> 
> On Dec 13, 2016, at 12:49 PM, Francisco Torres <fjtorre...@gmail.com 
> <mailto:fjtorre...@gmail.com>> 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 <k...@public-information.org 
> <mailto: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 
>> <mailto: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
>> _______________________________________________
>> FrameWorks mailing list
>> FrameWorks@jonasmekasfilms.com <mailto:FrameWorks@jonasmekasfilms.com>
>> https://mailman-mail5.webfaction.com/listinfo/frameworks 
>> <https://mailman-mail5.webfaction.com/listinfo/frameworks>
> 
> 
> _______________________________________________
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com <mailto:FrameWorks@jonasmekasfilms.com>
> https://mailman-mail5.webfaction.com/listinfo/frameworks 
> <https://mailman-mail5.webfaction.com/listinfo/frameworks>
> 
> 
> _______________________________________________
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com <mailto:FrameWorks@jonasmekasfilms.com>
> https://mailman-mail5.webfaction.com/listinfo/frameworks

_______________________________________________
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Reply via email to