Will Super 16 replace Standard 16 as a European Standard?
Standard 16mm and Super 16 in Europe
For the countries in northern Europe, Standard 16mm is the normal and usual television production medium for those who are going to shoot on film. In fact, approximately 80-85% of all 16mm negative sales fall within the television market segment. The U.S. Television market segment is primarily 35mm.
With the advent of HDTV and the wide screen TV formats, such as PAL Plus, there has been a great deal of interest in Super 16 because the aspect ratio of Super 16 is similar to that required for HDTV and PAL Plus. Super 16 format is future proof, and that while 35mm is still the imaging "standard", Super 16 offers a cost effective method for producing TV programming.
Super 16 also offers the option for blow-up to 35mm for cinema release.
As the TV companies already have 16mm equipment, they are quite receptive to this message because they will not have to re-equip to produce wide screen
programs for HDTV and PAL Plus.
The following information was extracted from the POWER OF 16 launch plan. Many of you have never seen this plan but the information it contains about Super 16 is worthy of reprinting here in CTS News. It was written by Paul Collard, Metrocolor Laboratory and Peter Bryant, I.C. Equipment Ltd. The information was assembled by Kodak Limited and domestic contributions were provided by John Pytlak, CTS. It is intended to make readers aware of how Super 16 is being positioned in Europe. Many believe Super 16 imaging will replace standard 16mm, and in some market segments it may replace 35mm. Will this trend catch on in North America?
Prologue
"The producer who is looking towards the future faces a dilemma. How to create a program within today's ever tightening financial restrictions, to show on today's TV screens, that can also be broadcast in high quality in years to come on the splendor of widescreen extended vision and high definition sets.
To achieve the necessary quality for HDTV and also the correct screen ratio, the Super 16 format provides a solution to the problem at almost identical production costs to Standard 16. Once the Super 16 negative has been exposed, the producer has the ability to produce a film for current television broadcast, future HDTV, or even a 35mm blow-up for cinema release. This flexibility of Super 16 in meeting both today's and tomorrow's needs with economy, must feature strongly in the decision-making process, especially when the option of film vs. video is being considered.
Over the past two years, interest in Super 16 has increased. Improvement in film stocks, cameras, lenses and post production facilities makes Super 16 better and easier to use today than ever before."
What Is Super 16?
Super 16 is a film format designed to use the maximum image area available on conventional 16mm film. A modified 16mm camera is used with single perforated 16mm film stock. The width of the Super 16 frame extends an extra 20% into the area normally occupied by the sound track.
Super 16 has an aspect ratio of 1.66:1. This is very close to the new HDTV format of 16:9 or the widescreen cinema format of 1.85:1. Consequently, very little cropping is needed to convert to these picture formats. The greater frame width of Super 16 and the need for less cropping top and bottom gives Super 16 a 46% increase in image area over standard 16 when displayed in the widescreen 1.85:1 ratio. This means better quality pictures from 16mm film.
Because a Super 16 print does not have room for a conventional soundtrack, any sound must be double system.
Super 16 is recognized by International Standard ISO 5768 (1981) specified as "Camera Aperture Type W".
Production considerations
New Film Stocks:
These have greatly improved the image quality obtainable from 16mm film. For Super 16mm origination, stocks such as KODAK Vision 200T (7274), 320T (7277), 250D (7246) and EASTMAN EXR 50D (7245) and 100T (7248) offer the cinematographer a variety of quality products that take maximum advantage of the increased image area available on single perforation 16mm film. They also provide very high quality originals for blow-up to 35mm or future transfer to HDTV. Eastman EXR Color Intermediate Film 7244 propagates original quality throughout the film system.
Cameras and Lenses
Production equipment for Super 16 has advanced to take advantage of the new high definition 16mm film stocks. It is available for rent or purchase from major suppliers in a highly portable package no larger than a traditional 16mm film camera.
Outwardly, a Super 16 camera appears the same as a Standard 16 camera, but internally, the picture aperture is enlarged to the Super 16 format, the lens is recentered in its mount to the Super 16 frame center line and the viewfinder has the extended markings of the Super 16 frame on the ground glass. Aaton XTR cameras have these features fitted as standard, plus a rotating lens mount which recenters the lens to either Standard of Super 16 positions. The Arri SRII can also be supplied in a dedicated Super 16 version and both cameras have film transport systems and magazines designed to support the narrow edge of the film outside the extended picture area.
New Super 16 zoom lenses have been recently introduced to complement the popular range of prime Distagon lenses. The Canon 8-64mm T2.4 high definition zoom lens has extended the wide angle range available for Super 16 zoom lenses. Angenieux have introduced a longer 11.5-138mm zoom lens at T2.3. The well established Cooke Varokinetal 10.4-53mm T2.8 zoom from Rank Taylor Hobson is also available in Super 16 version.
For advice on specific camera/lens combinations, it is advisable to check in advance with the camera suppliers.
Laboratory Services
When sending exposed film to the Laboratory, camera sheets should be clearly marked "Super 16" to ensure the Laboratory develops, prints, and screens the rushes in the correct ratio. Printers and projectors must be equipped with Super 16 apertures and all film handling equipment must be modified so that the non-perforated edge is not scratched. This includes the processing machine, printer, synchronizer, editing table, projector, etc. With regard to the required printer modifications, the printer manufacturers will have the necessary rollers, apertures, and other parts. For a Model C printer, the US contact would be:
BHP, Inc.
1800 Winnemac Avenue
Chicago, IL 60640-2662
Telephone 312-989-2140, (Mr. John Ehrenberg).
Other labs that specialize in Super 16 (in North America) are DuArt , New York City, and Colorlab, in Rockville, Maryland. Colorlab has pioneered many advancements in leading-edge super 16mm technology. For example, they can provide super 16mm 7244 interpositives for telecine transfer and blow-up work. They can make a squeezed print directly from the super 16 A&B rolls to provide the super 16 user with an affordable screen product that can be used for juries and festivals. They also have a liquid gate super 16mm printer. The National Film Board of Canada in Montreal also specializes in this film format.
See the complete list of Motion Picture Laboratories
|
