Where To Buy Super 16mm Film Camera

Historically popular and economic approximate of picture show

sixteen mm sound movie showing a variable width sound rails on single perforation motion picture stock

sixteen mm film is a historically popular and economic gauge of film. 16 mm refers to the width of the film; other common film gauges include 8 and 35 mm. It is generally used for non-theatrical (due east.g., industrial, educational) film-making, or for low-budget motion pictures. It also existed every bit a popular apprentice or abode motion picture-making format for several decades, alongside viii mm film and later Super 8 picture show. Eastman Kodak released the first 16 mm "outfit" in 1923, consisting of a photographic camera, projector, tripod, screen and splicer, for US$335 (equivalent to U.s.a.$5,088 in 2020).^[1] RCA-Victor introduced a 16 mm sound movie projector in 1932, and adult an optical sound-on-motion-picture show xvi mm photographic camera, released in 1935.^[ii]

History [edit]

Eastman Kodak introduced 16 mm moving picture in 1923, every bit a less expensive culling to 35 mm film for amateurs. During the 1920s the format was often referred to by the professional industry as sub-standard.^[three]

Kodak hired Willard Beech Melt from his 28 mm Pathescope of America company to create the new 16 mm 'Kodascope Library'. In addition to making home movies, people could buy or rent films from the library, a key selling aspect of the format.

Intended for amateur use, xvi mm film was one of the get-go formats to use acetate condom picture as a film base of operations. Kodak never used nitrate motion-picture show for the format, attributable to the high flammability of the nitrate base. 35 mm nitrate was discontinued in 1952.

16 mm blackness and white reversal silent home film on double perforation moving-picture show stock

16 mm Eastman Kodak color movie from Warsaw dated 1939

sixteen mm Eastman Kodak color movie from Paris dated 1939

Production evolution [edit]

The silent 16 mm format was initially aimed at the home enthusiast, just by the 1930s it had begun to make inroads into the educational market. The addition of optical sound tracks and, near notably, Kodachrome in 1935, gave an enormous heave to its popularity. The format was used extensively during World War II, and there was a huge expansion of 16 mm professional filmmaking in the post-state of war years. Films for government, business, medical and industrial clients created a big network of xvi mm professional filmmakers and related service industries in the 1950s and 1960s. The advent of television set product as well enhanced the employ of xvi mm pic, initially for its advantage of cost and portability over 35 mm. At commencement used as a news-gathering format, the 16 mm format was also used to create television programming shot outside the confines of the more rigid television studio production sets. The home film marketplace gradually switched to the even less expensive eight mm and Super 8 mm picture formats.

xvi mm, using light cameras, was extensively used for television set production in many countries before portable video cameras appeared. In Britain, the BBC's Ealing-based film department made significant apply of 16mm film and, during its acme, employed over fifty film crews. Throughout much of the 1960s-1990s menstruum, these crews fabricated use of cameras such equally the Arriflex SP and Eclair NPR in combination with quarter-inch audio recorders, such as the Nagra III. Using these tools, moving picture department crews would work on some of the about pregnant programmes produced by the BBC, including Man Alive, Panorama and Chronicle. Usually made upward of five people, these small crews were able to work incredibly efficiently and, fifty-fifty in hostile environments, were able to film an entire programme with a shooting ratio of less than v:i.^[4]

Start in the 1950s, news organizations and documentarians in the United States oftentimes shot on portable Auricon and, later, CP-xvi cameras that were cocky-blimped and had the ability to record sound on moving-picture show. The introduction of magnetic striped film further improved sound fidelity.

Replacing analog video devices, digital video has made significant inroads in tv set production use. Notwithstanding, xvi mm is still in use in its Super 16 ratio (run across below) for productions seeking its specific look.

Format standards [edit]

Perforations [edit]

Two perforation pitches are available for 16 mm film. 1 specification, known as "long pitch", has a spacing of 7.62 mm (0.300 in) and is used primarily for print and reversal film stocks. Negative and intermediate movie stocks have perforations spaced 7.605 mm (0.2994 in), known equally "short pitch". These differences allow for the sharpest and smoothest possible image when making prints using a contact printer.

