Cameras permanently fixed on Super 16 ??

[LimHKim]

Hello......

 

I need some notes and comments on the idea of rental houses wanna permanently fix their 16mm cameras with Super 16 format. In additions, the camera comes with a combination ground glass of 1:66 and 1:33.

 

Reasons # 1 : Less hassle. It's time consuming during peak seasons.

Reasons # 2 : Minimised accidental damages during interchange.

Reasons # 3 : Flexiblity of left and right image cropping at post. (if shooting for Normal 16)

Reasons # 4 : Directors still do have options if they want their end products to be on Super 16 (although it's very rare situations)

 

 

I believed eventually they are planning to have the same setup for their 35mm cameras.

 

Pls. advice.

[Mitch Gross]

... and worthless if the customer wants to make a contact regular 16mm print. Of course who does this anymore except students? It is a very rare event for me to switch my S-16 to standard, but it only takes half an hour to do so.

 

And to do the same in 35mm is crazy. Most people still frame for Academy. Why should I be forced into an optical to correct?

[Adam Frisch FSF]

The interesting question is WHY do people still shoot Academy when they're going to telecine?

It's madness. It's gotta stop - and by letting the cameras "live" in super-35 centering you'll force people to do the right thing. Film people are to conservative and need a kick sometimes...

[Mitch Gross]

The interesting question is WHY do people still shoot Academy when they're going to telecine?

<{POST_SNAPBACK}>

There are some zooms and wide angle primes that won't cover the full aperture.