I'm going to my first ever meeting for a low budget feature and
am a bit unsure on how to present the format options.
Not knowing full the budget or what the end market is, I would like
to come up with suggestions to shoot S16mm, I assume 35mm is out
of the question and as a last resort Ill go HD.
My concern is that the producer might consider a digital format
like SD/HD and the plan is to convince them that the advantaged
of shooting S16mm on the Vison2 fine grained stocks for an optical
blow-up to 35mm, is the only way to go.
For me its obvious that even consider shooting a feature on SD is
silly and doesn't have the same production & distribution value
as say S16 but is it for a budget minded producer?
I don't know if a TK at 2k rez Spirit/C-Reality then output to 35mm
is at all feasible to think of here, any advice is very welcome?!
The film is pretty straight forward and without special f/x or matte
Since I haven't had and wont have time before the meeting (due to
work) to phone around to the labs for quotes and ideas, I was hoping
someone has been in a similar situation and I would love to hear
suggestions on how to and with what info I should approach them
Dear CML'ers / Flemming,
Arguments to shot in Super 16 :
* Your project
will be in a format that, whatever will happen in the future, always
can be scanned to others video formats.
* Good resolution
and deep color space
* The cine
camera is more easy to operate in low budget situations.
Video cameras needs at least a good and middle monitor. If you want
security, waveform and vectorscope. Film camera with light meters,
small monitor to video assist are smaller than video cameras and
* If you want
to shot a suddenly scene, a film camera starts faster than video
* I don't
know why (in really I know why), but when we shot on film the people
take more attention in your works. Then, the results in general
are a little better.
This is my ideas for now. I hope I help you a little.
Adriano S. Barbuto
Sao Paulo / Brazil
>I don't know if a TK at 2k
rez Spirit/C-Reality then output to 35mm is at >all feasible
to think of here, any advice is very welcome?!
Well I've just made some tests in Rome for a low budget production
scanning S16 with a C-Reality in an HD-dual link (1080 24p 4:4:4)
mode and it sucked. There was some coloured noise. I'm not sure
is the post house fault.
I've seen the beta we TK'd and it looked nice, I don't know if 1920x1080
is too much for 16mm or the problem is something else. suggestions?
For guaranteed results bring a single black glove and a pair of
On a serious note, find out what their budget is before you even
suggest a format. My experience is that if you push a format that
they can't afford they may simply keep talking to DPÂ´s until one
suggests a format they can afford.
And if they are VERY secretive about their budget you may not want
to work for them anyway.
The complete budget picture is really not your job -- it's the producer's.
But you can tell him that while shooting HD is cheap, the post costs
can be very high, especially if you finish to a 35mm film print.
The costs can be so high as to outspend the costs of shooting in
Super-16. And then explain that everyone always struggles to achieve
a "film look," yet Super-16 has it built in. Rule of thumb;
if you plan to finish to film you're generally better off shooting
in film in the first place both for costs and aesthetics.
And shooting in film is not so expensive anyway. The camera package
rental is significantly less than an HD package, even without the
very necessary large HD monitor or waveform. And in the US, I use
the rule of thumb of $25 per minute running cost (includes purchase
of raw stock, developing and SD video dailies), so a feature is
likely only spending about $15,000 - $20,000 on film. This may sound
high but is dwarfed by the cost savings of an optical S-16 to 35
blowup compared to a laser burnout of HD to 35 in post. And if the
production can be a bit frugal about shooting ratios during production
then the savings will be even greater.
I was recently involved with a low budget feature project that had
intended to shoot 35mm. I had worked with the director before and
in discussing the look of the film I thought that doing a Digital
Intermediate might be the way to go. I knew they couldn't afford
that as well as 35mm so I suggested that we shoot Super16.
This seemed appropriate for other reasons too. Three of the principles
were kids (down to six years old) and I knew we wanted to run a
lot of film. Lots of handheld in small locations...made sense on
a number of levels.
I made my suggestion to the producers that we should shoot super16
only if it would buy us a DI. They crunched some numbers and found
it would actually save them a little bit of cash.
We viewed the first reel of a feature shot here in Toronto on super16-2k
It looked great! yes it is still S16. It will never be 35mm. But
it sure beats an optical blow up and offers you a load of options
for tweaking your "look".
(Note: unfortunately the feature I was supposed to do pushed their
schedule in to my wedding date and I had to bow out...they are continuing
with the S16 DI route though.)
Dylan Macleod, csc
>I've seen the beta we TK'd
and it looked nice, I don't know if 1920x1080 >is too much for
16mm or the problem is something else. Suggestions?
I don't see how 1920 x 1080 is "too Much" for 16mm, in
the sense that I don't see how you can have too much res in the
sense that 5242 could be "too sharp" for 16mm optical
But for sure the Digibeta viewed on a monitor could hide noise that
your film out reveals.
I'm amazed at C-Reality's ability to see detail in my negatives
but this is SD, it can look beautiful but I don't know how far you
can go with it.
Please let us know what happens with this.
>I don't know if 1920x1080 is
too much for 16mm or the problem is >something else