http://kino-eye.com/2005/03/09/kodak-to-build-on-super-16-hd-film-system-for-television/ "Everybody who cares for his art, seeks the essence of his own technique." -- Dziga Vertov (1922) Wed, 18 Jan 2012 16:49:32 -0500 http://wordpress.org/?v=2.8.4 hourly 1 http://kino-eye.com/2005/03/09/kodak-to-build-on-super-16-hd-film-system-for-television/comment-page-1/#comment-2 David Tames Sun, 13 Mar 2005 18:30:24 +0000 http://kino-eye.com/?p=28#comment-2 It's interesting to note that a number of filmmakers I know in New York have reported an upsurge of 16mm use. One thing that may account for this is while many filmmakers who shot their first features on DV want to move up to film, the portability you give up with 35mm (unless shooting with a Aaton 35-III) is a problem. Shooting in 16mm gives you small, mobile cameras that weight less than their HD counterparts (Panasonic's Varicam and Sony's Cine Alta) and with the new postproduction options, small 16mm or Super 16 cameras can provide you with spectacular images that only a few years ago required shooting in 35mm. Now you can get that quality in 16mm. It's not just about cost: 16mm cameras are more portable, mobile, and downright more usable in many shooting situations. And with the ease of mixing film originated material, DV material, and HD material when editing with a master high definition format like DVCPROHD 720p at 24p on a Final Cut Pro system, one can really choose the right medium for different scenes. There's no reason not to mix film and various video formats in one piece these days, and bringing everything together into a common format for final editing. It’s interesting to note that a number of filmmakers I know in New York have reported an upsurge of 16mm use. One thing that may account for this is while many filmmakers who shot their first features on DV want to move up to film, the portability you give up with 35mm (unless shooting with a Aaton 35-III) is a problem. Shooting in 16mm gives you small, mobile cameras that weight less than their HD counterparts (Panasonic’s Varicam and Sony’s Cine Alta) and with the new postproduction options, small 16mm or Super 16 cameras can provide you with spectacular images that only a few years ago required shooting in 35mm. Now you can get that quality in 16mm. It’s not just about cost: 16mm cameras are more portable, mobile, and downright more usable in many shooting situations. And with the ease of mixing film originated material, DV material, and HD material when editing with a master high definition format like DVCPROHD 720p at 24p on a Final Cut Pro system, one can really choose the right medium for different scenes. There’s no reason not to mix film and various video formats in one piece these days, and bringing everything together into a common format for final editing.

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