Motion-picture show stocks are available in either 'single-perf' or 'double-perf', meaning the film is perforated on either one or both edges. A perforation for 16 mm film is 1.829 mm × i.27 mm (0.0720 in × 0.0500 in) with a radius curve on all four corners of 0.25 mm (0.0098 in). Tolerances are ±0.001 mm (4×x⁻⁵ in).^{[5] [6]}

Standard sixteen mm [edit]

The film-taking expanse of standard xvi mm is 10.26 mm × 7.49 mm (0.404 in × 0.295 in), an aspect ratio of 1.37:1, the standard pre-widescreen Academy ratio for 35 mm. The "nominal" picture projection expanse (per SMPTE RP 20-2003) is 0.380 in by 0.284 in,^[7] and the maximum picture projection area (per SMPTE ST 233-2003) is 0.384 in by 0.286 in,^[8] each implying an aspect ratio of 1.34:1. Double-perf sixteen mm film, the original format, has a perforation at both sides of every frame line. Single-perf is perforated at one side only, making room for an optical or magnetic soundtrack along the other side.

Super 16 mm [edit]

The variant called Super 16 mm, Super xvi, or 16 mm Type Westward is an adaptation of the 1.66 aspect ratio of the "Paramount format"^[9] to sixteen mm pic. It was adult by Swedish cinematographer Rune Ericson in 1969,^[10] using single-sprocket motion-picture show and taking advantage of the extra room for an expanded flick expanse of 12.52 mm × seven.41 mm (0.493 in × 0.292 in).

Super 16 cameras are usually 16 mm cameras that take had the moving picture gate and ground glass in the viewfinder modified for the wider frame, and, since this procedure widens the frame by affecting only one side of the picture show, the various cameras' front mounting plate or turret areas must also be re-machined to shift and re-center the mounts for whatsoever lenses used. Because the resulting, new, Super xvi aspect ratio takes up the space originally reserved for the 16mm soundtrack, films shot in this format must exist enlarged by optical printing to 35 mm for sound-projection, and, in order to preserve the proper 1.66:one, or (slightly cropped) 1.85:1 theatrical attribute ratios which this format was designed to provide. And, with the recent evolution of digital intermediate workflows, it is now possible to digitally enlarge to a 35 mm audio print with almost no quality loss (given a high quality digital scan), or alternatively to use high-quality video equipment for the original image capture.

In 2009, High german lens manufacturer Vantage introduced a series of anamorphic lenses nether its Hawk brand. These provided a 1.33× squeeze factor (as opposed to the standard 2×) specifically for the Super 16 format, allowing virtually all of the Super xvi frame to be used for ii.39:ane widescreen photography.

Ultra sixteen mm [edit]

The DIY-crafted Ultra 16 is a variation of Super 16. Cinematographer Frank G. DeMarco is credited with inventing Ultra 16 in 1996 while shooting tests for Darren Aronofsky's Pi.^[11] Ultra 16 is created past widening the left and correct sides of the gate of a standard 16 mm photographic camera by 0.seven mm to betrayal role of the horizontal area between the perforations. Perforation placement on standard 16 mm motion-picture show at the divisions betwixt frames accommodates employ of these commonly unexposed areas.

The Ultra 16 format, with frame dimensions of 11.66 mm × 6.xv mm (0.459 in × 0.242 in), provides a frame size between standard 16 mm and Super 16—while avoiding the expense of converting a xvi mm photographic camera to Super 16, the larger lens-element requirements for proper discontinuity field coverage on Super 16 camera conversions, and, the potential epitome vignetting caused by trying to use some "conventional" 16 mm lenses on those Super 16 converted cameras. Thus, almost all standard 16 mm optics tin can now achieve the wider image in Ultra 16, only without the higher up pitfalls and optical "shortcomings" encountered when attempting their utilize for Super 16.

The image readily converts to NTSC/PAL (1.33 ratio), HDTV (ane.78 ratio) and to 35 mm picture show (i.66 [European] and one.85 wide screen ratios), using either the full vertical frame, or the full width (intersprocket) frame, and at times, portions of both, depending upon the required application.

Modern usage [edit]

The two major suppliers of 16 mm film in the 21st century are Kodak and Agfa (Fuji closed its film manufacturing facility on 31 December 2012). 16 mm film is used in television, such as for the Authentication Hall of Fame anthology (information technology has since been produced in 16:9 loftier definition) and Friday Nighttime Lights and The O.C. as well as The Walking Dead in the US. In the Uk, the format is exceedingly popular for television series such every bit Doc Martin, dramas and commercials. The British Broadcasting Corporation (BBC) played a large part in the development of the format. It worked extensively with Kodak during the 1950s and 1960s to bring 16 mm to a professional level, since the BBC needed cheaper, more portable production solutions while maintaining a college quality than was offered at the time, when the format was mostly for home display of theatrical shorts, newsreels, and cartoons, documentary capture and display for various purposes (including education), and limited "high end" amateur use.^[12] Every bit of 2016^[update] the format is frequently used for student films, while usage in documentary has nigh disappeared. With the advent of HDTV, Super 16 film is even so used for some productions destined for Hard disk drive.^[12] Some low-budget theatrical features are shot on xvi mm and super 16 mm such as Kevin Smith's 16 mm 1994 contained hit Clerks, or Man Bites Domestic dog, and Mid90s.

