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 <[email protected]>: > 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 <[email protected]> > 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 > _______________________________________________ > FrameWorks mailing list > [email protected] > https://mailman-mail5.webfaction.com/listinfo/frameworks > > > > _______________________________________________ > FrameWorks mailing list > [email protected] > https://mailman-mail5.webfaction.com/listinfo/frameworks > >
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