On Thu, Dec 8, 2011 at 9:49 AM, Beebe,Roger W <[email protected]> wrote:
> My initial response to this is that at some level aren't most makers using > both film and digital technologies? This was my thought as well. At this stage, filmmaking is hybrid by nature... even if one does the whole process "on film" (picture and sound), you have to send your work out for preview as a DVD or file. Only a few places will consider previewing a print. > Similarly, I don't think I know anyone who still edits sound on film > (although there must be a few hardcore film cutters out there), but, again, > I guess these aren't the kind of works that advertise themselves as hybrid, > even if they are using digital technologies in significant ways. > > The sound for Empty Quarter was recorded on DAT and file-based recorders, location sound was xferred to mag, interviews were edited in FCP and output to mag. All soundtracks were sync'd on the flatbed and cut tracks xferred back to file for final mix. Mix session master file was dumped back to mag, sync was check against work print and mag was sent off for shooting optical sound track. Super hybrid! But, as you say, we are not "advertising" the work as hybrid. The viewer watches a 16mm print. --Alain -- 40 FRAMES Alain LeTourneau Pam Minty 40 FRAMES 5232 North Williams Avenue Portland, Oregon 97217 USA +1 503 231 6548 www.40frames.org www.16mmdirectory.org www.emptyquarterfilm.org
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