Student Services Guide - FotoKem

STUDENT SERVICES
STUDENT GUIDE TO FOTOKEM
FotoKem’s STUDENT SERVICES program represents FotoKem’s long standing commitment to
furthering the arts through partnership with student fi lmmakers. We are sure that you will fi nd
FotoKem’s depth of experience, expert consultation, and range of student services, invaluable.
Student Services also offers on-campus presentations, workshops, and workfl ow discussions
pertaining to digital and fi le-based acquisition, fi lm lab techniques, and student services in
general. Limited FotoKem class tours are available upon request. Tours include fi lm, digital, and
data departments, with demonstration and/or discussion, where appropriate.
Student Services Pricing
To access FotoKem student services and pricing, all that is required is a current Student ID card and a credit, or debit card.
Photoshop’d ID’s will not be accepted (unless... they are really, really, good). For a current student price list, please contact
Student Services at 818-846-3102 ext. 558, or email education@fotokem.com.
The following Student Guide is intended to assist you in navigating FotoKem’s Student Services,
while providing a few helpful suggestions to ensure your project gets off to a successful start.
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NAVIGATING FOTOKEM
The fi rst step is to contact FotoKem’s Student Services department. Student Services specializes in guiding students through
the various stages of post production. You can familiarize yourself with our facility by setting up a tour; groups of four or more are
requested. Speak to your instructor to arrange a tour. It is also possible for your instructor to arrange on-campus visits by FotoKem
professionals for technical and service related discussions.
PRE-PRODUCTION POINTERS
The more organized you are in the production stage, the more effi cient your post production experience will be. Here are some
helpful tips that will help you get started at the pre-production stage.
• If shooting fi le-based, it is highly recommended that camera tests be conducted to evaluate camera performance, lenses, camera
latitude, lighting requirement, fi le-based workfl ow requirements, and end product display (i.e. aspect ratios, etc.) to ensure best
tools and look for the job.
• If shooting fi le-based, decide if data is to be ingested on-set for render, review, color management, and dailies creation; or if data
will simply be managed (backed-up), on-set, for hand-off to near-set or post dailies operations.
• If shooting fi lm, FotoKem Production Services can advise on fi lm stocks, exposure, lighting, lenses, and special lab processes
such as skip bleach, cross processing and force developing, to achieve certain artistic looks. During fi lm testing decide on the type
of dailies required. Print dailies suggest traditional post and negative cutting. Telecine dailies suggest a digital fi nish. Once you’ve
decided on a chemical or digital workfl ow, map out each step. Schedule telecine time and fi ll out the specifi cation sheet (available
from Customer Service / Telecine Scheduling) to ensure a proper transfer. Production Services can also provide a full list of fi lm lab
services and insight into lab processing schedules and turn-around times.
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• B/W fi lm services are available, however it should be noted that FotoKem does not process reversal as a ‘reversal.’ Reversal as a
negative is offered (cross process).
SHOOTING
Although terms may not be the same many fundamental practices are universal, regardless of capture medium.
• Whether shooting fi lm or digital, shooting color charts under ‘white light’ is extremely helpful for dailies color correction. Calibrated
color charts are available at FotoKem.
• Consistent head & tail slating is essential to effi cient dailies transfer, sound sync, and editing. This will minimize the amount of time,
effort, and money spent in the video dailies process.
• When shooting digital or fi lm accurate camera reports and circle take information help organize fi lm rolls (or VT’s), create usable lab
reports, and answer questions down the line. Include notes and special instructions on each camera report, including camera
problems, special processing requests, frame rates, etc. When shooting fi le-based, be sure to include information on type of codec
used, capture resolution, and frame rates (especially if other than standard 23.98).
• When shooting fi lm, always tape your fi lm cans with black tape around the edge. This is a universal signal indicating the can
contains exposed, undeveloped fi lm.
• If shooting fi le-based, make sure your record media ID (i.e. SSDs, Mags, or external shuttle drives, etc.) matches your camera
reports to ensure proper handling in the data lab. For information on proper media identifi cation and corresponding camera reports,
please contact our nextLAB division at ext. 406.
TIME SCHEDULES FOR DAILIES
• FotoKem is open 24 hours a day, Monday through Friday. Generally, fi lm dropped off for Processing, is ready 24 hours later. If a
fi lm work print or special processing is required, please add another 24 hours. No appointment is necessary for processing. Film
dropped on Friday night will be ready Monday. For turn-around time of special processing requests (skip bleach, push/pull), please
contact Production Services.
