Back when HD transfers were CRAZY expensive I used to have film transferred to MiniDV but have it transferred as anamorphic SD so I would use all the pixels of the 720 x 480 but it would be "expanded" in the editing software and a flag put in a finished Quicktime file to let the player know it was anamorphic so it would stretch it out in playback. For Super 16 it was perfect, for standard 16 or 8mm I would have them cut off the top and bottom and zoom in and "squish" it or stretch it depending on how you look at it.
I just "up-rezed" one of these movies to 720p with pretty decent results. I'd still like to re-transfer in HD or 2K but I'm glad I did a little future proofing on the transfer about 7 years ago...
https://vimeo.com/116297899
Anamorphic SD Transfer
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carllooper
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Re: Anamorphic SD Transfer
Hi Will,
so when the film was transferred to MiniDV was there an anamorphic lens used in the transfer? I was going to try that for a film to film experiment last year but was having difficulty getting the anamorphics and macro lenses to communicate with each other (so to speak). Someone mentioned, or I found somewhere written, that closeup work with anamorphics was to be avoided. But if it's possible to do I must try it again.
I've since acquired a new anamorphic lens (for an Eiki 16mm projector) so might sus it out again with that.
I want to do blow ups of Super8 to 16mm for anamorphic projection: crop and squeeze the Super8 onto the 16mm film, and then re-expand it on 16mm projection.
The only solution I had last year was to just do frame by frame re-photography of the S8 off a wall, with anamorphic lens on the S8 projector (squeezing/squishing the image in on the sides). This would avoid closeup lens issues. 16mm Bolex for acquisition. And that will still work. Indeed I've restarted that project (ahead of Logmar acquisition) with the purchase of a two-way mirror (or one way mirror?) on the way for that setup (to get good axial alignment and focus). Still looking into what might be the optimal projection surface for that setup. Although plain white paper (carefully handled to avoid creases) looks just fine to me.
But if could do it all optically (without a screen as an intermediate) - could/should be better. [Was in search of condensor lenses for a while as another way of avoiding close up issues].
C
so when the film was transferred to MiniDV was there an anamorphic lens used in the transfer? I was going to try that for a film to film experiment last year but was having difficulty getting the anamorphics and macro lenses to communicate with each other (so to speak). Someone mentioned, or I found somewhere written, that closeup work with anamorphics was to be avoided. But if it's possible to do I must try it again.
I've since acquired a new anamorphic lens (for an Eiki 16mm projector) so might sus it out again with that.
I want to do blow ups of Super8 to 16mm for anamorphic projection: crop and squeeze the Super8 onto the 16mm film, and then re-expand it on 16mm projection.
The only solution I had last year was to just do frame by frame re-photography of the S8 off a wall, with anamorphic lens on the S8 projector (squeezing/squishing the image in on the sides). This would avoid closeup lens issues. 16mm Bolex for acquisition. And that will still work. Indeed I've restarted that project (ahead of Logmar acquisition) with the purchase of a two-way mirror (or one way mirror?) on the way for that setup (to get good axial alignment and focus). Still looking into what might be the optimal projection surface for that setup. Although plain white paper (carefully handled to avoid creases) looks just fine to me.
But if could do it all optically (without a screen as an intermediate) - could/should be better. [Was in search of condensor lenses for a while as another way of avoiding close up issues].
C
Carl Looper
http://artistfilmworkshop.org/
http://artistfilmworkshop.org/