Thank you to advances in film stock and digital technology—specifically digital intermediate (DI)—the format has dramatically improved in picture quality since the 1970s, and is at present a revitalized option. Vera Drake, for example, was shot on Super sixteen mm moving picture, digitally scanned at a high resolution, edited and color graded, and and so printed out onto 35 mm flick via a laser film recorder. Because of the digital procedure, the last 35 mm print quality is expert plenty to fool some professionals into thinking it was shot on 35 mm.^{[ commendation needed ]}

In U.k. most exterior telly footage was shot on 16 mm from the 1960s until the 1990s, when the development of more portable idiot box cameras and videotape machines led to video replacing 16 mm in many instances. Many drama shows and documentaries were fabricated entirely on sixteen mm, notably Brideshead Revisited, The Jewel in the Crown, The Ascent of Man and Life on Earth. More recently, the advent of widescreen idiot box has led to the use of Super 16. For example, the 2008 BBC fantasy drama series Merlin was shot in Super 16.^[13]

Equally recently as 2010, Scrubs was shot on Super16 and aired either equally iv:3 SD (kickoff seven seasons) or as xvi:nine HD (seasons 8 and 9). John Inwood, the cinematographer of the series, believed that footage from his Aaton XTR Prod camera was not only sufficient to air in high definition, information technology "looked terrific".^[14]

The Academy Award winning Leaving Las Vegas (1995) was shot on xvi mm.

The commencement two seasons of Buffy the Vampire Slayer were shot on 16 mm and switched to 35 mm for its later on seasons.

The start season of the pop series Sex and the Urban center was shot on 16 mm. After seasons were shot on 35 mm. All 3 seasons of Veronica Mars were shot on 16 mm and aired in Hard disk drive. This Is Spinal Tap, and Christopher Guest's subsequent mockumentary films, are shot in Super sixteen mm.

The get-go three seasons of Stargate SG-1 (bar the season 3 finale and the effects shots) were shot in 16 mm, before switching to 35 mm for later seasons.

Peter Jackson'south 1992 zombie comedy Braindead was shot on Super 16mm, so that more than of its $3 millon upkeep could be spent on its extensive gore effects.

The 2009 Academy Honour winner for All-time Moving picture, The Injure Locker, was shot using Aaton Super 16 mm cameras and Fujifilm 16 mm motion picture stocks. The price savings over 35 mm allowed the production to apply multiple cameras for many shots, exposing over one million feet of film.^[15]

British Napoleonic-era TV drama Sharpe was shot on Super xvi mm right through to the film Sharpe'southward Challenge (2006). For the last film in the serial, Sharpe'southward Peril (2008), the producers switched to 35 mm.

Moonrise Kingdom was shot using super xvi mm.

Darren Aronofsky shot mother! on xvi mm.^[sixteen]

Linus Sandgren shot most of the 2018 biographical drama First Man on Super sixteen.^[17]

Spike Lee shot the Netflix film Da 5 Bloods ' flashback scenes on sixteen mm film. This is function of the reason cinematographer Newton Thomas Sigel was considered for an Oscar nomination. The Insider reports that Netflix was "initially concerned nigh having the movie'due south flashback scenes shot on grainy 16 mm motion-picture show ... There was pushback because it opened up a lot of challenges." According to Sigel, the motion-picture show stock Lee wanted to use was expensive because it is rarely used. It would exist even more expensive to shoot on 16mm motion-picture show while on location in Vietnam so ship the picture show back to the Us to be processed at a picture show lab. Lee was "pretty adamant" about using 16mm for the flashbacks; Sigel said "I would never have been able to do it without such fervent support from him." Sigel had pitched to Lee the idea to shoot the Vietnam sequences using the kind of camera and film stock that would have been bachelor during the Vietnam era.^[18]

Digital 16 mm [edit]

A number of digital cameras approximate the look of the 16 mm format past using sixteen mm-sized sensors and taking 16 mm lenses. These cameras include the Ikonoskop A-Cam DII (2008) and the Digital Bolex (2012). The Blackmagic Pocket Cinema Camera (2013) and the Blackmagic Micro Picture palace Photographic camera (2015) has a Super 16-sized sensor. The Z CAM E2G (2019) even offers Digital 16 mm in 4K and with a global shutter.

