I'm going to be working on a short shot in Super-16 and some sections will go back to celluloid to be used in an art installation. Do any of you know which workflow should I use, if working on Premiere? how do we keep track of the relation between the key holes and the time code?
A company would have to do the trasfers. I think you can opt for Pro Res, H.264 etc. formats. It will play just like any other video aftert the transfer. You can then scrub to your favorite frames.
Thanks Andy, my main question is how do we keep the relation between the time code and the key holes for when the neg needs to be cut. Last project I did that went back to celluloid (12 years ago!) we had to use a special database program to keep the relation TCs and key holes. This program doesn't exist anymore, so I wonder how does it work nowadays
Did you pay to have the audio and video synced? Can't you scrub through the digital video and decide where to make the cuts visualy as opposed to needing key holes?
Hi Andy, the issue is not with me making the cuts, the issue is going to be for the Lab to match my edit when cutting the neg. At least in my past experience, you had to fill a database that connected TC and key holes before you started cutting so when you produced the EDL it refered to the key holes. As this program doesn't exist anymore, who/how this information is passed on nowadays?
The lab? Can't you cut it in Premiere Pro and email a simple 640 X 480 H.264 version to the editor as a guide? Can't the editor then make frame by frame cuts without out the key holes using a Steenbeck?