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Bernd Manison
Could be a simple question but i've had no experience working with film. my next project will be shot on 16mm film so i've been curious how simple effects are done on those films ( cut to black, fade in/out, the credits). Are they entirely done by the negative cutting guy? (using optical printer?). How do filmmakers in the past achieve the credits when there's no video technology? And what is best and cheap way to achieve those now if you want to finish the movie on celluloid ( for me, if the film was shot on film, it has to be finished on film. Other digital version is simply the transformation of the original work). I also know about film recording but that might be expensive.
16mm negative is assembled in A-B "checkerboard" rolls -- the next cut in a sequence is on the opposite printing roll, with black leader in the gaps, so the first shot is on the A-roll, the next on the B-roll, with black leader filling in the gaps, etc. This way the two rolls can be exposed in two passes onto the same print and the splices all happen outside of the picture area. But this also means that when you are editing the movie, you have to account for a half-frame being lost on each side of your clip.
With an A-B roll conformed negative, you can institute some fades and dissolves as long as they are standard lengths that the lab offers (I don't know the numbers, but let's say it is a 12-frame fade-out, a 24-frame fade-out, etc.) So for a fade in or out, that shot is gradually darkened frame by frame as it is being printed onto the print stock. For a dissolve, the A-side is faded out and when they lay in the B-roll exposure pass, the B-side of the dissolve is faded in, with an overlap in the exposures between the two shots, so you get a dissolve. Again, in standardized lengths. Some editing systems can be set-up to flag those things so you only choose lab-approved lengths for fades and dissolves.
Less common in 16mm would have been do it in an optical printer. In that case, it's the same as doing it in 35mm -- you make a color-timed IP (positive) of the shot to be faded in or out, and that gets loaded into the projector side of the optical printer and the image is rephotographed onto a dupe negative stock with the effect added.
I agree with you to want to finish on film and wanting optical titles. Even though you are shooting 16mm (is it regular or super??), you should finish on 35mm. So shoot your titles and transitions after you have blown up to 35mm. Even though there are fewer and fewer cinemas that can screen 35, there are far less than that which are able to screen 16mm. .......But, maybe this is a one off for a special event and you already have a projector and post path planned out. There are still labs that will print 16mm
regular 16mm. so the negative cutter is the person that does the effects? I'm not shooting 16mm for at least several months. just curious how it works. i grew up digitally. no one my age knows anything about film and the film schools don't really care. i think if i was to do it i'd create credits/titles digitally and the record to film.
You can create fades & dissolves of standard lengths by A/B roll cutting of the negative -- the lab does those effects when making the print. But titles over picture, unless you just wanted black letters burned into the image, have to be done in an optical printer using IP's going to dupe negatives in order to use hold-out mattes (or today would be done digitally.)
The one Super-16 movie I did actually had to do the titles in a 35mm optical printer -- so we made one Super-16 negative master where the finished 35mm opticals were reduced to Super-16 but for the blow-up to 35mm, we cut the 35mm opticals into the 35mm dupe negative for making prints.
Truth is today a 16mm project would probably go through a D.I. (all the footage scanned to a digital file) and if a film master was wanted, the results would be recorded out to a 35mm negative. I don't know if there are any 16mm film recorders out there, and if you recorded titles out to 35mm, you'd have to get them optically reduced to 16mm (and then need to find a lab that does 35mm-to-16mm optical printing, which is also rare.) At the time, late-1990's, I used Colorlab in Maryland for the work.
Yes we still do AB-roll printing, both contact and optical reduction/blowup or recentering from S16 to Std16 with optical soundtrack which we make in-house now. There is still a reasonable amount of Kodak black leader available in good hands, we can make lightstruck black leader if that runs out.
I've looked into a 35mm blow up/ film out of my 16mm feature. Would run about 15k for a 70-80 minute film. That's a film out from a 2k file. Roughly 250 a minute. I'm still waiting on a quote for a A/B negative cut, but it may not be worth going this route since I have many shots that need digital compositing.
If you wanted to have a film with non digitally generated titles you could shoot your own, simple titles by set up a black board and put white letters on it. If you want titles over pictures you could paint or use letters on glass and shoot your titles during the production. This would be technically challenging but simple shoots could be easily achieved.
