Best Native workflow to film out?

[Jon Carr]

I apologize if this been mentioned before. But I'm currently in pre-production on a MX feature and we have 60k already set aside for post, (not including sound's post budget.) And the Master will be out putted on film.

1. Basically what I'm asking, with 60k for post. What's the best way to go into post production for digital negative and possible film out. By that I mean, editing suites, formats, gamma, what color correcting suite etc... Basically what would you do with a 60k post budget if the end goal is film out.

2. Were shooting in NYC, so I'm open to any post house that does the best job compared to any other in New York.

I would just like to know what's the best way to do this from other people's opinion before we make our decision, and before we start shooting.

Cheers
Jon

 

[Dan Hudgins]

Optical track

Optical track

For the sound mixing my DI system has a sound mixing and editing system that was designed JUST for making high quality feature films sound tracks for transfer to optical track or digital on film prints.

You get over 200+ tracks PER SHOT, and another 200+ tracks after picture lock for the tracks that run full length. It does the mix down automatically based on the values you enter for each shot/track in spread sheet like forms, if you don't like the volume of some minor part of the audio in the mix down, you just open the form for that track and adjust the volume number and do another mix down. It has build in level control, so that if you balance the voice to be higher level and the other sounds lower, then when people speak it brings their audio to the forefront and makes the dialog more understandable while maximizing volume without distortion etc. Noise gates are built in to prevent noise build up over mixing hundreds of tracks, but its good to prep the tracks in something like Magix (tm) a $10 or so program on ebay, to blop out the parts you don't want in the mix, and to normalize the tracks so that the volume numbers in the track froms match.

You can do the whole DI with my system including CC using uncompressed 48bpc TIF files, or you can just use it to do the edit NLE and mix, and have it grab frames CCed in other software, or do both as the frames are in an open folder system, and you can CC TIF files in many programs like from Adobe or freeware etc.

There is no fee to help "Beta-Test" now, and if you have questions you can email me, but doing a high quality feature film with my system will take several computers and several months, but the results should be good, and you can do it at home, then sell the computers to make back some of their cost etc. You will need about 20TB of disks or more depending on how much you trash and back-up...

I have added an "extract" command (in my NLE "pick" command that is the trim tool) that is not mentioned in the link below that lets you export many shots, maybe 20 minutes worth from REDCINE-X as a single shot into my DI system, then it can cut-out just the parts you want to their own shot folders so you can trim and order, that reduces the workload of having to sync up each shot quite a bit when working with a camera like RED that can produce video like endless frame sets. The program is on the site for download now in DANCAD16.ZIP, for what that is worth...

 

[M Most]

Were shooting in NYC, so I'm open to any post house that does the best job compared to any other in New York.

I would just like to know what's the best way to do this from other people's opinion before we make our decision, and before we start shooting.

Feel free to call my friend Mark Pedersen at Offhollywood, but I think your budget is unrealistically low if a film recording and print is required. Film recording and printing alone will likely consume at least half that.

If you want "the best job compared to any other" you have to be willing to pay an appropriate rate for that.

 

[Jon Carr]

Feel free to call my friend Mark Pedersen at Offhollywood, but I think your budget is unrealistically low if a film recording and print is required. Film recording and printing alone will likely consume at least half that.

If you want "the best job compared to any other" you have to be willing to pay an appropriate rate for that.

Yeah, that's what I been thinking price wise, when the producer mentioned going film out. But lets throw out the cost for a second, what would be the best way to go film out. I never did film out before from RED or from anything digital. So I'm interested in knowing the ways someone would go when they shoot RED and know there gonna out put on film.

 

[Mark L. Pederson]

Yeah, that's what I been thinking price wise, when the producer mentioned going film out. But lets throw out the cost for a second, what would be the best way to go film out. I never did film out before from RED or from anything digital. So I'm interested in knowing the ways someone would go when they shoot RED and know there gonna out put on film.

Jon - gimme a ring at 212.260.8400 ext. 201 and I'll walk you through some options and give you some advice based on recent projects -

 

[mikeburton]

First and foremost I would make a relationship with an experienced post facility. There are a lot of variables but here are the basics of what you will need.
1. A lab in which you will strike your print.
2. A LUT from the lab the post facility will plug into their DI tool to match back to the printed film stock.
3. Then Color with the 3D viewing LUT. When color is finalized render LOG DPX files and send back to the lab to strike the print.

I'd highly recommend doing a test to ensure accuracy. If you need more details you can pm me off list.