Super 16mm 2k DI Footage Example

[Evan Prosofsky]

Hey Everybody!

Today is kindof a funny day for me. It was probably over two years ago when I made one of my first posts on cinematography.com to ask about 16mm and humidity. I was asking because I was going to West Edmonton Malls World Waterpark to make a my first short film. Thinking back I feel like a completely different person now, these REDUSER forums (specifically the cinematography page) along with cinematography.com have given so much to me and I can't believe how much incredible stuff I've learnt.

So, finally, I have a trailer to show you. The film was shot on super 16mm 7201/7217 with an SR3 and a Zeiss 11-110 T2.2. I did a 2k scan at cinelicious and color graded in FCP, then exported to Pro Res 1080p 4444. I'd be flattered if anyone wanted to comment or critique, and if anyones interested please feel free to message me regarding premiere dates and so on. I know this is a digital/RED oriented forum, but I figured it couldn't hurt to show an example of an alternative approach, using (essentially) the newest, latest, greatest up to date process for film workflows.

Currently I am using indiegogo (a crowd funding platform like kickstarter) to try and get funding to finish the sound design. I can imagine I'm not the first person to use cinematography.com and reduser.net to promote my project, and I apologize for doing so. But I figure, you're all filmmakers and you understand how expensive it can be (I have spent over 8000 out of pocket so far), and hopefully, you also understand how important sound is! If so, please do me a huge huge favor and take a look at my indiegogo campaign. If you're not interested, below are links to my website as well as the trailer for WATERPARK.

Thanks for reading, thanks for all the help in the past, and hope you like it :)

INDIEGOGO: http://igg.me/p/67815?a=420995
TRAILER: https://vimeo.com/19381568

[Ryan De Franco]

by far the most memorable footage i've seen posted in a forum. eerie americana at its best, coming from a guy so obsessed with it I'm starting to get picky. when is the new york premiere

but just to be safe... despite this being a "digital" forum, lots of folks spent years--decades--shooting film first. whenever I can, I still do, using a spirit and a baselight to grade directly from the negative, as opposed to grading digitally from a scan. all this is a long way of saying... coloring in final cut for prores export is a far call from "the newest, latest, greatest up to date process for film workflows."

you have surreal, damn good looking footage I want to see as a film, in a damn theater not on vimeo, but I often make the mistake of opening my mouth too wide. this turns off people more knowledgable than I am. since you asked for critique... well, there you have it.

[Evan Prosofsky]

Wow thanks for such a flattering response Ryan! Glad you liked it :) I'll definitely be sure to post something on reduser when the film comes out.

Yes, you're right, color grading in FCP definitely isn't the "latest greatest" hah so excuse me for that. Though that being said, here is an example of a music video I just did on 35mm 5219, Zeiss superspeeds, full 2k scan and graded in the lustre at Technicolor Montreal and I dare you to tell the difference. For internet purposes (and with a talented colorist, or even just someone who has a good eye) I don't think theres really ever a reason to do a full "real" DI.

Grimes "Oblivion" Music Video: http://www.youtube.com/watch?v=JtH68PJIQLE

[Ryan Skeete]

I love the texture of the images and the mood of the trailer. I would love to be alerted when it premieres in Vancouver. Keep me posted...

[Chuck Z]

I love the texture of the images and the mood of the trailer.

That shot at 14 seconds into the trailer just conveys a lot of emotion to me and makes me nostalgia hard...

[Evan Prosofsky]

Thanks chuck :)

[Vadim Bobkovsky]

Beautiful Super 16 in all its "imperfect" glory. I dig that stuff. Also there's nothing wrong with digital workflow and grading from a scan.

[Erich Ocean]

Hey Everybody!

Today is kindof a funny day for me. It was probably over two years ago when I made one of my first posts on cinematography.com to ask about 16mm and humidity. I was asking because I was going to West Edmonton Malls World Waterpark to make a my first short film. Thinking back I feel like a completely different person now, these REDUSER forums (specifically the cinematography page) along with cinematography.com have given so much to me and I can't believe how much incredible stuff I've learnt.

So, finally, I have a trailer to show you. The film was shot on super 16mm 7201/7217 with an SR3 and a Zeiss 11-110 T2.2. I did a 2k scan at cinelicious and color graded in FCP, then exported to Pro Res 1080p 4444. I'd be flattered if anyone wanted to comment or critique, and if anyones interested please feel free to message me regarding premiere dates and so on. I know this is a digital/RED oriented forum, but I figured it couldn't hurt to show an example of an alternative approach, using (essentially) the newest, latest, greatest up to date process for film workflows.

Currently I am using indiegogo (a crowd funding platform like kickstarter) to try and get funding to finish the sound design. I can imagine I'm not the first person to use cinematography.com and reduser.net to promote my project, and I apologize for doing so. But I figure, you're all filmmakers and you understand how expensive it can be (I have spent over 8000 out of pocket so far), and hopefully, you also understand how important sound is! If so, please do me a huge huge favor and take a look at my indiegogo campaign. If you're not interested, below are links to my website as well as the trailer for WATERPARK.

Thanks for reading, thanks for all the help in the past, and hope you like it :)

INDIEGOGO: http://igg.me/p/67815?a=420995
TRAILER: https://vimeo.com/19381568

Evan, I emailed you about the indiegogo funding you need. PM me if you don't get it.

[Evan Prosofsky]

Thats absolutely incredible Erich, I emailed you back ;)