• Base fi lm supplies, such as cans, black bags, and cores are available at FotoKem at no charge.
• If dropping off digital acquisition fi les for dailies creation, allow 24 to 36 hour turnaround, depending on facility volume of projects.
FORMS - FILM LAB
• The two main fi lm lab forms to fi ll out are the camera reports and laboratory purchase orders. These forms are freely available at
FotoKem Will Call or on the FotoKem website. If viewing as a PDF you can zoom in for details.
• A separate camera report should be fi lled out for each roll of fi lm shot. Camera reports are typically printed in quadruplicate.
The top original should be turned in with your fi lm. Other copies are typically distributed to the production offi ce, editors, and
camera departments.
• Make a note of any special process instructions for the lab when submitting your fi lm rolls for processing (skip bleach, cross
processing, gels used, day for night scenes, push, pull, etc.). Questions about processing should be directed towards Production
Services, ext. 825.
TELECINE
• Telecine transfer requires an appointment. To make an appointment, contact a FotoKem Student Video Scheduler. Based on overall
client demand, the Student Video Scheduler will make every effort to obtain a transfer time to fi t student request. Be advised that a
completed telecine specifi cation sheet will be required before any telecine session can be scheduled. A Student Video Scheduler
can assist in completing this questionnaire.
• 2K data capture from fi lm is also available. Contact Student Services for rates and scheduling.
AUDIO
• When dropping off exposed fi lm negative for projects having sync sound, please remember to drop off the audio elements when
dropping of the negative. FotoKem works with all common audio formats including Polyphonic Broadcast Wave Files supplied on
DVD-RAM, DVD R, or via broadband internet. It is very important that all audio has time code that corresponds to the proper
transfer rate of the fi lm, tape or image fi le. Sound reports are also very important to provide.
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• Please format at least 8 seconds of continuous timecode pre-roll prior to slate closure for syncing (sound only). If possible use
Electronic Slates. The use of non-time coded slates will increase your telecine transfer ratio do to hand syncing. Audio intended
for NTSC and 30fps HD transfers should have 29.97 non-drop frame timecode. 24p projects should have 23.98 timecode.
• Audio acquired in digital production should typically be 23.98 time-code at 48Khz sampling rate for proper sync. Recordings should
be jam synced throughout the shoot day to maintain proper time code correlation between picture and sound, and all metadata
applied to broadcast wave fi les should be correct to the slate information as this metadata can be applied to the picture fi les in the
dailies process. Polyphonic broadcast wave fi les are preferred for their multiple track capabilities.
• If you have any questions prior to production regarding project audio in fi lm or video production, please contact Student Services.
FILE-BASED CAPTURE
• If acquiring images with fi le-based cameras, you may fi nd the “File-Based Workfl ow” and “Shooting Digital: Best Practices” information
sheets helpful. This list of best practices will assist in setting up proper on-set workfl ow to ensure the acquired data is secure and
properly managed for dailies creation and archive.
• To arrange FotoKem “nextLAB” transcoding and archiving services, please contact Student Services. Other associated services may
also be arranged at that time, such as EDL pulls from original archive for fi nal conform and VFX, assembly output to HD tape masters,
data-based color correction, fi lm-out formats, and other digital delivery formats such as for mobile devices. Student rates have been
attached to all these services.
DAILIES
• Shooting on fi lm for a digital fi nish will require a telecine transfer (fi lm-to-tape) of your developed negative to a high-defi nition digital
video master, at 23.98 fps. Editorial media (typically DNxHD or ProRes fi les) with specifi c metadata burn-in can then be generated
from the telecine videotape master. Flex fi les may also be obtained in telecine for plug-in to offl ine editing systems, which include
relevant information for offl ine/online editing and fi nal conform.
• Shooting digitally does not require telecine. Editorial media is created from acquisition source media for specifi c edit platforms, with
appropriate burn-in information and ALE (where applicable). The transcoded fi les, and ALE, would then be transferred to student
supplied drive/s for delivery. Contact Student Services or nextLAB, ext. 406, for transcode scheduling and rates.
COLOR
• The use of color charts (in production) at the head of each new scene/set-up, coupled with detailed camera reports allows for the fi lm
color timer, or video telecine colorist, to apply proper “looks” to the footage. Color charts and best practice advice is available through
FotoKem’s Production Services team.