Cameras [edit]

Professional cameras [edit]

A sixteen mm spring-wound Bolex camera

A modernistic xvi mm Arri camera

The professional industry tends to use 16 mm cameras from Aaton and Arri, nigh notably the Aaton Xtera, Aaton XTRprod, Arriflex 16SR3, and Arriflex 416. Aaton too released the A-Minima, which is about the size of a video camcorder and is used for specialized filming requiring smaller, more than versatile cameras. Photo Sonics take special extremely loftier speed cameras for 16 mm that film at up to one,000 frames per 2d. Panavision has produced the Panaflex 16, nicknamed "Elaine".

Amateur cameras [edit]

For amateur, hobbyist, and student utilize, information technology is more economical to use older models from Arri, Aaton, Auricon, Beaulieu, Bong and Howell, Bolex, Catechism, Movie house Products, Eclair, Keystone, Krasnogorsk, Mitchell, and others.

Motion picture reproduction methods [edit]

Virtually original movie production companies that employ picture shoot on 35 mm. The 35 mm size must be converted or reduced to 16 mm for 16 mm systems. There are multiple ways of obtaining a sixteen mm print from 35 mm. The preferred method is to strike a 16 mm negative from the original 35 mm negative and then make a print from the new xvi mm negative. A 16 mm negative struck from the original 35 mm negative is called an original. A new 16 mm print fabricated from a print with no negative is called a reversal. 16 mm prints can exist made from many combinations of size and format, each with a distinct, descriptive proper name:

• A 16 mm negative struck from an original 35 mm impress is a impress downward.
• A xvi mm negative struck from an original 16 mm print that was struck from a 35 mm original is a gull down.
• A xvi mm print struck directly from a 16 mm impress is a double dupe.
• A 16 mm impress struck directly from a 35 mm impress is a double dupe downwardly.

Film traders oftentimes refer to 16 mm prints by the print'south production method, i.east., an original, reversal, dupe down, double dupe, or double dupe down.

Color fading of onetime film and color recovery [edit]

Over time, the cyan, magenta and yellowish dyes that form the epitome in color xvi mm film inevitably fade. The rate of deterioration depends on storage weather condition and the moving-picture show type. In the case of Kodachrome amateur and documentary films and Technicolor IB (imbibition process) color prints, the dyes are so stable and the deterioration so slow that even prints now over 70 years old typically show no obvious issues.

Unfortunately, dyes in the far more mutual Eastmancolor print film and similar products from other manufacturers are notoriously unstable. Prior to the introduction of a longer-lasting "depression fade" type in 1979, Eastmancolor prints routinely suffered from easily seen color shift and fading within ten years. The dyes degrade at dissimilar rates, with magenta being the longest-lasting, somewhen resulting in a pale reddish image with little if any other colour discernible.^[nineteen]

In the process of digitizing old colour films, even badly faded source material can sometimes be restored to full color through digital techniques that amplify the faded dye colors.

Technical specifications [edit]

A strip of unmarried perf sixteen mm film with Super 16-sized frames.

A 100-human foot (thirty.v m) tin can of sixteen mm Fujifilm.

• 7.62 mm per frame (twoscore frames per foot) for print stock—7.605 mm per frame for camera stock
• 122 m (400 feet) = near 11 minutes at 24 frame/due south
• vertical pulldown

16 mm [edit]

• 1.37 aspect ratio
• enlarging ratio of 1:iv.58 for 35 mm University format prints
• camera discontinuity: 10.26 by 7.49 mm (0.404 by 0.295 in)
• projector discontinuity: 9.65 past seven.21 mm (0.380 by 0.284 in)
• projector aperture (ane.85): 9.threescore by 5.20 mm (0.378 past 0.205 in)
• Telly station discontinuity: nine.65 by 7.26 mm (0.380 past 0.286 in)
• Tv transmission: 9.34 by 7.01 mm (0.368 by 0.276 in)
• TV rubber action: viii.xl by half-dozen.29 mm (0.331 by 0.248 in); corner radii: 1.67 mm (0.066 in)
• TV safe titles: 7.44 by 5.61 mm (0.293 by 0.221 in); corner radii: 1.47 mm (0.058 in)
• 1 perforation per frame (may also be double perf, i.e. one on each side)
• Movie to audio separation: sound in advance of picture past 26 frames for optical sound and 28 frames for magnetic.

