My Super 16mm features

[Prashantt Rai]

Hi there everyone, greetings!

 

Thought I will brief everyone on how super16 is still going popular with indie filmmakers and independent producers.

 

 

 

1. I shot a roadie film BOOM BOOM WALE in November last year for a director friend, is finally coming up for DI grading next week.

The film was shot on a small budget. I used china balls and some practical lights for interiors and exteriors were all shot without lights. The results are good and the director is happy.

 

2. Am currently filming SANDRA BEDS SANDEEP on super 16 using Kodak Vision 3 stocks - 50D and 200T. My producer is a young guy who comes from television background. When we were doing pre prod he was slight apprehensive of super 16 being grainy. But I showed him some results and he loved it. He ran the numbers for both digital cine cameras and film cameras with stocks and he concluded that film turns out cheaper with good looks in built in the negative. and after that he hasn't looked back.

 

What started as another shoestring film shot handheld turned into a full fledged feature. He hired studio spaces, built sets, got me lighting and grips package, generator vans, etc. He is satisfied with the results so far. almost 90% of principle photography is over.

 

3. The same producer now intends to start my second film JACKnJILL on Super 16 to be shot tentatively in Oct 2014. Earlier he was thinking of upgrading it to 35 but 16 is good he feels. It has a hell lot of character and feel.

 

 

 

 

[Jeremy Cavanagh]

Not only Indies, I understand parts of Captain Phillips was on S16.

[Prashantt Rai]

Jeremy,

Yes even I heard that but I saw various posts of academy awards on Facebook and it said that it wasn't S16 but C300. I was totally zapped.

What is the truth like? #CaptainPhillips

[James Martin]

I thought Captain Phillips was all three. I think all the stuff on the US destroyer was C300.

 

It is nice to see S16 still being used though. I have just bought a 35mm and a S16 kit, hoping they will both get some use.

[James Compton]

Aaton Super 16mm cameras were used for the Somali fishing village scenes. They then switched to 35mm once the pirates board the American shipping vessel. The C300 was only used for aerial shots.

 

Check out the November 2013 issue of American Cinematographer.

[Prashantt Rai]

James Compton,

thanks for the info. Did they use S16 inside the lifeboat?

[Tyler Purcell]

Stocks are so good today, the 16 stuff just looked like grained 35mm stuff since they used longish lenses in the fishing village scenes. Its only when you get to wider shots and look at depth of field, where the 16mm use is apparent.

 

I would have shot the whole movie on the 416, it would have made for quite an interesting look.

[Giray Izcan]

For aerial stuff, I'm pretty sure they used Alexas.

[Prashantt Rai]

"I would have shot the whole movie on the 416, it would have made for quite an interesting look."

 

I second that Tyler! Super 16 stocks are awesome. Now is the time to make films on film.

[Prashantt Rai]

James Martin,

 

Wow man you did the smart thing that you bought both. Sometimes, i do feel that I miss 35mm gear. Did you pick up an 435?

[James Martin]

I have a 535B, an SR3 HS and I might be adding a 435 just to complete the set :)

 

James

[James Compton]

James Compton,

thanks for the info. Did they use S16 inside the lifeboat?

 

 

Prashantt,

 

According to 1st AC Oliver Driscoll, The cameras used on 'Captain Philips' were the Aaton XTR Prod 16mm, Aaton 35mm Penelope, Arri 235, 435 and ARRICAM LT. VISTAVISION 35mm was used for VFX plates. The ALEXA was used for aerial shots. GOPro cams were used for POV shots of the SEAL team parachute jump. No C300's were used on the film.

[Stuart Brereton]

I would have shot the whole movie on the 416, it would have made for quite an interesting look.

Why the 416? How would this have been different from any other s16mm camera?

[Adrian Sierkowski]

It's newer, lighter, smaller, quieter, and more likely to be a rental house item. Plus it's a lot easier to hand hold than an SR3. Also I don't think the viewfinder blocks certain lenses as the SRs can.

[Stuart Brereton]

I'm familiar with the 416. I was just curious how it would look any different to an SR or Aaton.

[Adrian Sierkowski]

Certainly wouldn't look any different, it's just a box after all.

[Tyler Purcell]

The one critical thing about shooting 16 is to have a ultra clean and tight gate. I've had nothing but problems with worn gates on SR's. So I prefer the newer cameras because the gate, backplate and mags are practically brand new! :)

[Stuart Brereton]

Certainly wouldn't look any different, it's just a box after all.

That was kind of my point.

[Prashantt Rai]

I used 416 also for 3-4 days during the recent feature shoot. Very smooth camera. The only problem i had was once you press the button to roll, the shutter revolves once and stops, and after a pause it starts running again. I had tough time getting used to that. Why does that happen? can someone explain please.

cheers

[Jeff L'Heureux]

I used 416 also for 3-4 days during the recent feature shoot. Very smooth camera. The only problem i had was once you press the button to roll, the shutter revolves once and stops, and after a pause it starts running again. I had tough time getting used to that. Why does that happen? can someone explain please.

cheers

The 416 goes through one 'phase' cycle when you press run just to ensure the perfs are properly lined up and you won't tear a perf. It takes getting used to but it is just an extra measure the camera takes for the safety of the film in the gate.

[Prashantt Rai]

The 416 goes through one 'phase' cycle when you press run just to ensure the perfs are properly lined up

 

Aha, its a nice feature then. Self and my assistants are used to manually pressing the Phase buttons every two-three shots depending on how much rush i was in :-) . 416 comes automatically. Mixed feelings here.