Wednesday, January 18, 2006

Pravda of Super 16

Somebody just repeated hearing Super 16mm is useless.
Not so.

Theory is, when you've made a S16 movie, you're as far
away from a 35mm print as the moon. There are no S16
projectors, and yada yada. I've heard this theory
too much. Wanna know the truth? Kino-pravda?

I love 35mm, and it's definitely better, but if you have a
low shooting ratio, S16 is pretty darn cheap to
shoot and develop and print.

Can't screen it? Don't make me laugh. What film print?
It's on my Final Cut Pro, and then my DVD. Anybody can screen it.

Oh, you need to screen it on film? $150 buys an eBay 16mm projector.
$10 buys a square file. $20 buys a selsyn motor. You file out the
gate, bolt in the motor, and have yourself an interlock screening,
just like old times.

Or put in an encoder wheel, and lock it to your multitrack/midi setup.
All you lose is that old AM-radio optical soundtrack, and gain another
55% (35mm blowup) or 64% (HD telecine) image improvement.

No S16 projectors? Please.

If you get a theatrical distributor, somebody's gonna need
to buy a blowup, but it won't be you.

Until that unlikely event happens, your original's on film,
in the right shape for a 35mm blowup, and (more importantly)
in the shape of an HDTV frame. (1.78:1)

You remember HD. It's the next big thing. The FCC makes it
mandatory in one year. You have just enough time to get a
movie done in S16, if you start writing now. Go!

If somebody tells you S16 doesn't work,
ignore propaganda, and search for pravda.

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