Yeah, you can see the difference in 16 and Super 16 here:
http://www.geocities.com/Hollywood/Makeup/4303/sub35.html
No magnetic sound on S16, so it can't be projected. You have to blow it
up to 35mm or telecine it to video. A lot of people are using it
anymore for HD programming because of the aspect ratio, the cost and
the quality of newer 16mm film stocks. Aaton has come up with a really
compact Super-16mm camera that takes a proprietary film load that Kodak
makes for them. The whole rig is about the size of a camcorder. I guess
they're getting really popular. Check it out:
http://www.a-minima.com/
As far as cameras, I haven't bought a 16mm camera yet. The last two
years I've been shooting Super-8mm using a Beaulieu 7008 with a
Schneider-Kreuznach f 1.4 / 6-70 mm power zoom lens. SFSU has a deal
with the film arts foundation on rentals and they rent Arri SR and CP16
cameras, so I'll probably use those to start.
On Friday, June 13, 2003, at 09:23 AM, Bill Pearce wrote:
Coverage, is, of course, not a problem, as the frame size is so much
smaller. I've never shot super 16 (a vastly underrated format, but
perhaps
now unneeded), but the width of the film is the same. Is the wider
frame on
single perf film? Does this mean you loose the ability to do sound-on?
And finally, I would be interested in knowing what cameras you will be
using
them on.
Bill Pearce
< This message was delivered via the Olympus Mailing List >
< For questions, mailto:owner-olympus@xxxxxxxxxxxxxxx >
< Web Page: http://Zuiko.sls.bc.ca/swright/olympuslist.html >
|