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Author Topic: New 16mm test film available Scott Norwood Film God Posts: 8146 From: Boston, MA. USA (1774.21 miles northeast of Dallas) Registered: Jun 99 posted 12-01-2009 08:07 AM                        Karl -- why would you want cyan tracks on 16mm? They sound worse, and few (if any) installations could accommodate them. There is no problem with 16mm print stock--it is the same as the 35mm version, and is readily available. Kodak (not sure about Fuji) no longer makes color acetate-base print stock. All color prints on 2383, 3383, and 2393 are ESTAR-base. B&W print stock is available on both acetate and ESTAR base. Note, though, that there have been 16mm ESTAR-base prints going back to the 1970s, at least. Airline prints were ESTAR (at least those that I have seen). Foto-Kem is the largest 16mm lab. in the world; they do very good work, and also do reductions from 35mm. Almost every lab. that does 35mm can handle 16mm processing and printing (most lab. equipment is dual-format). I believe that the ideal reduction method is 35mm IP->16mm IN->16mm print. The ideal blowup method is 16mm camera neg->35mm IP->35mm print, though this requires "zero cut" negative cutting to avoid having the picture bounce at each cut.  |  IP: Logged Steve Guttag We forgot the crackers Gromit!!! Posts: 12814 From: Annapolis, MD Registered: Dec 1999 posted 12-01-2009 08:36 AM                     Tim...16mm always used 400Hz as the "level" film. It is primarily just for balancing out a changeover system or getting the gain structure close...but primarily balancing the two machines. As for the majority not seeing an RTA...perhaps the existing portable projectors...however the pedestal and all new installations would see an RTA if pink noise was available. Again, I like 7KHz for getting the slit lens right...but you tell me...how do you set the slit loss on a 16mm preamp without pink noise or a reel of calibrated tones? SMPTE hasn't made the multi-frequency reel in a long time. The current crop of professional 16mm projectors (Kinoton FP38 series) have phenomenal soundheads. They have great preamps too. It would be nice to not have to rely on the factory calibration or doing things by "ear". Fortunately, we do have one of the SMPTE multi-freq reels with calibration card...but talk about hoarding! Steve  |  IP: Logged John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 12-01-2009 10:37 AM                     What does Kinoton use at the factory? --jhawk  |  IP: Logged Larry Shaw Expert Film Handler Posts: 238 From: Boston, MA, USA Registered: Mar 2000 posted 12-01-2009 01:50 PM                        Some answers: Film stock: The biggest reason for using Estar base sound negative stock is the hi-con B/W print stock is NLA. Color or B/W release stock is inapropriate for our purposes. Sound test films: Good reasoning for both PN and 7kHz as well as Buzz. We have pricing to make them. We'll wait to see how much 1682 we sell before making other 16mm films though. Tone on 1682: This is not intended to be a high quality test tone. Since we were using sound negative stock it was relatively easy to add the tone as a "it's there if you need it" feature. Certianly it's way more useful than clear stock. I don't know the % modulation. Super 16 test film: As there is no true standard we wouldn't likely make this. Plus I believe demand would be extremely low. What they do at the factory: Good question. I'll see if I can find out. -Larry  |  IP: Logged Tim Reed Better Projection Pays Posts: 5246 From: Northampton, PA Registered: Sep 1999 posted 12-01-2009 09:35 PM                       quote: Steve Guttag how do you set the slit loss on a 16mm preamp without pink noise I never said that Larry should make 7KHz film instead of pink noise, as he had already mentioned his desire to produce it; he asked for suggestions and I gave him mine. I merely offered my reasoning for suggesting it. Great if he does pink noise.  |  IP: Logged Alan Gouger Jedi Master Film Handler Posts: 501 From: Bradenton, FL, USA Registered: Jul 2000 posted 12-05-2009 02:20 PM                        Great to see this Larry. You may also want to consider offering this in the super 8mm format. The collector data base may be larger then 16mm and its going strong world wide. New print still being struck. Even if you left off the audio portion the video test pattern would be welcomed. Thank you.  |  IP: Logged Stephen Furley Film God Posts: 3059 From: Coulsdon, Croydon, England Registered: May 2002 posted 12-06-2009 01:58 PM                     quote: Karl Borowski What does a 16mm print cost to rent these days, assuming it's for private flat-rate exhibition, not a percentage of attendance? I rented 'The Proud Valley' on 16mm from the BFI at Christmas, I think it was three years ago. It cost me about 50 pounds, but that didn't include delivery charges, which I avoided by collecting the print myself from the BFI offices at Stephen Street in central London. I don't know what a more recent film from a more conventional distributor would cost.  |  IP: Logged Claude S. Ayakawa Film God Posts: 2738 From: Waipahu, Hawaii, USA Registered: Aug 2002 posted 12-06-2009 02:47 PM                        When I was serving on six month active duty before I launched my photographic career as part of my US Army Reserve obligation, I used to go to the base theatres a lot at Schofield Barracks. The main theatre was a 35mm house but a smaller venue at the training centre where I had undergone basic training was 16mm. I cannot say I was impressed with the picture because I was not. I also remember watching movies on airplanes in 16mm and it least the scope movies were projected in their original aspect ratio. -Claude  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 12-06-2009 03:27 PM                     quote: Larry Shaw Super 16 test film: As there is no true standard we wouldn't likely make this. Plus I believe demand would be extremely low. Actually HDTV has cause an increase in Super 16 filming, especially PBS stuff. The demand may still be low but it should be better than it was.  |  IP: Logged Jeff Taylor Jedi Master Film Handler Posts: 601 From: Chatham, NJ/East Hampton, NY Registered: Apr 2000 posted 12-10-2009 03:06 PM                     FWIW, all of the "Law & Order" variants originate on super 16, and a network source tells me "NCIS" is actually shot on super 8.  |  IP: Logged Frank Angel Film God Posts: 5305 From: Brooklyn NY USA Registered: Dec 1999 posted 12-10-2009 05:36 PM                        Jeff, and you believed him? Super 7....for Hi-Def broadcast?  |  IP: Logged Jack Theakston Master Film Handler Posts: 411 From: New York, USA Registered: Sep 2007 posted 12-10-2009 06:24 PM                     Might be Super Duper 8, which films a widescreen image using the soundtrack area as well. But yeah, I doubt they'd be shooting any show, HD or NTSC in Super8.  |  IP: Logged Martin McCaffery Film God Posts: 2481 From: Montgomery, AL Registered: Jun 99 posted 12-10-2009 07:20 PM                        Wasn't Lenny Lipton at one time trying to make a Super-8 3D process?  |  IP: Logged John Hawkinson Film God Posts: 2273 From: Cambridge, MA, USA Registered: Feb 2002 posted 12-10-2009 07:50 PM                     Jeff, your information is dated. According to CML (Mark Weingartner and Jendra Jarnagin, compiled by Paul Miller), Law & Order is shot on the Panavision Genesis (1080p). This change happened as of last fall, I understand. NCIS is also shot on the Genesis. --jhawk  |  IP: Logged Jeff Taylor Jedi Master Film Handler Posts: 601 From: Chatham, NJ/East Hampton, NY Registered: Apr 2000 posted 12-10-2009 07:50 PM                     Hey guys, complain to CBS not me! Anyhow, remember that these things go straight to video from the negs and never see film from that time on.  |  IP: Logged

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