which begs the question-  are there are any double sound systems possible
today for 16 mm using standard projectors and some digital source?

2016-12-12 21:31 GMT-04:00 Kenneth Linehan <k...@public-information.org>:

> 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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