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This topic comprises 2 pages: 1 2
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Topic: Interface for 16mm DTS...
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Tao Yue
Expert Film Handler
Posts: 209
From: Princeton, NJ
Registered: Apr 2001
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posted 03-03-2002 02:23 PM
Frank Angel said:
quote:
If Swank could start offering DTS prints, that might be a shot in the arm for that market.
Possibly. We ran a 16mm print of Tora! Tora! Tora! (on December 7, 2001, no less; surprisingly enough, nobody else had booked Swank's only print of the film) It was 'scope and looked quite impressive apart from the scratches that had accumulated over the past decade or two. However, the sound by no means matched the image quality (and to think that it once ran in 4-track mag with Sensurround!). Making the 16mm vs. DVD video projection choice basically comes down to a question of image quality vs. sound quality. DTS removes DVD's sound advantage. On the other hand, Karen Hultgren said:
quote:
No reader is used and the timecode track is placed where the mono track used to reside.
Like CDS, this introduces the double inventory headache.
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Tao Yue
MIT '04: Course VI-2, Electrical Engineering and Computer Science
Projectionist, MIT Lecture Series Committee
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Scott Norwood
Film God
Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99
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posted 03-03-2002 04:26 PM
I'd love to see 16mm DTS prints available of current titles for the nontheatrical market. Unfortunately, I doubt it will happen on a large scale, since the venues which run 16mm are not likely to be able to afford DTS (otherwise they'd be running 35mm anyway).At the very least, I'd like to see more availability of 16mm scope prints, which are hard to come by for recent titles. Recently, I ran both the old and new versions of "Planet of the Apes," both in 16mm. We could get the original version in scope (pinkish print, but it still looked great), but the latest version was only available flat (letterboxed, losing half the resolution)... With respect to 16mm availability in the UK: what are BBC documentaries currently being shot on? At least through the late 1990s, they were all either 16mm or super-16. Have they switched to 35mm or video since then? In the US, 16mm or super-16 is a very popular production format for medium-budget TV shows, low-budget features, animation, etc. The newer VISION camera stocks look very nice when blown up to 35mm or projected in 16mm with adequate illumination.
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Leo Enticknap
Film God
Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
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posted 03-04-2002 02:24 AM
Whilst I agree with Pete that hardly any 16mm reduction prints of theatrical feature films are now being made, the format is still supported by a number of labs serving the TV and archive sectors.We (the Northern Region Film and Television Archive) use Hendersons in Norwood, South London, for making preservation dupes and viewing copies on black-and-white 16mm (they are a specialist b/w lab and don't do any colour work). They offer the full range of services: ultrasonic cleaning, contact and optical printing (step and continuous, including wetgate), sound negative recording and enlargement/reduction from 35mm. We use Soho Images and Bucks Labs for colour 16mm, and they offer an equivalent range of services. That having been said, the days of film societies and multipurpose auditoria (e.g. arts centres) using a portable Eiki or whatever to show the odd film every week or two are definitely gone. The multiplex revolution sent demand for 35mm release printing through the roof and as the cost of 35mm prints decreased relative to 16mm, these places either equipped themselves for 35 or went under. If you look at a typical lab rate card you'll find that (assuming your source is a 35mm combined internegative) the cost of a 16mm projection print is around double that of a 35. I guess from an environmental standpoint and ease of transportation, the idea of reviving 16mm with DTS is an attractive one. However, if I understand Karen's description of the existing system correctly, the prints are not backwards compatible, i.e. the timecode replaces the analogue track as with CDS. If the prints did retain an analogue track too, I suppose you could start a phased comeback of 16mm using the existing (though small) equipment base as a core market, but with non-compatible prints you'd be starting from scratch and I can't see that happening.
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