask myself, will this really get used. I end up most of the time spending my money on filmstock and processing. The end result has to be as good as it can because in the long run, I want to make professional films. I don't think I can do the speicalized work required. Either processing my own motion picture film or transferring or making dubs for that matter. It's hard to compete with Beta-SP or Digital Beta or any of the pro formats.

[Nigel]

Here is my two cents...

Roger offers a great service(I have never used it--Yet). His service I think is geared toward the amateur moviemaker. He offers a good service at a good price.

If you want the best quality I don't think Roger would even suggest himself. If I had the three grand I would go to either CinePost or to Flying Spot.

There is nothing worse than not spending the cash to make your product look its best.

I am slowly realizing that film is not as expensive as I once thought it was and that my mistakes cost me more than raw stock ever could.

Good Luck

[woods01]

If you are going to blow up to 16mm why not
shoot on 16 in the first place? S8 is great for
doing short films that will end up on video
but if you are really going to go to the expense
of getting a blow up then why hurt your image
quality by blowing up S8? Also to consider is
the problem of getting sync sound with S8 unless
you are planning on a silent? Its a lot easier
to find a crystal synced 16mm camera than S8.

Do you have a cinematographer? I'm getting the
impression that you don't. Consider getting
some more help. Having someone deal with the
technical issues of lighting and dealing with
the lab will lift a lot of stress off you. [img]smile.gif[/img]

[Helmstone]

Cinematographer = no

I want the footage to look like it has been shot on super 8mm, using the correct filter i want the footage to look old, and with the blow up hopefully grainy to an extent.

I want the imge to look rough but still watchable.

I want to impose the sound afterwards.