Transfert HDV vers film 35mm

Salut à tous,

j'ai un docu de 13 minutes à réaliser en Bourgogne qui fera intervenir reportages, fiction et animation.

Ayant la Sony Z1E, je compte tourner en HDV1080i... coût + qualité + souplesse,
mais à la sortie après post prod on me demande des copies 35mm pour projection en salle.

Techniquement peut-on transférer du HDV vers du film 35mm ou est-ce impossible ou hors de prix ou ?...
En cas de possibilité, quelle en est la technique ?

Merci

 

La Z1 ne fait pas de progressif (le PsF C du désentrelacé du pauvre), le report sur film sera décevant.
Mieux vaut louer un JVC ou un H1 si dispo pour faire du "vrai" 720p.

 

ben oui c'est possible mais attention: je te conseille de lire ce topic avant:
http://www.repaire.net/forums/showthread.php?threadid=91789

 

Salut,

Je crois que si tu as des bonnes images le désentrelacement n´est pas problème:



Information for our customers for HDV for Transfer to 35mm
HDV File extensions:
.m2a = Audio
.m2v = Video
.m2t = Transport Stream (Multiplexed*)
Workflow for film out of HDV footage:
Workflow on our f irst batch of test footage:
1. Import of footage with the camera and Lumiere program onto Mac as “.m2t”
2. Demultiplex* process (demux) from “.m2t” to “.m2v” with Lumiere (sound
separated as AIFF)
or with “MPEG Streamclip” to .mov or any of the other various playout options.
Process gives Tiff files in 1440x1080.
* Demultiplex (Demux): Multiplexing means that multiple signal streams are combined to one. This is part of the
compression procedure. To demultiplex means to reverse this process to receive the data format we are used to work with
in postproduction .
Second batch of test footage:
1. Import via iMovie to .mov
2. Render out Tiff files in 1440x1080 with Quicktime Pro**
3. Import of Tiff files to Quantel eQ, color correction and uprez to 1920x1080 for
film out
**The .mov files show as 1920x1080 but they are in 1440x1080. The Tiff files rendered out are in 1440x1080 this should
be kept that way.
Available tools for demux (as of April 2005) :
· In Quicktime Version 7 (for OS 10.4 “Tiger”) the H264 codec will be
contained i.e. Final Cut Pro 5 will be able to deal with HDV
· iMovie 5
· Final Cut Express HD
· Lumiere
· MPEG Streamclip (www.alfanet.it/squared5)
· Adobe Premiere
I’m sure there are other tools available which do the same job.
We are not associated with any of these companies.
Two important differences between the FX1 and Z1 which matter for transfer to 35mm
are:
· With the pro (Z1) model you can switch between 50i and 60i in HD
resolution or between PAL and NTSC in standard definition.
· The Black Level is adjustable in the pro model
Recommendations for transfer of HDV to film:
For residents in NTSC countries (Japan, USA, some in Central/South America) we
strongly recommend to use the Z1 (pro model) over the FX1 in NTSC/60i HD. Shoot in
50i HD or DV PAL for transfer to film. With the Z1 you still have the option to shoot in
NTSC or 60i HD for projects which are not for transfer to film and require 60i.
Important: Never record in 30p for transfer to 35mm!
Do not use the Cine Frame Mode . It is not a true progressive mode. The Frame
Mode setting works with interpolation and this leads to a worse image quality than using
interlaced mode. Transferring from interlaced source material to film is no problem.
Deinterlacing will reduce detail but can improve motion reproduction. It can be done in
post production.The quality depends on the calculation.
Sharpness: There is a range of values 1 to 15 for detail enhancement. The camera should
be set to a value between 8 and 12. You can go to the higher end for wide shots and lower
for close ups.
Black Stretch: On
Skintone Detail: Off
General remark about Film Look gamma settings: Generally gamma settings which are
supposed to give a "film look" are made to give the footage on video a filmish look. For a
transfer to film it is not very helpful and depending on the camera it should even be
avoided. To my knowledge the only camera which has a useful setting for tape to film
transfer is Panasonics Varicam.
The Sony HDV camera is not as strong under low light conditions as other video
cameras are. Using the gain might be no problem for TV purposes, but the increased
video noise is much better visible after blowup to 35mm. So using gain should be
avoided whenever possible.
In the workflow used the time code information on the tape is lost on the converted HD
clip. The camera offers a playout in SD for offline editing where the Timecode is
maintained.
In our first test there were some glitches in the clips meaning that either a frame was
missing or there was a doubling of a frame. This was either introduced during recording,
while import or in the demux process.
In the second batch we demuxed with iMovie and converted to Tiff files with Quicktime
Pro and used a Quantel eQ for color grading and the uprez to 1920x1080.
I have not seen any missing frames in this test.
The desqueeze from 1440x1080 to 1920x1080 should be done at the end of the whole
process just before film out or during the transfer (by the Arri Laser for example).
The whole process of getting the footage ready for editing and color correction is more
complicated and time consuming than what we are used to from editing in SD.
Image quality:
The image looks good. It is an interesting combination of good resolution on one hand
and some rather strong compression artifacts. It has more of a videoish characteristics
than the professional HD formats. It can't compete with HDCam or Varicam quality but it
will outdo any DV or DVCam. When used correctly the results of HDV can be excellent.
Color reproduction: The colors didn’t blow us away. This is probably also one of the
consequences of the strong compression (less sampling on colors).
With slightly underexposed footage which was brightened up in post in part of the images
some noise was visible in uniform surfaces.
To my opinion well done footage in DigiBeta, IMX or DVCPro50 could look better than
an average HDV image. Equally HDor HD downconversions to SD or an HD or SD
telecine of film footage. But these are all far more expensive cameras.
After all please keep in mind that shooting in HD demands more care and experience
than shooting in SD specially in what concerns lighting.
Testing is recommended. With every new camera model or format some time and
experience is required to become aware of all advantages, disadvantages and possible
pitfalls. Only a test transfer to 35mm can give you full insight in what you can expect.
Many film out systems have very different properties. Our recommendations for settings
are limited to our systems.
David Pfluger,
Swiss Effects, April 2005
Second updated version

 

Transfert HDV vers 35mm

Merci pour vos réponses.

J'ai suivi la piste indiquée par O.Welles (adresse repaire) et suis arrivé sur un texte de Hugues Lemoine (bonjour Hugues) qui parlait de Jean-Paul Musso et de ses essais de kinescopage du hdv de la sonyHVR-Z1E vers le 35mm.
Donc j'ai contacté Jean-Paul Musso (à votre disposition pour vous donner ses coordonnées)... Un personnage !
En plus son site permet de télécharger infos et conseils pour un tournage adéquat et établir un devis.
C'est ma première intervention aussi je ne sais si de vous indiquer téléphone et site est considéré comme pub et donc interdit ou info et donc autorisé ?
J'ai aussi pris note du texte transmis par Eloi... Un bon complément d'infos.

Grâce à vous, en moins de 24 heures, j'ai pu résoudre mon problème, merci mille mercis, ça c'est de la solidarité !