[Frameworks] Best quality 16mm film digitizing

[Lawrence Brose]

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" <milefilms at 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: milefilms at gmail.com
> 
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> 
> On Thu, Jul 31, 2014 at 10:32 AM, Lawrence Brose <lawrencebrose at 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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