• If submitting fi le-based footage, or tape, for dailies creation, material shot SMPTE Rec. 709 will be color corrected as best light. If
providing acquisition fi les in LOG or RAW format for render and transcode to editorial media, it is important to identify the appropriate
color Look-Up Tables (LUTs) selected for application in the dailies process. The LUTs and best light color adjustments (lift, gamma,
gain) will apply to the transcoded media only. The original acquisition fi les remain unaltered, for fi nal color and conform.
DIGITAL CONFORM & NEGATIVE CUTTING
• If shooting fi lm, the highest quality digital fi nish can be accomplished with a high resolution (2K or higher) negative scan of select
shots. This will provide uncompressed .dpx fi les for fi nal conform and VFX. If fi nishing in HD, select shots can be pulled from the
original HD telecine transfer used for dailies.
• When working fi le-based, select shots can be pulled from the unaltered original acquisition fi les recorded to LTO archival tapes or from
original fi les resident in the facility server. These fi les may be RAW fi les, or rendered fi les, recorded in standard record codecs such
as MPEG 4 SStP (HDCAM- SR), Pro Res, or DNx HD, as examples. We suggest you consult with Student Services as to what
fi nishing workfl ow might be best for your project.
• If cutting negative, send a cut list from your edit system with the original negative to a negative cutter for fi nal physical conform of the
original fi lm negative. FotoKem does not provide negative cutting services, but we can recommend local companies that do.
OPTICALS, INTERMEDIATES, & ANSWER PRINTS
• Optical effects such as dissolves, overlays, reverse imagery, and repositioning can be created in the fi lm lab. Optical blowups from
16mm to 35mm are also available. Intermediates (Inter-negatives and Inter-positives) used for duplication and printing are typically
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made with built-in corrections.
• Answer prints (the fi nal approved print after color timing) are typically made from the cut original camera negative using the lab color
timer’s instruction. They may also be printed from a composite negative, created with a laser scanner from conformed fi nished
digital acquisition fi les. If the negative is created by a laser recorder, all optical and color correction information applied to the digital
master will be recorded to the conformed archival negative.
DIGITAL MASTERING
• Traditionally, the inter-positive or inter-negative fi lm element is used in telecine for the creation of the digital master. In the process of
telecine mastering it is important to realize that extensive scene-to-scene color correction will be required. This is because the fi lm’s
fi nal color timing, as applied to the creation of the intermediate fi lm element for printing, will not directly correlate to video color space.
• If originated on HD videotape, tape-to-tape color grading will usually occur after online assembly. If origination was fi le-based, HD,
2K or 4K data, an HD conversion video master may be used for tape-to-tape color grading.
• For full resolution fi nishing of RAW acquisition fi les (higher than HD resolution), original RAW image fi les will require rendering to an
uncompressed fi le format such as .dpx, Open EXR, or other uncompressed fi le format. These uncompressed fi les offer the highest
possible picture quality to the Digital Intermediate (DI) process. This method of fi nishing is signifi cantly more expensive than fi nishing
with rendered HD fi les, but it yields the highest possible quality archival master.
• If you plan to accomplish color correction in an off-line editorial platform, FotoKem highly recommends that a ‘fi nal’ color grading
pass, in a fully calibrated environment, with a professional colorist, be accomplished. Especially if the fi nished master is to be
projected digitally in a theater, or broadcast to SMPTE specifi cations.
NEW ACQUISITION TECHNOLOGIES
• Although some new acquisition technologies allow for native ingest into editing systems, some pro-sumer devices such as Go Pro,
5D, 7D, etc. may not be as easily introduced to the workfl ow as many pro-sumer cameras do not generate time code. Therefore
it is important to identify, in pre-production, the appropriate dailies workfl ow, sound sync procedures, and QC requirement. Other
considerations include archiving, data management, data integrity, codecs, color-space, offl ine vs. conform resolutions, and many
other technical considerations that extend beyond the scope of off-line editorial. Consequently it is still essential, especially for
multi-camera long-form projects, to partner with a professional post production facility to ensure all the bases are adequately
covered. http://www.fotokem.com/resources/cameratypes.php
CONTACT
• Main Number: 818-846-3101
• Student Services: ext. 558
• Sales: ext. 520
• nextLAB: ext. 406
• Telecine Scheduling: ext. 366, ext. 412
• Production Services: ext. 825
• Questions: education@fotokem.com
• Website: fotokem.com
• Address: 2801 W. Alameda Avenue Burbank, CA 91505
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© 2012 FotoKem Industries, Inc.