Well the time has come and Ratchet and Clank is both faithful to the video game series and a blast to watch. One of the best aspects of the movie is the colorful cast of characters. Each character is a bundle of fun when they appear on screen, such as Captain Qwark, voiced by Jim Ward.
Throughout the movie, Ward gives a stellar performance as the animated hero with his comedic humor and his snob personality. Whenever he appears on screen he steals the spotlight. The other main cast members also give a great performance. Paul Giamatti plays the corporate bad guy, Charmian Drek, who is out to destroy planets for their natural resources and to make a quick profit. When he appears on screen he does his job. When he is supposed to be menacing, he is menacing, and when he is supposed to be funny, he is funny.
Ratchet, played by James Taylor, and Clank, played by David Kaye, were also amazing in their roles. In the video games, Ratchet is a light-hearted character who tries to become the hero he wants to be, and in the movie Taylor gives a good performance as the character. Clank, who is more technical and overall a geek, is portrayed as just that by Kaye.
The reason why I liked the movie so much is due to the surprise it gave me. Video game movies have not done well as movies. For instance, there has been the Resident Evil series, and the disaster known as the Super Mario Bros movie that scored a 15% on Rotten Tomatoes due to the convoluted plot and questionable acting. Ratchet and Clank is the video game movie that has managed to avoid such scrutiny and has shined as one of the better video game movies that have so far been released. This movie, hopefully, will be viewed as a stepping-stone for future movies in the video game genre.
In the end, Ratchet and Clank is both a faithful adaption of the video game series and a fun animated movie. Despite issues I had with the simplistic writing of the movie, the acting alone helps support this movie. Viewers will be delighted to know that Ratchet and Clank is worth the time.
In fact, no film besides Thor: Love and Thunder in Phase Four was outright bad; all have been at least passably entertaining, and some, like Shang-Chi and No Way Home, reached the heights of peak MCU movies like Civil War. Yet all have been united by a common flaw that is crystallized in Quantumania; they seem to be coasting off the highs of Endgame and the Infinity Saga and, as a result, have lost the accessibility and relatability that made the MCU so inviting in the first place.
Marvel Studios' Ant-Man and the Wasp: Quantumania has finally premiered in theaters, starting Phase 5 of the Marvel Cinematic Universe with a wild bang. In Scott Lang's third solo film in the MCU, he and his loved ones are sucked into the Quantum Realm, where they are forced to face the time-traveling villain, Kang the Conqueror.
Like many other Marvel movies, Quantumania is filled with references to previous MCU films and the comic book source material. Now that the film has been released to the public, readers can now see the list of all the Easter eggs found throughout Ant-Man and the Wasp's latest subatomic adventure.
Scott's memoir
Ant-Man and the Wasp: Quantumania features the return of everyone's favorite small-sized hero. Paul Rudd and Evangeline Lilly reprise the titular roles, joined by an all-star cast that includes the returning Michael Douglas and Michelle Pfeiffer, plus the long-awaited quasi-debuts of Kathryn Newton as Cassie Lang and Jonathan Majors as Kang, the Conqueror.
The film features the Lang/Pym-Van Dyne clan on an unexpected and dangerous adventure to the Quantum Realm. While far from Marvel's best effort, Quantumania benefits greatly from top-notch performances by Pfeiffer and Majors and Rudd's seemingly inexhaustible charm. Its somewhat uneven plot offers plenty of visual thrills and silly humor, leading to the traditional MCU finale, an all-out war between the good guys and Kang. As per Marvel tradition, multiple battles are happening, but we have all the crucial details ready.
Rebellion!
Kang the Conqueror has arrived to dominate the Marvel Cinematic Universe with the release of Ant-Man and the Wasp: Quantumania. Jonathan Majors's villainous character is set to shake up the MCU as the big bad of the Multiverse Saga, making for an Avengers-level threat far greater than Thanos.
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Since Lenny applied what happened to his wife in the story of Sammy Jankins, then obviously he has to be capable of making memories after the accident or he wouldn't know all of these details thus making Lenny's condition psychological not physical and he just lies to himself to relieve his guilt and continues to believe it's physical for the same reason.
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