American Cinematographer - September 1998 - 76

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AUTWAYS

Crossing Over in Post
DataCine is

capable of transferring
reasonably high resolutions, it's
possible to do even non-effects
sequences that way, and it opens up
the possibility of shooting in 16mm
or Super 16 - even if
you're releas¬
ing in 35mm - without optical
blow-ups that introduce noise and
dirt," explains Schloss, who says that
pin-registered transfers may soon
be an option as well.
Tape-to-film transfer is
hardly a new practice. Facilities
such as Tape House Digital Film, EFilm in Hollywood, and Computer
at

"We've taken the best
of one world - the

film-to-tape transfer
and postproduction
techniques used in
video

-

and

successfully applied

the same methods to
motion picture

techniques."

ARRI535A ARRI535B ARRI435ES ARRI435MS
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AATON XTR PROD SHIFT & TILTS
VARIA6LE PRIMES STEADICAM
PANTHER
POWER POD

Working on i
Your Image S

Alfie Schloss,
vice president
Tape House Digital Film
-

Film

Company in London and
City have been doing them
for several years. But Schloss points
out that this process is merely
another way to apply video post¬
production tools to a film project.
Director/cinematographer
Sam
Bayer of HSI Mars shot Reebok's
"Breakout" commercial campaign
(designed by New York agency
Culver

Berlin Cameron & Partners) in

35mm, and then

postproduced the
digital telecine,
effects, and editing tools at The Mill
spots with the latest
in

1170 Commonwealth Avenue
Boston Massachusetts 02134

London, where it was finished in
projection in movie
houses, Tape House Digital Film
took the PAL D-l master and, using
their proprietary interpolation soft¬
PAL D-l. For

ware,

Telephone 617.277.2200 Fax 617.277.6800

recorded it onto Kodak 5245

negative at 2K resolution. Says
Schloss, "The result is a really
wonderful

reproduction of what



American Cinematographer - September 1998

Table of Contents for the Digital Edition of American Cinematographer - September 1998

American Cinematographer - September 1998 - 1
American Cinematographer - September 1998 - 2
American Cinematographer - September 1998 - 3
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