To the best of our knowledge, when you begin manipulating reversal stock in the processing it increases in contrast and becomes grainier. You may want to consult with your lab tech before making any plans based on Push/Pull processing, though.
Syncing without Timecode
I'm shooting a film, and wanted to know if I could record dialog on a non timecode dat or even a minidisc recorder, and rerecord the sound in bulk to a timecode dat, then sync up the video transfer of my film with the sound on an avid. Is that the way to do it cheaply but effectively? I've heard conflicting reports as to how well sound can be synced to a video transfered picture because of the change in frame rate. Also, when people refer to sound needing to be resolved, is that just aligning the sound speed to picture speed? We would really appreciate your consultation, so when we start filming next week everything will be fine, and we can shoot in confidence!
1st 16mm camera
I will be purchasing my first 16mm camera, and I had some questions. I have a budget of $15,000 through American Express Equipment Financing,
and I am interested in getting the best package I can for the purpose of making 16 mm (or Super 16mm) indie films.
I own a recording studio, so I knowledge about recording
sound just not in terms of cameras (sync etc.)
I know Arriflex, but I have little experience with the 16S, 16BL, and SR3.
I have even less knowledge about Bolex.
So ultimately my question is this ... can you suggest the best set up with these budget requirements?
I´m an independent filmmaker in Mexico and I´ll be making a b/w 16mm short film. Some people have said to me that there are film labs that transfers the negative straight to video making a positive image on video without the extra cost of having to make a positive film print first. I´d like to know if this is correct and what the transfer quality would be. I hope you could help me.
Post Syncing for Film
Again, thank you for the wealth of advice you've been giving me on my short film. I am two weeks away from shooting. Here in NY I'm thinking to process the film at DUART, because they do cater to NYU students by offering a discount. It's also good to introduce yourselves to a sales rep. I don't know how are they going to be taking care of my film when it moves to post. I'll let you know. But, meanwhile, burning question. I'm gonna be developing the film and transfer it to video dailies with Timecode for the eventual negative cutting. However, when it comes to syncing sound DUART will do it for video dailies at a rate of $110/hr. That is a lot!!!! Is there any other way beside syncing on a flatbed? I mean for 6000 ft of film at $110/hr that's gonna be about $1,100.00!!!!! Non-discountable!! Help!!
Wild Sound with the Arri S
I do not have a problem shooting with an arri s and recording sound "wild"-in fact if you transfer film to vhs you can do all sorts of things with sound while you edit-re record dialogue, add ambient sound, add music,etc-crystal sync is great but it is not the only way to go as i see it.
Yes, you are correct. The reasoning behind storing film stock in a refrigerator are actually listed in you may want to have a look at that for a detailed discussion. My recommendation is storing in a refrigerator but be certain to let it slowly warm to room temperature before loading.