Re: [Frameworks] 35mm workprint from super 16?

[40 Frames]

On Fri, Sep 19, 2014 at 4:05 PM, Julian Antos 
jul...@northwestchicagofilmsociety.org wrote:


 Will any labs do a 35mm color workprint from a super 16 negative at rate
 comparable to that of a 35mm workprint from 35mm neg? Just trying to do a
 little camera test and the rates that I'm seeing are all for timed answer
 prints, which I don't need at the moment.



Last time I checked, there was only one place I could find that would do a
direct super 16 negative to 35mm estar print,
without going the IP/IN route, and that was Metropolis. I don't think Metro
is doing traditional optical work anymore.

The price was around $9K.

There is a film recorder called the Piql (used to be the Cinevator) that
allows you to go from DI to 35mm estar print. Of course you have to have a
digital file (DI), which assumes you scanned the negative. The only place I
know of in North American that has one of these is Technicolor, and their
Piql is not set-up to go DI direct to 35mm print.

You could try Janice at Cinema Arts or Dick at Film Technology to see if
they can do a direct blow-up, but the price
will likely be as much as Metropolis if not higher.

I think LIFT has an optical camera for blow-ups? You could fly/drive up to
Toronto and use their camera for the price of
the room plus stock.

Gibbs Chapman in SF had an optical camera from ILM that he was setting up.
You might contact Gibbs and see if he
is providing this service.


Alain


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Re: [Frameworks] 35mm workprint from super 16?

[Scott Dorsey]

Why do this?  I don't think anyone is set up anymore to do direct blow ups
from 16mm originals to 35mm prints, timed or untimed.  So you are probably
going to be paying for two intermediates, one print, and a setup fee for the
optical printer (unless they do so many blowups that they have one just
sitting around already set up, which is unlikely today).

BUT... if you get a straight untimed workprint, a lot of labs are able to
open up the gate so that they can expose the sound track area and give you
a genuine super-16 print.  You can project this on various 16mm projectors
with interchangeable aperture plates (like the Kinotons) or on a modified
16mm classroom projector with the gate filed out.   The modification is not
a difficult one.

If you absolutely have to have a blowup, a lot of labs would probably be
willing to do it untimed for a little bit less money, but the timing cost
is really not a substantial part of the blowup cost any more.

Who were the guys who used to advertise in American Cinematographer with the
full page ad saying Blow Up Your Mother! years ago?  They used to do direct
blow-ups back then...
--scott
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