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Author Topic: 16mm projector needed for Delaware Film Premiere Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 06-03-2007 08:17 AM                        I know EIKI and possibly ELMO once made 16mm projectors with stereo capability, and although I have never seen a 16mm print with an actual stereo soundtrack, seems like with the addition of some noise reduction, say a Dolby or dbx encoding, you could get some very decent sound, even matrixed out to 4 channels. I know a projectionist who worked at the Fort Hamilton army base in Brooklyn and he said when the Army used to get prints from the studios for their theatre, they were special stereo prints made just for the armed forces circuit. I was dubious, but he insisted. They were using Eastman 25Bs and he said they were specially retrofitted with stereo cells and run thru a CP50. He said without question they were stereo prints. And I am with Steve -- I've run what was a 16mm "show print" of MICROCOSMOS and when I walked into the theatre to take over the shift, I watched the film for a little while and I had to look up to the booth to see what port the projection beam was coming from because it looked as good as any run-of-the-mill 35mm high speed print. Sound was perfectly listenable too. If this print was made from an edited neg in a good lab, there is no reason why the release print shouldn't stand up to a critical viewing even if the camera men and sound guys are in the audience. Anyone know what DTS would charge to use their system for a DTS track on a single print? I can't imagine they would price themselves out of the market so that a producer would abandon using their system. Then again, if the stereo sound is really that important, if you have a pristine print -- no splices -- and a DVD or Digbeta copy, you could sync the video to the projector and use the video soundtrack. A projector with a synchronous motor should be able to sync with a DVD player for 30 minutes. In fact, wasn't it mentioned somewhere in one of the threads here that there is a DVD player that can lock to an external pulse signal? Interesting alternatives.  |  IP: Logged John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 06-03-2007 10:21 AM                     I know that one of the principal uses of DTS 16mm is for student films, so I can't imagine the rights are exhorbitant, and would expect they waive them. Maybe the bigger deal is whether you can avoid getting a timecode negative struck, perhaps by using an already-made DTS timecode negative, or SMPTE timecode. While we're here, Jeffrey, your posts are none-too-clear. Are you looking to rent a projector, "borrow one" (for free), or buy one? Or looking to rent a house that has one already? I think Steve's company (Cardinal Sound & Motion Picture, in MD) is probably a good one to talk to... --jhawk  |  IP: Logged Joel N. Weber II Expert Film Handler Posts: 115 From: Somerville, MA, USA Registered: Dec 2005 posted 06-03-2007 12:09 PM                     If the film print ends up eventually being shown in a decent number of venues, is the cost of a transfer to 16mm plus the costs associated with renting, moving, and setting up 16mm projectors on multiple occasions really going to be all that much less than the cost of making a 35mm print? If you're looking at the 16mm DTS option, that's yet another piece of equipment that's not likely to exist in most venues; for example, MIT has a room which has a 16mm projector, and a DTS player, but the DTS player is only set up for 35mm.  |  IP: Logged John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 06-03-2007 01:11 PM                     Perhaps the strongest selling point of DTS-16mm is that it is approximately no work to set up. Connect analog 16mm output into DTS timecode input. Go home. (Now, DTS makes a special preamp you can use, but it is not necessary in most cases. Most theatres with DTS-35mm aren't "set up" for DTS-16mm because they've never had the need. But it's just a matter of a cable.) In re costs, the implication is that Jeffery already has a 16mm print. The 16mm print you have is a a lot cheaper than the 35mm print you don't have. And yes, I think the blow-up costs for feature length 16mm to 35mm are large. I gather five figures. --jhawk  |  IP: Logged Cameron Glendinning Jedi Master Film Handler Posts: 845 From: West Ryde, Sydney, NSW Australia Registered: Dec 2005 posted 06-05-2007 03:40 AM                     Steve, just my take on 16mm film makers, they tend to have pretty low budgets considering the cost. If they had the money a 35mm dolby sr print would really have been ideal and could run in 100% of cinemas world wide ect. DTS 16mm deserves a  |  IP: Logged Peter Mork Expert Film Handler Posts: 181 From: Newton, MA, USA Registered: Jun 2002 posted 06-05-2007 10:37 AM                     quote: I know EIKI and possibly ELMO once made 16mm projectors with stereo capability, and although I have never seen a 16mm print with an actual stereo soundtrack, I don't know if there were ever stereo 16mm prints, but I understand dual language prints were made in South America and Canada; there's a discussion on the FT 8mm forum: http://8mmforum.film-tech.com/cgi-bin/ubb/ultimatebb.cgi?ubb=print_topic;f=5;t=000058  |  IP: Logged Gordon McLeod Film God Posts: 9532 From: Toronto Ontario Canada Registered: Jun 99 posted 06-05-2007 03:48 PM                     stereo 16mm was first introduced to allow single print inventory of french and english titles in canada many years ago there is an article in a SMPTE journal about the systemas developed by the NFB in conjunction with Dolby Labs  |  IP: Logged Larry Shaw Expert Film Handler Posts: 238 From: Boston, MA, USA Registered: Mar 2000 posted 06-07-2007 06:35 PM                        I spend a long time working for Inflight, threading modified FP-16's in B747's with prints with English optical and (French)(Spanish)(Italian)(German)mag tracks.  |  IP: Logged Jeffrey Bartone Film Handler Posts: 4 From: Olympia, WA, USA Registered: Jan 2007 posted 06-07-2007 07:42 PM                     Ok, there's a lot to discuss about alternative formats to 16mm. We are showing 16 with all it's assets and drawbacks. We would like to find someone with appropriate equipment who is willing to lend or rent it (for a reasonable price) to us for a single screening. The owner of the equipment is welcome to attend, whether or not they run the machine. Here's the specifics... August 4th Newark, Delaware. 80 ft throw. 12 ft high screen standard 16mm composite print approx. 33 minutes  |  IP: Logged

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