> > On Dec 13, 2016, at 12:49 PM, Francisco Torres <[email protected] > <mailto:[email protected]>> wrote: > > which begs the question- are there are any double sound systems possible > today for 16 mm using standard projectors and some digital source?
Richard Tuohy and Carl Looper (in Australia) have developed a clever system that attaches a passive sprocket with encoder to the feed arm of a projector and syncs it with a digital file playing on a laptop. Earlier Sam (?), RIP, did something similar using timecode on the optical track and a DTS player, but that was far more expensive. They are both on FB. The Sharples book is a good place to start. But a lot depends on where you are located and which lab you are using (for optical, that is). Jeff Kreines Kinetta > > > 2016-12-12 21:31 GMT-04:00 Kenneth Linehan <[email protected] > <mailto:[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] >> <mailto:[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] <mailto:[email protected]> >> https://mailman-mail5.webfaction.com/listinfo/frameworks >> <https://mailman-mail5.webfaction.com/listinfo/frameworks> > > > _______________________________________________ > FrameWorks mailing list > [email protected] <mailto:[email protected]> > https://mailman-mail5.webfaction.com/listinfo/frameworks > <https://mailman-mail5.webfaction.com/listinfo/frameworks> > > > _______________________________________________ > FrameWorks mailing list > [email protected] <mailto:[email protected]> > https://mailman-mail5.webfaction.com/listinfo/frameworks
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