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Re: still film through TK

>I have a film stock requirement that can't be met by conventional
>motion film so I'm trying to use a still stock.

It isn't clear from your post if you are going to photograph the film using
a motion or still camera.  I'm pretty sure you can get still stock in 50ft
lengths (for large load backs on motor-wind cameras), I don't know if they
make it available any longer than that.

Anyhow, if you go with a motion camera it's a no-brainer.  The grading
process will feel different to your Colorist on first contact, after that it
should be business as usual.

If you shoot with a still camera, the most painless process requires a few
simple steps/rules:

1- Rotate the camera 90 degrees clockwise.  The idea is to make the
right-left direction fall on the narrow portion of the film and with the
correct orientation.

2- Take a look at an exposed/developed piece of 35mm motion-picture film and
make a mental note of how much of the film is actually used.  Look through
your still camera and compose such that you don't place anything important
outside those limits.

3- When you bring the film into the Telecine bay ask the Colorist to run the
machine at 29.97fps. This will result in a strange looking playback where
every other frame will be bad.

4- After recording the material, book time in an Inferno (or?) bay.  Ask the
operator to use the "deal" function to generate two clips:  one with good
frames and the other with bad frames.

5- Be warned that, depending on start/stops during the telecine process, the
two clips generated by the "deal" command might not be consistently the
"good" and "bad" clips.  Play through them and keep what you want.

6- The last step might be to correct the playback speed and perhaps add  2:3
pulldown to the final good clip to simulate what you might have done in
Telecine had you been shooting standard stock.

Hope this helps.

//  Insert standard disclaimer here

-Martin Euredjian
Telecine Engineer
Todd AO / Hollywood Digital
martin at hollydig.com
martinfx at msn.com

Thanks to Rich Torpey for support in 1999
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