[Frameworks] 16mm print - help needed (Ireland)

[jeanne LIOTTA]

I was also going to ask whether she got the transfers done with edgecode
/keycode, makes it very easy to conform, but, if it's a short film
especially, I have found  that neg cutters are old-school -which is to say
very experienced at matching by eye and in fact *prefer* to work like that.
What Pip says, ditto.



On Thu, Mar 10, 2011 at 4:05 PM, Pip Chodorov <frameworks at re-voir.com>wrote:

>  Hi Moira,
> this situation arose in Paris recently.
> A friend shot 16mm, did telecine, edited on computer and then wanted to
> conform the negative.
> But she made the mistake of making a telecine without keycode, so she
> couldn't cut by edge-number.
> We ended up printing workprint for all the rushes, cutting the workprint by
> eye with the video cut, and then cutting the negative on a synchronizer.
> If she is coming to New York she could print all that at Metropolis and
> then cut the workprint at your place!
> -Pip
>
>
>
>
>
> I've shot 16mm before but have had it telecined and edited & exhibited the
> work digitally, but this time it's important to show the work on 16mm. I was
> wondering if you have any advice on the cheapest and most efficient way to
> edit and produce a final print - telecine and print back to 16mm
> (expensive)? Or are there are Steinbeck editing tables around that would
> make it possible to cut a workprint from the rushes (and if not supplying
> the lab with an EDL, how do they cut the original neg)?
>
> As is obvious from the crudeness of these questions I am a bit in the dark
> with this process and finding it difficult to get clarity on the production
> process, especially now that Soho in London have closed their 16mm printing.
> Any help would be very much appreciated.
>
>
>
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>


-- 
www.jeanneliotta.net
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