Is sound recorded optically or magnetically on super-16mm tape?
super 16 sound recording
- Thread starter hubertnapierala
- Start date
Super 16 utilizes the area of the 16mm film that is normally used to hold an optical or magnetic track.Therefore SOF shooting and projecting is impossible unless you optically reduce to regular 16mm for a print with an optical track,though Heaven only knows why you would want to do that.
Super 16 is great for HDTV release.Many episodics were shot on super 16 such as In the Heat of the Night and Touched By an Angel for the possibility of future syndication in HD.
Super 16 is great for HDTV release.Many episodics were shot on super 16 such as In the Heat of the Night and Touched By an Angel for the possibility of future syndication in HD.
Thanks. I asked because I'm making an editing equipment myself. It's almost finished. Wish me luck 
I assume you're editing on film?You are making something like a flatbed (Steenbeck,Moviola,KEM)or are you working on building your own NLE?IF film,definitely make sure your rollers,sprockets and anything that touches the film is polished down and will gently handle the super 16 film as the edge,which contains picture information is subject to get scratched if this is not done.In converting cameras to super 16,the magazines have to be modified so they won't scratch the edge.
It's a sort of vertical flatbed (!). Anything that touches the film is nice and shining (all the parts are from VHS recorder). And actually I've never meant to modify my camera for I will transfer edited film to a s16mm tape and record sound in the post productiom
hubertnapierala said:
You lost me.You say you are NOT shooting super 16?How do you mean "transfer to a super 16 tape?"Super 16 is a film format (basically just single perf regular 16mm film,camera,projector,telecine,editor apertures have been modified to use what regular 16 used for a soundtrack so that the aspect ratio is 1:66 instead of 1:33) NOT a tape format.
I don't know how you would "transfer to super 16"unless you are shooting in video and plan to have a super 16 negative struck (expensive,why bother?).Then you would have no need for film editing as if you shot on tape,you would use either tape to tape or NLE.
In order not to shoot only silent movies I copy my film (from a 16mm tape) to s16mm tape with sound track. I've worked like that before. It turned out to be cheaper. Anyway, do you know any kodak or fuji 16mm films (not super16) with sound track?
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Kodak no longer manufactures mag-striped camera film such as was used in news cameras of the 70's and 80's. You can record single-system optical sound on standard 16mm camera film if you are shooting with a camera that incorporates an optical sound head such as an Auricon. Otherwise you must record double-system sound on a separate machine such as DAT or minidisk and transfer that audio track to a format you can use on your editor; if a film-based editor that format would be magnetic fullcoat 16mm film (film in this case means the backing material, not an emulsion). I've never heard of S16 tape; could you elaborate?
OK let me get this straight.You're wanting to get "a super 16 master"from a regular 16 original?First off,how is that done and why?Super 16 is a CAMERA format,not a material to make master internegs from.I don't know of any lab that can get you a super 16 master from a regular 16mm original.The extra room in super 16 is only that small area opposite the perfs where the soundtrack would normally be,not enough to anamorphically "squeeze" the picture and then optically "unsqueeze" it to a super 16 interneg (you keep referring to this as "tape",we are speaking of film here not tape).If you could do this,it would be so expensive that it would be just more cost effective to rent super 16 gear and shoot in super 16.You've got me really confused here.It would be much easier to add a soundtrack to regular 16mm.Super 16 would require a separate track either on 16mm mag fullcoat and you would need a super 16 converted interlock projector to show your film and soundtrack in sync or have a time code put on your super 16 answer print and have your sound mixed onto a synced CD(I've heard of this being done in a VERY few places,specialized films,not much equipment available to do this and what little there is converted regular 16mm projectors done for these few special venues).
There is no difference in regular 16mm stock and "super 16mm stock".What's used for super 16 filming is simply single perfed stock.The cameras are modified to shoot in super 16 by enlarging the gate and polishing down anything the side of the film comes in contact with (rollers and sprockets).
Both Kodak and Fuji discontinued magnetically striped stock about 10 years ago.You can still make a print with an optical sound track,but you're back to square one now,your only option for that is regular 16mm.
The super 16 format came out in 1969 in Europe.It was designed to save money for filmmakers wanting to shoot in 16mm and blow up to 35mm for theatrical release.The aspect ratio in super 16 (1:66 to 1) fits the European theatrical standard better than a regular 16mm blow up.It didn't prove to be really cost effective to shoot in any 16mm format and blow up to 35mm as once yu pay for the blowup,you've pretty much paid enough to have shot in 35mm in the first place.The only time you would save money that way is if your shooting ratio is very high,say 20 to 1.For this reason super 16 didn't really catch on until the fairly recent advent of HDTV with it's 1:77 aspect ratio it fits better and you get less grain.
Now there exists "ultra 16"not to be confused with super 16,but here again that's a camera format not a mastering format.I would be really curious to know exactly how you actually worked before.
There is no difference in regular 16mm stock and "super 16mm stock".What's used for super 16 filming is simply single perfed stock.The cameras are modified to shoot in super 16 by enlarging the gate and polishing down anything the side of the film comes in contact with (rollers and sprockets).
Both Kodak and Fuji discontinued magnetically striped stock about 10 years ago.You can still make a print with an optical sound track,but you're back to square one now,your only option for that is regular 16mm.
The super 16 format came out in 1969 in Europe.It was designed to save money for filmmakers wanting to shoot in 16mm and blow up to 35mm for theatrical release.The aspect ratio in super 16 (1:66 to 1) fits the European theatrical standard better than a regular 16mm blow up.It didn't prove to be really cost effective to shoot in any 16mm format and blow up to 35mm as once yu pay for the blowup,you've pretty much paid enough to have shot in 35mm in the first place.The only time you would save money that way is if your shooting ratio is very high,say 20 to 1.For this reason super 16 didn't really catch on until the fairly recent advent of HDTV with it's 1:77 aspect ratio it fits better and you get less grain.
Now there exists "ultra 16"not to be confused with super 16,but here again that's a camera format not a mastering format.I would be really curious to know exactly how you actually worked before.
I will give you a faq as soon as I pass a series of exams.
Hope to see you soon
Hope to see you soon