16mm movies in dvd

Alex Ced · February 23, 2005

well, hello everybody in this small world...

Do you know anything about some 16mm movies in dvd?

I want to compare them to 35mm movies in dvd.

Thanks in advance.

Scot McPhie · February 23, 2005

well, hello everybody in this small world...

Do you know anything about some 16mm movies in dvd?

I want to compare them to 35mm movies in dvd.

Thanks in advance.

<{POST_SNAPBACK}>

I've never seen it but I believe leaving Las Vegas was shot on Super 16 - that might be an easy one to get hold of first for comparisons - I doubt you'll notice too much difference on a tv screen - except perhaps more depth of field (or not as much shallow depth of field)

-here's a better list

http://www.imdb.com/SearchTechnical?PCS:Super%2016

Scot

Nathan D. Lee · February 23, 2005

You should check out Fujifilm's website. You can request a free DVD and info packet on all of their motion picture films. On one DVD there are several stocks tested. Most show the same stock in both 35 and 16 in a variaty of production situations back to back. Also each short and test has a running comentary by the DP and you get a full data sheet on each film and each shot, (i.e. Lens, apature, frame-rate and exposure data all over the screen). It is one of the most helpfull DVDs i have as far as learning and seeing differences.

I recomend it for eveyone. I would love if Kodak did the same.

http://www.fujifilm.com/JSP/fuji/epartners/MPDemoReel.jsp

Edited February 23, 2005 by leebob61

February 23, 2005

"Spun" is a cool flick done in super 16.

February 23, 2005

"The Station Agent" is a good example of a recent film shot on Super-16 with modern film stock. Also a good little movie.

Robert Edge · February 23, 2005

Spike Lee's She Hate Me.

Touching the Void, about a mountaineering accident in South America, was shot in 35mm, 16mm and video.

Chance Shirley · February 23, 2005

Two Kevin Smith movies (CLERKS and CHASING AMY) were shot on 16mm.

Christopher Nolan (director of the new Batman movie) shot FOLLOWING on 16mm.

All of Christopher Guest's most recent movies (WAITING FOR GUFFMAN, BEST IN SHOW, A MIGHTY WIND) were shot on Super 16mm.

Robert Rodriguez shot his first feature (EL MARIACHI) on 16mm.

Matt Pacini · February 25, 2005

Tigerland was shot on S16 (Colin Farrel's first movie, I believe), and it looks really good.

Joel Schumaker directed it, so this was not a low budget movie.

Actually, I kinda wonder what the motivation is for shooting on S16 on films like this, (and Leaving Las Vegas), where you have bankable talent attached to the project, therefore, they would have no problem funding a 35mm shoot.

Anybody have any idea?

It doesn't seem to be for any unique look, at least on these two films.

Matt Pacini

Josh Hill · February 25, 2005

If I remember the commentary on TigerLand correctly, it was shot in regular 16 and blown up to 35mm to get more of the gritty feeling. Schumacher also wanted it to feel more rough, more like a documentary than a major motion picture. So Schumacher did want it for its unique look and feel.

I think some people choose 16 or S16 for its aesthetic, and some people for its portability (I think most of TigerLand was shot hand held). And I think there's also the bonus of being able to try more things and get more takes than with 35mm.

Later,

Josh

Rachel Oliver · February 26, 2005

Actually, I kinda wonder what the motivation is for shooting on S16 on films like this, (and Leaving Las Vegas), where you have bankable talent attached to the project, therefore, they would have no problem funding a 35mm shoot.

Anybody have any idea?

It doesn't seem to be for any unique look, at least on these two films.

Hi;

I remember reading that Mike Figgis preferes small formats and has recently moved even further down the food chain to DV! I definately feel S16 gave Leaving Las Vegas an edgy feel.... Check out the seen where Nic Cage is trashing his life history in his apartment and the highlights are all blown out, it's almost a video feel, almost uncorrected, just not 35mm looking at all, ofcourse you could shoot it the same in 35 but it would still look different. I love the idea that a "big" film shot S16 for poetic reasons,

Olly

Dan Salzmann · February 27, 2005

Pi and Gray Gardens were shot in 16mm.

Alejandro Wilkins · March 1, 2005

Heres some:

- Best in Show, Chasing Amy, Groove, Hamlet (2000), Leaving Las Vegas, Lock, Stock, and Two Smoking Barrels., A mighty wind, Monsoon Wedding, Pi, Prefontaine, Romper Stomper, She's Gotta Have It, She Hate Me, Spun, Thirteen, Waiting For Guffman, Where's Marlowe, Dale Earnheart Story, Never Die Alone

I've heard some people talk about their choices for shooting S16mm over 35 and beside the look and budgetary concerns, people liked it because the size of the cameras allow for easier use on location and create a more intimate environment for actors.

I wonder if the arri 235 has changed anyones decision recently since it is very small and low profile.

GeorgeSelinsky · March 3, 2005

I wonder if the arri 235 has changed anyones decision recently since it is very small and low profile.

<{POST_SNAPBACK}>

Probably not since it is a noisy, non sync camera.

Frankly, there's nothing about 35mm that makes it less "intimate for the actors" than 16mm. The mass of the camera isn't that significantly different - maybe a Mitchell BNCR and a Bolex don't quite compare, but if you compare apples to apples it's not that big of a difference. The same crew is required regardless of what format you shoot in - the same people are milling around your set. Actually you need more light for 16mm, and that is less intimate by design.

The big problem with 35mm is more frequent reloads and that you have more filmstock to carry with you. That makes it much less pleasant when you're filming something like a doc, or docu style. The reason, btw, that Texas Chainsaw was filmed in 16mm Ektachrome Commercial (asa 25) is because they wanted to do a lot of handheld (and this was before good handheld sync 35mm cameras existed). I would NEVER want to work with so much light on the set though, there's no way in hell you'd get away without renting 5k's, a strong generator and getting a load of heat.

Fortunately with today's films that's not nearly that much of an issue. Still, if you want to blow up to 35mm later you really want to stay in the 50-100 asa department as much as possible (although many DP's are going with the 200 asa vision now for blowup, and even permit themselves the use of 500 asa 7218).

- G.

Edited March 3, 2005 by GeorgeSelinsky

Chris Keth · March 3, 2005

I haven't seen the movies in question, but maybe they just wanted to channel more of the budget to something else. Even if portability wasn't a concern, S16 might have been a compromise to put more budget money into X.