Demian Amar and Darmaputra Tonjo, late afternoon surf check, Super 16mm film frame. This shot is not going to be in the final film. I have a feeling I'm going to be finding lots of frames I like that will never make it into the movie. As I've mentioned before on here, this frame is from a shot I didn't even think twice about, but for a few frames, I dig the shot.
Just got all the 16mm and Super 16mm film footage I shot over the last six years or so back as digital files, transferred to full 2K(slightly higher res than 1080P HD).
Right now I'm editing the entire film with low res SD files, also transferred from the original film negatives. I'm editing first in SD since those files are much faster to work with. Once I have that finished, I'll go back and conform the high res 2K footage to this edit. Then I'm going to meet up with Ryan Emerson, who has done almost all the color correction on this project so far, and we'll work together on a color correction session of the final edit of the movie. Well, he's gonna be doing the work, I'm just going to be offering suggestions on what looks good, and how I remember the colors looking in person.
Ryan has a new transfer facility/post-house out in Connecticut. It's called Process Blue. They did the recent 2K transfer. They have a film scanner called the Golden Eye III. My initial impression of the footage, without color correction, is that their scanner does a wonderful job of capturing film. It seems to look the closest to actual film of any transfers I've seen so far. Other film to digital transfers I did up to this point, such as for the trailers, were on Spirits. Excited to see how all the footage looks after color correction. Motion picture film, as it comes in raw with no correction, the colors are quite dull. But after a bit of adjustment, it can look beautiful.
