Hi Morgan,

If you’re looking to obtain a final screening print ( 16mm  ) with sync sound, 
the primary format is optical sound track recording. There may be people 
experimenting with making their own home-brew magnetic tracks, but there’s 
little to no support for magnetic sound on 16mm these days.

So, if you want to get an optical track made, you definitely can.

There’s a lab in Canada that I’ve used recently to produce an optical negative 
and they did very good work.

Regarding the overall workflow questions you had, if you use film scanning 
there are workflows that largely eliminate the need to use mag or a Steenbeck 
to produce your soundtrack.  Not that I’m opposed to those things :)
This or may not apply to your workflow, but hopefully it will give you some 
perspective on your options:

Consider the possibility of having your film or negative scanned at 24fps ( 
progressive ). Although this may add some cost up front, the scan can be useful 
for many purposes not the least of which is facilitating digital sound 
workflow. Once your film is scanned at 24fps progressive, maintaining sound 
sync in the digital environment becomes much easier than with NTSC telecine 
processes. Note, if you need an NTSC end product, my approach may not totally 
suit you.

Once you have your scan, import it as a quicktime movie into an audio editing 
application like ProTools/DigitalPerformer/etc. Create a sync beep and do all 
your overdub ( voice over ) in the audio app. Make sure the audio editor 
transport counter is operating at 24fps. Beep must be placed carefully. You can 
conform subsequent edits of scanned material in your audio editor very easily 
while still editing on film at the same time. You can conform edits on the fly 
as you work between film and digital simultaneously if necessary.

You can then mix using your audio workstation and send the mixed audio file ( 
with sync beep ) to the optical sound lab and they will provide you an optical 
negative. That optical neg can then be married to the image negative in the 
final print by your lab. I used dropbox to transfer my mix to the lab in Canada.

There are lots of details and particulars you must be attentive to, but that’s 
the overview. I’m happy to talk to you about it if you want to send me an 
email. Other people may have other approaches. You need to find the right mix 
of techniques for your personal process.

Ken Linehan

> On Dec 12, 2016, at 4:02 PM, Morgan Hoyle-Combs <mhoyleco...@yahoo.com> wrote:
> Hello to all who still film and record to 16mm film (or any celluloid format) 
> I have an essay/diary that I'm filming with a few old 16mm Cine Kodak 
> cameras. I already have notes and images, but what needs to come next is a 
> voice over. Does anyone who has worked with 16mm sound know how I would go 
> about doing this? I'm more than happy to be corrected, but I have it figured 
> like this: I would record the to a magnetic reel, then I would organize my 
> footage and make a print out of my reels AND in coordination with the dialog. 
> But how would I go about putting the sound stock ONTO the film? I know that I 
> would have to use SINLGE PERF to leave room for the sound tape. 
> I think this is where I lose myself. Anyone have any ideas on where I should 
> start? 
> I'm using black and white FYI.
> -Morgan
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