An IntroductIon to A FormAt - ARRI CSC

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P R O D U C T I O NEven though Super 16 is used for all kinds of projects, itsmost common use today is for television productions andindependent features. The three most common types of productionsare detailed below.1. Shoot Super 16, Post Video, Broadcast HDBroadcasters today are demanding content to be deliveredin HD, and shooting Super 16 is the best way to create highquality HD programming.The production is shot on Super 16 film, and then transferredto standard definition (SD) or high definition (HD)video on a telecine. Modern telecines can extract most of theimage information from Super 16 film, and are one reasonfor the continued popularity of this format. Post productioncommences on SD or HD equipment in the traditionalfashion, as does broadcast on SD or HD. This workflowmaintains all the advantages of film and the creative optionsof film cameras and lenses. Once the program is aired, thefilm-originated material can be re-transferred to any foreignor future television standard.2. Shoot Super 16, Post DI (Data), Theatrical ReleaseThe Achilles heel of shooting Super 16 for a theatrical releasehas always been the optical blow-up required to get from theSuper 16 camera negative to a 35 mm release print. This opticalblow-up is now being replaced by the Digital Intermediate(DI) process, which is quickly becoming a mainstreamproduction tool.The production is shot on Super 16 film, and then scannedon a pin-registered film scanner. Modern film scanners canrecord all the image information present on Super 16 film.The resulting image data is used for editing, special effectsand color correction. Once in the digital realm, there is almostno limit to the image manipulations, effects or looksthat can be created. The finished image data is then recordedonto 35 mm film with a modern film recorder to create 35mm release prints. Since the DI process is completely transparent,there is no image quality loss incurred by going froma Super 16 camera negative to a 35 mm release print.Richard Crudo, ASC, President of the American Societyof Cinematographers, said in the article Go with the Flowfrom Film & Video Magazine: “ going to c in 16 DI bcom m mbl d cp.Ppl going to y, 'My God, look qlity you c out of this.'”3. Shoot Super 16, Post DI (HD Video), Theatrical ReleaseA hybrid option combining the other two workflows is alsopossible when a theatrical release is required from a Super 16negative at rock bottom costs. The film is transferred by atelecine to HD video instead of scanned to image data. Postproduction is done in HD video, and the feature is outputto 35 mm film on a film scanner. The result has slightly lessimage quality than a true data DI post production, but issubstantially faster and less expensive.1. Shoot Super 16, Post Video, Broadcast HDShoot Super 16telecineSD/HDpost productionSD/HDbroadcast2. Shoot Super 16, Post DI (Data), Theatrical ReleaseShoot Super 16 scanner DI post production 35 mm release print3. Shoot Super 16, Post DI (HD Video), Theatrical ReleaseShoot Super 16 telecine HD post production 35 mm release print
F R O M T H E F I E L DThis is but a small selection of some of the most successfulproductions captured on Super 16 film from all over theworld.Germany - MercedesUSA - Sex and the CityCinematographer Thomas Stokowski measuring the light level for the MercedesMonoposto classic car. Copyright Mercedes-Benz & GutsyPicture by Craig Blankenhorn, Courtesy of HBO.Initially an acclaimed hit in the United States, Sex and theCity now airs internationally in over a dozen countries fromEurope to Asia. The show follows four fashionable womenas they navigate relationships and define what being singletoday means. Known for its glamorous look, Sex and theCity shot Super 16, often on location to showcase New YorkCity’s street life, hip bars, restaurants and clubs.“W likd to kp cm moving w it w pprop, d strivd for strong compositions d bful lighting.Sup 16 d dvcd to point w w d widy of l d cc our displ, d lw d low profil md for f pc,” says DirectorMichael Spiller. Spiller began on the series as director of photographythe first four seasons before going on to direct. “Wof w shooting in b or d d to in d out of w d two loc dy.W you v six p to shoot d wlls don't mov,ving nic trim cm pck cly lpd ccomplish. W w fd to vid, w found l 16mm high-spd stocks lly ld up, d w d rich im most ppl just md w shot on 35 mm.”DaimlerChrysler is currently building nine large brandcenters worldwide, containing a car dealership, museums,retail stores and event spaces. DaimlerChrysler UK wantedan image film for the UK center, to be known as Mercedes-Benz World at Brooklands. They brought 27 unique classicMercedes cars into a studio near Stuttgart in Germany, andrecorded automobile history on Super 16 film.Because of scheduling difficulties, one car had to be shoton its own up front. Even though the project was scheduledto be shot on video, cinematographer Thomas Stokowskiand Director Paul O'Brien convinced DaimlerChrysler toshoot this car on Super 16. Paul O'Brien: “y y lvd lovd sult. Thom d v film chniq lik vbl spd,spd mps d smll l, d , in combtion with rich film look, convincd m to shoot ll cin Sup 16. f d x d dpth you only with film, it w bful d worth vy c.Plus y lik fct y c purp this f; v will go into Mcd chiv d y cf it to wv vid or dl im dd willb dd in f. This is historicl ml d w ldy in discussions with Mcd on for thisf.”
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An IntroductIon to A FormAt - ARRI CSC

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