Jump to content


Photo

Super16 in 1:33:1


  • Please log in to reply
3 replies to this topic

#1 James Mann

James Mann
  • Basic Members
  • PipPip
  • 40 posts
  • Cinematographer
  • Los Angeles

Posted 09 February 2006 - 02:05 AM

Hello good friends.

I am in preproduction on a documentary style commercial. We originally thought about shooting Super16mm (mostly for its grainy textures). The piece has two different looks, both will require some tweeking in telecine but one is more textured and grainy than the other.

The director had originally wanted to go with 16mm but I thought it might be nice to have a neg with a little more detail (that you could maybe dumb down later) and leave the grain, mostly, to the choice of stocks.

But after further discussion with the director, we both came to feel that the 1.33:1 aspect ratio was more ideal than the Super16 1.66:1.

So then I thought to myself, "is there any advantage of shooting Super16 in this case or will the telecine blow up/push in negate the use of the larger negative?"


Thanks For Your Thoughts.

James
  • 0

#2 Brian Drysdale

Brian Drysdale
  • Basic Members
  • PipPipPipPip
  • 5198 posts
  • Cinematographer

Posted 09 February 2006 - 05:16 AM

You can frame the 1.33 aspect ratio using markings in your viewfinder (assuming that the ground glass in your camera has 1.33 markings - some switchable cameras have both Super 16 & regular 16mm markings) and shoot reference 1.33 frame markings for the TK to set up on.

However, this is the same size as the regular 16mm frame, there is no advantage in quality because you're shooting with a Super 16 gate. Switchable cameras do this all the time, they just shift the optical centre & ground glass to match the format in use at the time.

If you want to use 1.33, shoot regular 16mm if your camera can do so. If you want to have a black mask on either side of your 1.33 on a 16:9 you can put it in during post using either method.
  • 0

#3 Mitch Gross

Mitch Gross
  • Basic Members
  • PipPipPipPip
  • 2873 posts
  • Cinematographer

Posted 09 February 2006 - 04:30 PM

There is one distinct advantage to shooting S-16 for 1.33 post -- reframing. All the time in transfers I have directors and clients wishing to move frames a bit to the left or right. Shooting with a little wider negative allows this. It is actually a requirement for a lot of the work I do. Yet another reason why regular 16mm cameras are gathering dust, producers would rather shoot in S-16 even for 1.33 finish.
  • 0

#4 Thomas Cousin

Thomas Cousin
  • Basic Members
  • PipPip
  • 74 posts
  • Cinematographer
  • Paris, France

Posted 09 February 2006 - 04:42 PM

hello,

often, when you use a S16 ground glass for commercial work, you can have one with the 1,33 marking on the center. no need to have the mount to be recentered on standard 16. just shoot super16 and in TK you can "grab" the smaller 1,33 image in the center.
furthermore, sometimes you have a 1,33 making in the center , which is the protection for TV. it is a lot smaller in height that the "full frame". as is you can frame your project in 1,33 and use only a small portion of the neg which going to result as a grainier image. just an idea if you're looking for a grainy look.

thomas
  • 0


Metropolis Post

Tai Audio

Abel Cine

CineTape

New Pro Video - New and Used Equipment

Ritter Battery

Media Blackout - Custom Cables and AKS

Aerial Filmworks

Glidecam

Wooden Camera

Visual Products

Rig Wheels Passport

Gamma Ray Digital Inc

Technodolly

Paralinx LLC

The Slider

CineLab

FJS International, LLC

Willys Widgets

Broadcast Solutions Inc

rebotnix Technologies

CineLab

Tai Audio

Glidecam

Willys Widgets

Gamma Ray Digital Inc

The Slider

Wooden Camera

Aerial Filmworks

CineTape

Abel Cine

FJS International, LLC

Technodolly

New Pro Video - New and Used Equipment

Visual Products

Ritter Battery

Rig Wheels Passport

Media Blackout - Custom Cables and AKS

rebotnix Technologies

Paralinx LLC

Metropolis Post

Broadcast Solutions Inc