In an audio interview I made with Benjamín Fernández of Digital Sprockets, he describes his process of transferring and restoring classic Mexican films.
Back in 2015, I published an article about why Digital Sprockets of México City prefers to edit video with DaVinci Resolve instead of Final Cut Pro X (link ahead). Now, I just published an audio interview in my CapicúaFM show with Benjamín Fernández of the same company, where he describes his process of transferring, restoring and grading ancient and fragile films with DaVinci Revival Pro and DaVinci Resolve. Fernández sometimes finds a film that was previously miscatalogued as grayscale (aka “black and white”) but is actually color, shot with ECN (Eastman Color Negative) or —to his surprise— sometimes even with Ektachrome reversal, both films from Kodak. In other cases, he finds a film that’s properly catalogued as monochromatic that also turns out to be 3D. Ahead you’ll find that audio episode, where we also discuss Mexican colloquialisms and differences between Mexican Coca-Cola and the US version. Fernández also demystifies the myth about all Mexican food being spicy.
Link to 2015 article
Here is a link to the 2015 article Why Digital Sprockets edits video with DaVinci Resolve instead of FCP X.
Brand new CapicúaFM episode, including interview with Benjamín Fernández of Digital Sprockets
Keep in mind that the above recording is in Castilian, the world’s most widely used Spanish language, but not the only one.
Audio production for this episode
In the field in México City, I used the Shure 545 palindromic dynamic cardioid microphone (reviewed here, Amazon link — B&H link) together with the enormous A81WS windscreen (reviewed here, Amazon link — B&H link) to record Benjamín Fernández’s voice.
For my own voice on location in México City, I wore the ModMic5 head-mounted microphone (reviewed here, Amazon link).
Each of those two microphones were recorded on independent audio tracks on the Zoom H5 recorder (Amazon link • B&H link)
where I monitored live, latency free using the Sony MDR-ZX110 lightweight isolating headphones (covered here, Amazon link — B&H link).
After that, I followed my procedure for crossgating/filtering/gating as covered in My multitrack crossgating audio workflow to eliminate crosstalk before editing with Hindenburg Journalist Pro, covered in several prior articles.
All in-studio recording I made with my own voice (tease, bridges and closing) I recorded with the Audio Technica AT875R shotgun mic (reviewed here, Amazon link — B&H link) and AT8415 shockmount (reviewed here, Amazon link — B&H link).
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Learn to speak Castilian, the most widely used Spanish language
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No manufacturer is specifically paying Allan Tépper or TecnoTur LLC to write this article or the mentioned books. Some of the other manufacturers listed above have contracted Tépper and/or TecnoTur LLC to carry out consulting and/or translations/localizations/transcreations. Many of the manufacturers listed above have sent Allan Tépper review units. So far, none of the manufacturers listed above is/are sponsors of the TecnoTur programs, although they are welcome to do so, and some are, may be (or may have been) sponsors of ProVideo Coalition magazine. Some links to third parties listed in this article and/or on this web page may indirectly benefit TecnoTur LLC via affiliate programs. Allan Tépper’s opinions are his own.
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