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What a great and friendly board. I have been into indie filmmaking for awhile and had never considered the possibilities of S8 until a friend gave me his Beaulieu. After seeing what Pro 8mm has to offer, I'm ready to ditch my 16mm gear in favor of Super 8 to Digital Video. I intend to edit with a Matrox RT2000 and Adobe Premiere. Is anybody on this board currently doing this? I'm not sure how Pro8mm's Rank Cintel works but it is my understanding that one should have the transfer done 1:1 as opposed to 3:2 pulldown and let Premiere do the adjustment. Any thoughts??
Also, with regard to lip-sync, I am looking into getting the Beaulieu made into a full-blown crystal sync camera and recording sound on DAT. Anybody have any experience syncing-up in Premiere?
Lastly, does anyone know of any other online resources specific to shooting film and doing digital post?
Thanks,
mato
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i think you should transfer with pulldown unless your card supports 24fps, or you won't be able to watch your editing in real time. if you want to output to a progressive format such as 35mm film or an internet stream later, just apply the inverse telecine. don't know about premiere, but i know after effects does it through the interpret footage dialog. no data will be lost in doing this, so the only thing you lose is tape space.
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Thanks Mattias. I'm not sure if I understand you here. Correct me if I'm wrong, but isn't the whole reason for the pulldown in telecine to correct for the difference in frame rate between the film and video? Directly recording video of a projected filmed image would produce flicker and direct frame for frame recording from film to video would produce a slightly faster motion when the video is shown. I am lost when you talk about my card supporting 24fps, or I won't be able to watch my editing in real time. I mean, video is video right-29.97 frames- (assuming ntsc)I see by reading other posts that you have at least some experience with Premiere and it is my understanding that the software will execute the pulldown, thus correcting the fast motion. I suppose it's six of one and half-a-dozen the other whether the conversion is done at the lab or in the computer, but this is what Adobe recommends. I'm kinda lost on the rest of your remarks about inverse telecine and losing tape space as well. Maybe you could elaborate. I am interested in output to video and DVD only.
Finally, much of my initial questions about lip sync were answered in another post where you caution against stretching the soundtrack in Premiere. Would you mind elucidating that point as well?
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yes, premiere will probably be able to "correct" the speed, but not in real time, so you will have to render all your footage one you get it from telecine, which will leave you with the same thing as if they had done the pulldown to begin with. you can of course edit the 24 fps footage on your computer without converting by just setting the frame rate of each quicktime file, but then you'll not be able to view it on your video monitor or use any real time effects your capture card might have unless the card supports 24 fps. some cards do, but unless you're doing a negative matchback or a lot of roto work, i can't really see the point.
