Thank you Dennis for your quick and through response. This is all very
helpful information. I will check out the link to the Supplier Directory.
Best,
Lawrence
On 7/31/14 10:50 AM, Dennis Doros milefi...@gmail.com wrote:
Lawrence,
The first and foremost thing is that the Association of Moving Image
Archivists website has a brand-new Supplier Directory
http://www.amianet.org/sites/all/files/Supplier%20Diretory%20-%202014.03.pdf
that lists many of the resources anyone needs for the preservation of your
materials. It's being updated constantly.
Secondly, you should have a plan for what you are doing.
If you are thinking preservation, you have to do 2K or 4K scanning rather than
HD transfers. You should ask for copies of the digital DPX files in both the
raw scan and fixed scans if you are doing any timing or cleanup. Then you
should also have them deliver the final uncompressed or FinalCut Pro files for
your use. The files should be given to you on both hard drive and LTO-6 tape
(if you can get it -- if not, LTO5 would be fine.) They should both be
migrated every four or five years. For my hard drives, I always buy a very
large drive (usually 8TB to 12TB) for one or two films since you will want a
mirror raid on it. For extremely expensive projects, I put them on two hard
drives. Yes, it sound very OCD, but this is about preservation and redundancy,
not about expediency.
As for a film at 18fps. You should first scan it at 24p and keep that raw
scan. If you are doing any dust and scratch removal, it has to also be done at
24p and be kept. That will be your preservation master. Then, the lab can
create a 18fps umcompressed or FCP file and synch it to sound.
I'm working with Jack Rizzo's Metro Post now and they are doing a very good
job. I've worked with ColorLab many times and I trust them implicitly as well.
It would also be a matter of doing your research and seeing what the best
transfer would be for your material. I always ask what scanners and software
they will be using and read the recent papers that are coming out of the new
research on scanners, etc.
Best regards,
Dennis Doros
Milestone Film Video
PO Box 128 / Harrington Park, NJ 07640
Phone: 201-767-3117 / Fax: 201-767-3035 / Email: milefi...@gmail.com
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On Thu, Jul 31, 2014 at 10:32 AM, Lawrence Brose lawrencebr...@gmail.com
wrote:
I¹m not sure if this original email came through. I might have sent it to
the wrong address for this group (I apologize if this has already been
posted).
Lawrence
I have a number of 16mm film prints that I would like to get transferred to
digital format. I know that there has been much discussion on this and I¹ve
gone back and read some of the postings but I haven¹t found a direct answer
to what I would like to know.
I would like to know what is the best quality transfer I should be looking
for. I have a quote from ColorLab in Rockville, MD and another one from
Metro Post. Metro Post is cheaper but it is not telecine (just says ³hi-def
film scan²). So before I go any further I thought that I should ask for
suggestions from all of the great people here.
These are all finished films in good shape (unfortunately the original
negatives and Mag sound were thrown out by WRS). I don¹t want to say that
cost is no issue but if I am going to preserve these films I¹d rather end up
with the best quality, even if I need to space it out over time due to cost.
Also, one of the films runs at 18fps (sound is on separate tape). Is this an
issue?
I really appreciate any suggestions or feedback.
Thanks!
Lawrence Brose
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