The Return of Super 16mm: How good does Super 16mm look compared to other formats? Super 16 is winning back a lot of support among the film community due to the introduction of new enhanced finer grained film stocks (Kodak VISION 2 & FIJIFILM), the development of ultra-sharp and optically superior lenses and use of the DI (digital intermediate) process to eliminate the resolution loss associated with 35mm blow-up. As a result, the overall quality of the Super 16 image has improved significantly in the last 10 years. For first-time features, direct to video films and films with a limited theatrical run, Super 16 can be the ideal medium. Super 16 has been the format of choice for reasons ranging from the resulting look, the cost-savings, the modest size of equipment packages, or any combination of these. In fact, Super 16 is now commonly used to economically achieve 35mm quality on a low budget. This is also why, in the production of dramatic television programming in the U.S., there has been a recent trend towards the Super 16 format in areas of the industry once completely filmed in 35mm (see listing in right column). Click here to see ARRI's new Super 16mm camera, the 416! The Beauty of 16: An Introduction to a Format (pdf download)
In addition , the costs in shooting with Hi-Def 1080i are more hidden . Color timing in Hi-Def costs the same as a telecine transfer of film to video (many first-time producers are not aware of this cost until they reach the final stages of post production). Hi Def cameras also rent for higher prices because they are by nature an evolving technology (just like computers) that will depreciate in resale as fast as new models are released into the market . Super 16mm film cameras however, have been out since the early seventies and maintain their resale value . Thus rental companies are not pressured to return their investment as quickly- hence the lower rental prices . Rental costs for a Hi-Definition 24P camera package can range from $1000 to $4000 more per week compared to a quality Super 16 camera package. This cost could otherwise be applied to film stock.
35mm film requires three times the length in film to produce an equivalent run time in super 16mm. One 400ft roll of Super 16mm film is about 11 minutes of run time, while a 1000ft roll of 35mm is about 10 minutes. Super 16mm camera equipment is also less expensive to rent when compared to 35mm gear. Super 16 can also be "scanned and burned" to 35mm film stock for a theatrical release (see D.I. below).
Using
Hi-definition video in post is a relatively new benefit for films
that choose to originate on Super 16mm. Super 16 can produce
stunning results when transferred to a Hi-Def video format. Using
Hi-Definition Video as a digital intermediate (D.I.) to later scan
to 35mm is becoming more popular and cost-effective way (compared
to direct 35mm blowup) to transfer to 35mm. Thanks to evolving
Hi-Def technology, the Super 16mm to Digital Intermediate process
can produce beautiful results using a 2K, 4K or even a 6K scan. In
addition, many major festivals throughout the world are now accepting
HD tapes for exhibition. The Future: "The tide raises all boats..." The real change will occur in the theater, not the set. Eventually, theaters will replace their film projectors with digital projection systems. When this happens, the costs of using 35mm prints to exhibit films will disappear- and we will see a much more democratized film industry. As distribution companies no longer have to consider the costs of making release prints when funding a theatrical release, they will be able to take more chances. In effect, more daring and creative distribution strategies will emerge and more interesting films will be released into the market. ** more info about digital exhibition here...
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THESE EPISODIC TV SHOWS ARE ALL SHOT IN SUPER 16MM:
A FEW EXAMPLES OF FEATURE FILMS SHOT IN SUPER 16MM: Lock Stock & Two Smoking Barrels IMDB
list of films shot in super 16
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