Christian Schonberger Posted March 4, 2016 Share Posted March 4, 2016 Hi all, Just watched some Ultra 16mm test footage on Vimeo. From time to time I saw letters and numbers flickering/running on the left hand side, rendering the footage unusable. These are obviously brand markings (or how these are called?) between the sprocket holes on single perf 16mm film stock - I remember these from all kinds of Super 8 and 16mm material for projection (reversal and print) - where these don't make any difference. I am thinking about Ultra 16mm in the future because a lot of older 16mm cameras seem to be way easier to convert to Ultra 16mm than to Super 16mm (say: Canon Scoopic, perhaps Beaulieu R16....). Q: does anyone know if the currently available 16mm film stocks (say Kodak Vision 3, Wittner 200D and perhaps Fuji Eterna Vivid - haven't seen any of the latter available on 16mm yet, but it is listed by Fuji) include these markings and ruin Ultra 16mm footage? Which film stock is to avoid and which is recommendable for that format? Also: some Ultra 16mm footage seems to have issues with light leaks and scratches/marks caused by the gate or perhaps pin registration? Any tips regarding Ultra 16mm appreciated. Thanks a lot in advance, Christian Link to comment Share on other sites More sharing options...
Premium Member Jay Young Posted March 4, 2016 Premium Member Share Posted March 4, 2016 As far as I know all film negative includes edge code/key code numbers. It is used to conform the negative to the workprint, or scan selects or different things... Unfortunately Kodak is not likely to make any film without key codes unless you can order a substantial quantity, say 2 million feet? Link to comment Share on other sites More sharing options...
Christian Schonberger Posted March 4, 2016 Author Share Posted March 4, 2016 Thanks a lot for the information. That means basically: Ultra 16mm is usable on a certain kind of film stock only. So Kodak neg is already out.... Thanks a lot. I remember the running "Eastman" on the old infamous (faded to red/magenta, cyan is gone and yellow on its way out....) 16mm prints, same with Agfa and Fuji... hmmmmm. I consider the Wittner (Agfa) stock only for camera tests (framing, lens etc.) anyway (thin estar base, washed out look, but not that shabby - as far as I know.....). Thanks again, Christian Link to comment Share on other sites More sharing options...
Chris Burke Posted March 4, 2016 Share Posted March 4, 2016 This is part of the problem with a non standard format Link to comment Share on other sites More sharing options...
J. Winfield Heckert Posted March 5, 2016 Share Posted March 5, 2016 No numbers show up inside the 1:85 frame of ultra 16mm. They are on the outskirts of the frame line. The demo you are watching is showing a much larger part of the frame than what will be seen on a transfer. Link to comment Share on other sites More sharing options...
J. Winfield Heckert Posted March 5, 2016 Share Posted March 5, 2016 https://vimeo.com/6506891. If you look at the last 5 seconds of this demo you can see the numbers are out side the frame lines. Link to comment Share on other sites More sharing options...
J. Winfield Heckert Posted March 5, 2016 Share Posted March 5, 2016 Idk how to embed it from my phone but if you look up on vimeo. Search for "Ultra 16mm Regular 16mm comparison" from j Winfield heckert Link to comment Share on other sites More sharing options...
Christian Schonberger Posted March 5, 2016 Author Share Posted March 5, 2016 Idk how to embed it from my phone but if you look up on vimeo. Search for "Ultra 16mm Regular 16mm comparison" from j Winfield heckert That was the exact footage I was referring to in my O.P. Thanks for the information! BTW: looks like a late 1960s Arriflex 16BL on your avatar. Love that camera! Seen a lot of news gathering being filmed with it back in the day (around 1980). Did you convert it to Super 16 or Ultra 16? Thanks again! Christian Link to comment Share on other sites More sharing options...
J. Winfield Heckert Posted March 5, 2016 Share Posted March 5, 2016 That's the camera I shot all of the footage on that demo with. I had it converted to Ultra16 by Bernie at super16 inc. The BL was cost probitavite to convert to Super16. It was the least expensive sync sound camera at the time I bought it and was a good value. They are heavy and the 12-120 is not so sharp but other than that I had a lot of fun with it and got some great footage out of it. I upgraded to an arriflex high speed sr II last year. Link to comment Share on other sites More sharing options...
Christian Schonberger Posted March 5, 2016 Author Share Posted March 5, 2016 Great! Thanks for the information. Yep: The Arriflex SR2 high speed is great (love the coax mags!). Congrats! Good Super SR2 16mm conversions out there! Seen some footage on YT: rock steady and pin sharp! Any good SR2 and the minimum necessary extra gear (at least two mags, lens....) I found online is still very expensive! Hope those backlit LCD diplays and electronics won't die (seems replacement is hard to find?). Would buy an Ultra 16mm Arri 16 BL in no time (flat broke right now....). Thanks, Christian Link to comment Share on other sites More sharing options...
Recommended Posts
Create an account or sign in to comment
You need to be a member in order to leave a comment
Create an account
Sign up for a new account in our community. It's easy!
Register a new accountSign in
Already have an account? Sign in here.
Sign In Now