Super 16 [edit]

• 1.66 aspect ratio
• camera discontinuity: 12.52 by 7.41 mm (0.493 by 0.292 in)
• projector aperture (full i.66): 11.76 by seven.08 mm (0.463 by 0.279 in)
• projector aperture (1.85): eleven.76 by six.37 mm (0.463 by 0.251 in)
• 1 perforation per frame, always single perf

Ultra sixteen [edit]

• 1.85 attribute ratio
• camera aperture: xi.66 mm by 7.49 mm (0.459 past 0.295 in)
• projector discontinuity: 11.66 mm by vi.xv mm (0.459 by 0.242 in)
• one perforation per frame (may too be double perf, i.due east. one on each side)

See also [edit]

Techniques [edit]

• List of movie formats
• Sync sound
• Pilottone

[edit]

• Direct movie theatre
• Cinéma vérité
• Docufiction
• Ethnographic film
• Ethnofiction

References [edit]

1. ^ Kattelle, Alan (2000). Dwelling Movies: A History of the American Industry, 1897–1979. Transition Publishing. p. 334. ISBN0-9654497-eight-5.
2. ^ Kattelle, Alan (2000). Home Movies: A History of the American Industry, 1897–1979. Transition Publishing. p. 231. ISBN0-9654497-eight-5.
3. ^ Eisloeffel, Paul (2013). "16mm Format History" (PDF). Archives Filmworks . Retrieved November 10, 2016.
4. ^ Ellis, John; Hall, Nick (November 9, 2017). "Suit". Figshare. doi:10.17637/rh.c.3925603.v1.
5. ^ "Motion-picture show specifications" (PDF). Kodak. Archived from the original (PDF) on 2017-03-26. Retrieved 2019-04-20 .
6. ^ "How to Read a Kodak Film Tin can Characterization" (PDF). Kodak. 2014. Archived from the original (PDF) on 2017-03-23. Retrieved 2019-04-20 .
7. ^ Specifications for 16-mm Registration Test Film. doi:10.5594/SMPTE.RP20.2003. ISBN978-1-61482-073-4.
8. ^ For Move-Flick Pic (xvi-mm) — Projectable Epitome Area and Projector Usage. doi:10.5594/SMPTE.ST233.2003. ISBN978-i-61482-382-7.
9. ^ Jones, Andy (2014). "Across HD". BBC Academy. Archived from the original on 2014-12-19. Retrieved 2019-04-20 .
10. ^ "The Early Years of Super 16 and How it All Started – Film and Digital Times". Film and Digital Times. August xx, 2009.
11. ^ Gullickson, Brad (May 29, 2018). "Frank Thou. DeMarco On Capturing Punk Rock Grit in "How to Talk to Girls at Parties"". Film School Rejects . Retrieved July 19, 2018.
12. ^ ^{a b} Ferrari, Alex (2016-10-17). "How to Shoot Super 16mm Picture show Tutorials". Indie Moving-picture show Hustle . Retrieved 2019-07-19 .
13. ^ "Mill TV Taps Baselight to Piece of work Magic for BBC's 'Merlin'". Archived from the original on July xviii, 2011.
14. ^ "A new Hd frontier for Scrubs" (PDF) . Retrieved November i, 2009.
15. ^ Macaulay, Scott (November 14, 2011). "Cinematographer Barry Ackroyd Discusses Oscar Winner The Injure Locker". Filmmaker Magazine.
16. ^ Thorsteinsson, Ari Gunnar (Oct 11, 2016). "Darren Aronofsky on His Private Writing Process, Fighting Financiers and His Mysterious New Movie". indiewire.com . Retrieved December 2, 2021.
17. ^ Kadner, Noah (Jan vii, 2019). "Moon Walk: First Man". ASC Mag . Retrieved April fourteen, 2019.
18. ^ Sharf, Zack (2020-06-18). "'Da 5 Bloods' Cinematographer Says Netflix Pushed Back Against Spike Lee Using 16mm Film". IndieWire . Retrieved 2020-06-xix .
19. ^ "A History of Low Fade Color Print Stocks". In70mm.com. 1963-07-11. Retrieved 2014-05-20 .

External links [edit]

• Sit-in of a BBC 16mm moving picture crew preparing to shoot
• Discussion and demonstration of 16mm film cameras by former BBC cameraman
• Demonstration of 'lacing upwards' a 16mm film camera
• History of sub-35 mm Moving picture Formats & Cameras
• SUPER-sixteen modification of Bolex Reflex 16 mm camera
• "Sweet sixteen: A-list Cinematographers Say the Emulsion's Never Looked So Good, Here'southward Why...", written February 1, 2005, and accessed December 29, 2005.
• DIY processing xvi mm – guide for DIY processing of black/white 16 mm film
• Early list of films shot in Super16

(Wayback Automobile copy)

Source: https://en.wikipedia.org/wiki/16_mm_film

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