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Films shot on Super 16


Martin Yernazian
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I still need to see that Film, they todld me is stupid but well is good for the eye education,

just saw the Motorcicle diaries... you know it has a great feel of 35 to it .

Rob Zombie's The Devil's Rejects was shot in super 16. I like good exploitation films, but this wasn't one of them. The script (esp. dialog) was amateurish, and that "Freebird" ending was totally self indulgent. --But the images are nice and gritty, works for the subject matter.

 

There was a Liv Tyler horror film shooting near here, The Strangers, I heard it was super 16.

http://imdb.com/title/tt0482606/

 

There should be more lower budget super 16 releases in multiplexes. That way you could have more films with obscure tastes that could still make a profit. Big budgets usually equal trying to please all audiences, which makes for dull, watered-down ideas. :angry:

Correction: Forgot to enter, that Bully was shot on **35mm**, 800T, 5289

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  • 6 years later...

Here are some of the popular films shot on S16 besides BLACK SWAN, MOONRISE KINGDOM, THE HURT LOCKER, MOTORCYCLE DIARIES, LEAVING LAS VEGAS, & EL MARIACHI ...


 

LORE (2012)
CHOKE
JAPON
RETURN
THE RUM DIARY
THE RUNAWAYS
COME BACK TO THE FIVE AND DIME....
DOG SOLDIERS
PREFONTAINE
NINE LIVES
Edited by Prashantt Rai
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Coutard: "I'm aware now that what we made was iconic, but at the time no. I used a Caméflex Éclair 35mm camera and they always say oh, handheld photography. Its true that it was light and easy to move and reload quickly but it made one hell of a noise. I still have that terrible din in my ears. Do I still have the camera that captured those iconic shots? No, no, no. It was a cheap movie. We hired the camera and had to give it back."

 

http://www.guardian.co.uk/film/2010/jun/06/raoul-coutard-jean-luc-godard-breathless

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Coutard: "I'm aware now that what we made was iconic, but at the time no. I used a Caméflex Éclair 35mm camera and they always say oh, handheld photography. Its true that it was light and easy to move and reload quickly but it made one hell of a noise. I still have that terrible din in my ears. Do I still have the camera that captured those iconic shots? No, no, no. It was a cheap movie. We hired the camera and had to give it back."

 

http://www.guardian.co.uk/film/2010/jun/06/raoul-coutard-jean-luc-godard-breathless

Well, I guess he's the guy that would know! :)

 

Thanks for the correct information.

 

Just goes to show that you can't believe everything you read on the internet...

Like this: http://cuttingroomtales.wordpress.com/2013/01/20/anyone-for-revolution/

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Blue Valentine Directed by Derek Cianfrance, All the flash backs were shot on Super 16mm Vision 3 and 2 stocks, and the present on RED ONE. I personally think it has great cinematography especially the filmic looks and handheld, all the present shot on teles, and only a 25mm for the past. Only used one light the whole film a 6K Watch on Bluray to see the beautiful grain also was kept in the original aspect ratio 1.66:1 which is a bit different,

 

Funny sidenote:

"The cinematographer burned through 400-foot rolls of 16mm stock at an incredible rate, exposing 9,000 feet (approximately three hours, 45 minutes) in a single day"

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  • 3 weeks later...

The rich colors and contrast of film has a look all its own.

 

I did a custom search for 16mm films on Blu Ray. Some of these are regular 16, but these were the films I thought had the best looking stills.

 

 

http://www.dvdbeaver.com/film2/DVDReviews44/pride_and_prejudice_blu-ray.htm

 

http://www.dvdbeaver.com/film3/blu-ray_reviews51/dog_soldiers_blu-ray.htm

 

http://www.dvdbeaver.com/film/dvdreviews10/gimme_shelter_.htm

 

http://www.dvdbeaver.com/film4/blu-ray_reviews57/the_tempest_blu-ray.htm

 

http://www.dvdbeaver.com/film3/blu-ray_reviews51/the_square_blu-ray.htm

 

http://www.dvdbeaver.com/film2/DVDReviews45/the_key.htm

Edited by Steve Zimmerman
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Supplements include a trailer and three creative short films by Jarman in 1080i: ''A Journey To Avebury'', ''Garden Of Luxor'' and ''Art Of Mirrors'' running about 25-minutes in total. These are of the student-experimental variety - few constraints - and the director's fans will appreciate.

 

YIKES! It's ironic as I was thinking looking at the stills, that I was sure I had seen Dereks Jarmans the Tempest but don't remember any of the scenes the stills are from. I seem to remember a musical extravaganza involving sailors and a lot of colourful costumes towards the end tho. Maybe I fell asleep through some of it???

 

"The Art of Mirrors" OTOH is burned into my mind and is a very influential film. The other two to a lesser extent also, I seem to remember "A Journey to Avebury" has a coil soundtrack but I prefer the Garden of Luxor.

 

I honestly thought that Derek Jarman was fairly well respected these days and it was mostly just Sally Potter who was getting the stick still out of that gang of experimental rogues.

 

Anyway it's a shame they don't show any stills from the extras other than the titles which are meaningless. It would be interesting to see if they have nicer transfers from the Super8 originals or not. They might look a bit strange with new super transfers but it would be interesting to see.

 

Was thinking that it was a cool blu-ray just for the extras!

 

Well that comment has officially blown my mind for today!

 

Freya

Edited by Freya Black
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Rum Diary looked nice and sharp with fine grain (Zeiss Ultra Primes help). The problem I have with that one and The Paperboy (also S16), was the color grading which really dimmed the brightness for the image for the entire movie. This was distracting for these movies because they were set in sunny locations like Louisiana, and a tropical island! Even correctly dingy Blade Runner had bright highlights for contrast. Guess it's a matter of taste.

Edited by Steve Zimmerman
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  • 2 weeks later...

Yes, Iluis!

 

The Draughtsman's Contract (1983) is a masterpiece! I seem to remember that it was the very first full-length feature film where

the Super16 format was used to shoot the actual scenes, which were then subsequently blown up optically and printed to 35mm release prints. The dynamic photo (with many central perspectives), sparse lighting and color saturation of this film really brings you back to the murky 17th century (indoors). I have it on DVD and I watch it now and then, for the beauty of it.

 

I consider, by the way, the 1.66 : 1 ratio format as being one of the most beautiful - it is very proportionate and picturesque.

Super16 was, as everybody knows, of course, first invented by Swedish DP Rune Ericson in 1969, for the Aäton 16mm sync sound cameras developed by Jean-Pierre Beauviala.

All the best, Bengt in Stockholm :-)

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