Will2 wrote:What I would recommend is doing a "flat" SD transfer, perhaps even an anamorphic DV one, then cutting the project, then go back in and concentrate on the sections that are important in a Spirit session. That's the way 90% of any HD project I've ever seen would do it.
Secondly, skip tape altogether. Do you own an HDCAM (SR) or D1 or even DigiBeta deck? If so then fine; otherwise you'll just be capturing it anyway so capture it directly to the codec you want. I'd suggest ProRes HD (because it's less data to move and thus less expensive and a great looking codec) unless you're planning a film out then I'd go as uncompressed as possible.
For me, the idea of doing a "flat transfer" is counter to what I pay a colorist for. If you're a genius colorist than by all means do a flat transfer and adjust yourself, but I've always been amazed at what a good colorist can do from a film source. Especially someone operating a Spirit or Millennium, generally they have to have some experience to run those machines.
Also don't sell yourself short because you're shooting Double-X. I love it's look and watch out for colorists who might want to crank up the noise reduction; grain is part of it's beauty.
Well, a friend of mine recommended me the same, to do a Sd transfer, edit it, and then choose the parts of the negative i want to do blowup or telecine and then digital blowup to 35mm or just keeping it in a good quality digital version, i'd prefer to have it done in 35mm,
I've just finished my developing and i'll ask for a borrowed super16mm projector, and to the transfer myself, and then i'll edit it and choose the parts of the film i want to get transferred,
Then i'll have to decide either to make the blowup directly to 35mm or to make it trough digital process, as i said before,
Well, i'll read some of your posts with more attention, thank you once again for all the help, i'll mantain you informed on the progress of the film and then i might post some frames,