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TRANSFERRING DIGITAL TO FILM?
- Thread starter Amcast
- Start date
Around $350 per minute and it is possible to transfer your finished project.
Yep. And that's for each copy.
Your crazy if you transfer from Dv to Film just for fests.
On the other hand, asking for the information isn't
crazy. Even if doing a film transfer isn't needed for
festivals or is crazy someone new to the whole process
is helped by the knowledge.
crazy. Even if doing a film transfer isn't needed for
festivals or is crazy someone new to the whole process
is helped by the knowledge.
Getting a 35mm film print of a feature is a grandiose expense that is quickly becoming unnecessary. Video projection, especially cinema style DLP projection, as expanding exponentially every day. It costs between $275-$350 per minute to transfer to film from a video source.
If you're shooting HDV or DV, the quality is sub-par unless you spend a lot more money on a DI, digital intermediate, but even then you cannot create detail where there wasn't any.
I recommend shooting on film, even super 16mm if your intent is to get a film print later. Shooting with the RED ONE camera at 4K is also viable for film print.
I guess I would recommend a mathematical solution - if you can't afford the $$$ up front, you probably won't have a movie that will warrant it later to get a film print. If you're making a narrative feature, if you don't have name stars, you will NOT need a film print for release or festivals, at least not at the level where it needs a print.
100% agreed.
I wasn't saying he was crazy, I was saying doing it is pretty crazy at an indie level.
The RED ONE is the closest thing to Film I've ever worked with that was video of any kind. Depth of field, great lighting, and detailed, well framed shots are the key to making video look like film.
I agree with Sonny, non-handheld camera movement (dolly, slider, crane, etc...), well framed shots, well lit shots, use of shallow depth of field lenses (which will likely require an adapter), and shooting with a lower frame rate (24 or 30) are the main factors in the "film" look. If you do all those things on even a midrange prosumer camera like an HVX200, it will look enough like film that even projected on a big screen nobody is going to say "eew, this looks like video".
You’re in Los Angeles. Have you considered not buying a camera
that, with all the needed accesories, will run you above $15,000
and connecting with a dedicatd DP?
There are so many excellent DP in Los Angeles who either already
own great cameras or have good relationships with a rental house.
A good DP can really help you wth this feature.
If you’re going to buy and can afford the RED then that’s a fine
camera. If you are going to rent I suggest you hire a DP first.
They will be able to help you with the rental choice.
I’m curious why you want to transfer to film?
that, with all the needed accesories, will run you above $15,000
and connecting with a dedicatd DP?
There are so many excellent DP in Los Angeles who either already
own great cameras or have good relationships with a rental house.
A good DP can really help you wth this feature.
If you’re going to buy and can afford the RED then that’s a fine
camera. If you are going to rent I suggest you hire a DP first.
They will be able to help you with the rental choice.
I’m curious why you want to transfer to film?
Also agree with Directorik on a DP as it relates to rental houses. I took my DP to the rental hosue with me, and because they knew him, and had worked with him before they really hooked us up renting me $1000 a day worth of gear for $500 a day.
shoot 2 perf 35mm. It's 35mm and you can save some coin.
Also you should be able to find a RED (rental) in the LA area that you can get for a song.
I have a friend that relocated to LA and he tells me that they (RED cameras) are everywhere. On a job someone ask about a RED and the Gaffer spoke up that he had one. Look around talk up your project and I'll bet you can find a RED rental very affordable.
Also you should be able to find a RED (rental) in the LA area that you can get for a song.
I have a friend that relocated to LA and he tells me that they (RED cameras) are everywhere. On a job someone ask about a RED and the Gaffer spoke up that he had one. Look around talk up your project and I'll bet you can find a RED rental very affordable.
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I'm just balancing my options. I heard that you can find a DP with RED camera and sometimes with B and C cameras for equal or less than just renting the equipment. I think Im going on the route of finding a DP that has a RED. About transfering the film, I thought you had to for festivals but you guys answered my question so its no longer a concern. Im very impressed by what I been reading about the RED one, I wouldnt mind investing in one. I was thinking of getting one financed and renting out when not in use that way it pays for it self. I really like this forum, very helpful.
1. You could hire a DP who owns a RED and make a deal with them to get it cheaper.
2. I'm assuming your a director if your hiring a DP, so why would you buy the RED if you can't afford it?
If your not a DP, don't spend 60K on a camera.
Why not consider renting a AATON Super 16mm film camera with lenses and hire qualified DP to run it. I'm sure there are many DP's in town that have their own cameras and connections to use short ends to keep costs down. Instead of going the RED route, and having to DI it and find a way to archive your footage. Shop around and you will be amazed what film really costs. With the way the economy is, there are deals out there. If you have a film student on your production, they can qualify for good discounts because they are in film school.