Hi Chris,

Yes, you do hear the framelines when shooting an optical sound film. To me, 
it's always felt like a timbral quality since the sound is passing the light so 
quickly, giving extra vibrations to the sounds within the frame. But, I guess 
if you think about it scientifically, the frameline produces a frequency of 
24hz. 

This would also be a good time to alert the list that, for about the last year 
and a half, I directed a Digital Musics graduate student in the creation of a 
computer application for composing optical sound films: Spirits in Objects 
(shout out to Fishinger's influence on John Cage). The program can approximate 
the sound of any picture as it would play on the optical track. And, users can 
sequence images (+hear them and export WAV files). From the sequenced images, 
the program gives you javascript that users can use via expressions in After 
Effects to sequence the images ready for shooting on the super16mm camera. 
While this application is still in beta mode, I would love to hear from any 
frameworkers interested in using it.

Best,

JM


> Date: Tue, 13 Oct 2015 11:07:48 -0400
> From: direc...@lift.on.ca
> To: frameworks@jonasmekasfilms.com
> Subject: Re: [Frameworks] Shooting Super 16 but composing for regular
> 
> Jodei
> I've often wonder with shooting super 16 to create a soundtrack whether
> the frameline creates an audible and constant frequency. Do you find that
> to happen?
> 
> best
> Chris
> 
> > Hi Adam,
> >
> > I'm not sure if this will be useful for your shooting conditions. But,
> > when making optical sound films, I generally use a video tap and draw out
> > the reg 16mm specs on the TV screen with a dry erase marker. I measure the
> > dimensions of the frame on the screen and then size a 16mm animation field
> > guide accordingly. Then, I print out the re-sized field guide and x-acto
> > the borders and center so I can use the print out as a stencil to mark the
> > screen. This gives me a rough measurement of the frame size and center on
> > the screen (as well as the soundtrack area). You could also purchase one
> > of the transparent plastic 4x3 field guides, adhere to a piece of plexi,
> > attach the plexi to a C-Stand, and frame up with the animation field guide
> > (left, top, and bottom matching as well as possible).
> >
> > Best,
> >
> > JM
> >
> >> From: j...@kinetta.com
> >> Date: Sun, 11 Oct 2015 09:10:29 +0900
> >> To: frameworks@jonasmekasfilms.com
> >> Subject: Re: [Frameworks] Shooting Super 16 but composing for regular
> >>
> >> Remember that any zoom will be off center unless the lens mount is
> >> centered for 16 mm. Also note that wider angle lenses may not fully
> >> cover the S16 frame, especially if not centered on it.
> >>
> >> You probably could buy an Aaton LTR7 or 54 pretty cheaply that would do
> >> what you need.  If eBay scares you there are a few honest dealers like
> >> Visual Products who offer a 6 month warranty.  Older Aatons are fine for
> >> your needs.
> >>
> >> Jeff Kreines
> >> Kinetta
> >> j...@kinetta.com
> >> kinetta.com
> >>
> >> > On Oct 10, 2015, at 11:04 PM, ada...@gmail.com wrote:
> >> >
> >> > To answer Jason's question -
> >> >
> >> > I'm shooting super 16 as I want the image to fall onto the optical
> >> track, but I'm composing for 16mm as the aim is to produce a print
> >> using that excess image as sound. However, I do need to be able to
> >> pretty accurately center what I'm shooting for 1.37:1.
> >> >
> >> > A couple of people asked what camera I'm using-I'm really looking for
> >> the right camera for this project. It seems like an Aaton might be a
> >> good candidate from what I can tell.
> >> > _______________________________________________
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> 
> 
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