[Frameworks] Digital Master to 16mm/35mm --› Scan back to Digital

[Nicole]

Hi Janis,

I'm curious why you want to go from video to film and back to video. What
effect is it you are trying to achieve. I work back and forth
between formats often, but mostly go from film to video without going back
unless it's for a screening where they only screen film. I'm just not sure
what to suggest without knowing what it is you are trying to do exactly.
I hope my question makes sense! Also, the still looks really interesting.
I'd love to see the whole video.

Nicole Elaine Baker Peterson (she/her/they)
Founder & Head Programmer, Media Monsters
nicole at magiklantern.com
*twitch.tv/media_monsters <http://twitch.tv/media_monsters> |
**magiklantern.com
<http://www.magiklantern.com/>*


On Sun, Feb 5, 2023 at 7:43 AM Colinet andré <andre.colinet at telenet.be>
wrote:

> If not frame by frame you’ll need a camera with Crystal sync motor or a
> motor which can synchronize with the sync signal from the monitor.
>
> All the best.
>
>
>
>
>
> Envoyé à partir de Courrier
> <https://go.microsoft.com/fwlink/?LinkId=550986> pour Windows
>
>
>
> *De : *Anna Kipervaser <anna.kipervaser at gmail.com>
> *Envoyé le :*dimanche 5 février 2023 00:55
> *À : *frameworks at film-gallery.org
> *Objet :*Re: [Frameworks] Digital Master to 16mm/35mm --› Scan back to
> Digital
>
>
>
> When I film off of a monitor, I do single frames, like you would on an
> optical printer. So I move the video one frame, and use a shutter release
> to take one frame (on I) on the Bolex, then advance the video, etc etc etc.
> This method requires some obvious things and some not so obvious things:
>
>
>
> - some testing to determine exposure
>
> - making sure the lens of your camera is centered
>
> - making sure that the monitor is level
>
> - either utilizing an animation motor (Rex 4 or Rex 5 compatible) to allow
> for a longer exposure OR depending on your film stock, opening up your
> aperture more than you might want to for focus situations and sharpness.
>
>
>
> This method reproduces exactly what's on screen when done right. So, if
> you want extra grain, you might wanna use 500T or if you want extra
> artifacts like age fog, you might wanna use old 500T.
>
>
>
>
>
>
>
> On Sat, Feb 4, 2023 at 10:57 AM <janis at janislionel.com> wrote:
>
> Hello
>
> I have an experimental music video project which only operates with
> analogue/optical effects. It was all filmed with digital cameras high iso -
> so its veeeeery grainy (purposely so, see sample still). Now I would like
> to perform a final step over: Print it on 16mm (or 35mm film) and then scan
> it back in 2k or 4k
>
> There are three ways I imagine this can happen, tho have no previous
> experience:
> - 16mm print out and scan back to digital: quite expensive to do, even for
> 4min.
> - 35mm print out and scan back to digital: probably cheaper - though maybe
> the resolution is too good / the grain no present enough. Then again: Maybe
> this is just the necessary amount of information/sharpness needed to render
> the digital grain/artefacts clearly
> - Use a Bolex or Krasnogorsk and film the digital master from a screen or
> projector, develop the film and scan back to digital (?): does this give
> you adequate quality? *I'm especially interested in this technique since
> its the cheapest but also because i imagine the 'sloppiness' of the
> bolex/krasnogorsk adds a movement/breathing that could be quite interesting
> for e.g. the shots that were filmed on a gimbal*.
>
> Questions:
>
> - has any of you experience with filming from a screen / projector? If
> yes, I'd appreciate some tips regarding technique.
> - I guess in all the cases above it would make sense to have a digital
> master that is rather a little more overexposed than underexposed?
> - ho do overexposures end up on the film negative/scan back? does it get
> more organic or does it stay rather digital in its aesthetic?
>
> I hope I could express myself understandably.
>
> Best
> Janis
>
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