P R O D U C T I O NEven though Super 16 is used for all kinds of projects, itsmost common use <strong>to</strong>day is for television productions andindependent features. The three most common types of productionsare detailed below.1. Shoot Super 16, Post Video, Broadcast HDBroadcasters <strong>to</strong>day are demanding content <strong>to</strong> be deliveredin HD, and shooting Super 16 is the best way <strong>to</strong> create highquality HD programming.The production is shot on Super 16 film, and then transferred<strong>to</strong> 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 <strong>to</strong> 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 <strong>to</strong> get from theSuper 16 camera negative <strong>to</strong> a 35 mm release print. This opticalblow-up is now being replaced by the Digital Intermediate(DI) process, which is quickly becoming a mainstreamproduction <strong>to</strong>ol.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 <strong>to</strong> the image manipulations, effects or looksthat can be created. The finished image data is then recordedon<strong>to</strong> 35 mm film with a modern film recorder <strong>to</strong> 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 <strong>to</strong> a 35 mm release print.Richard Crudo, ASC, President of the American Societyof Cinema<strong>to</strong>graphers, said in the article Go with the Flowfrom Film & Video Magazine: “ going <strong>to</strong> c in 16 DI bcom m mbl d cp.Ppl going <strong>to</strong> 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 bot<strong>to</strong>m costs. The film is transferred by atelecine <strong>to</strong> HD video instead of scanned <strong>to</strong> image data. Postproduction is done in HD video, and the feature is output<strong>to</strong> 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 CityCinema<strong>to</strong>grapher Thomas S<strong>to</strong>kowski measuring the light level for the MercedesMonopos<strong>to</strong> 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 <strong>to</strong> Asia. The show follows four fashionable womenas they navigate relationships and define what being single<strong>to</strong>day means. Known for its glamorous look, Sex and theCity shot Super 16, often on location <strong>to</strong> showcase New YorkCity’s street life, hip bars, restaurants and clubs.“W likd <strong>to</strong> kp cm moving w it w pprop, d strivd for strong compositions d bful lighting.Sup 16 d dvcd <strong>to</strong> point w w d widy of l d cc our displ, d lw d low profil md for f pc,” says Direc<strong>to</strong>rMichael Spiller. Spiller began on the series as direc<strong>to</strong>r of pho<strong>to</strong>graphythe first four seasons before going on <strong>to</strong> direct. “Wof w shooting in b or d d <strong>to</strong> in d out of w d two loc dy.W you v six p <strong>to</strong> shoot d wlls don't mov,ving nic trim cm pck cly lpd ccomplish. W w fd <strong>to</strong> vid, w found l 16mm high-spd s<strong>to</strong>cks 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 s<strong>to</strong>res and event spaces. DaimlerChrysler UK wantedan image film for the UK center, <strong>to</strong> be known as Mercedes-Benz World at Brooklands. They brought 27 unique classicMercedes cars in<strong>to</strong> a studio near Stuttgart in Germany, andrecorded au<strong>to</strong>mobile his<strong>to</strong>ry on Super 16 film.Because of scheduling difficulties, one car had <strong>to</strong> be sho<strong>to</strong>n its own up front. Even though the project was scheduled<strong>to</strong> be shot on video, cinema<strong>to</strong>grapher Thomas S<strong>to</strong>kowskiand Direc<strong>to</strong>r Paul O'Brien convinced DaimlerChrysler <strong>to</strong>shoot 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 <strong>to</strong> 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 in<strong>to</strong> Mcd chiv d y cf it <strong>to</strong> wv vid or dl im dd willb dd in f. This is his<strong>to</strong>ricl ml d w ldy in discussions with Mcd on for thisf.”