Anyone has Scanned or Telicined Super 16?
 

Dear Sir,
Does anyone have a scanned or telecined footage shot from Super 16? I have never 16mm film footage, and with great curiosity to what it looks like. Thank you,
Patomakarn Nitanontawat

Shot with a Cinema Products GSMO 16mm camera with a CP Ultra T 1.25 lens on Kodak's Vision 2 500T 7218 film. The film was transferred at Postworks NY.

http://www.extremesoundonline.com/vi...ghtwindweb.wmv

There are a number of TV series shot on Super 16 which can be seen every week--off the top of my head, "Scrubs" and "Gilmore Girls" come to mind.

And Veronica Mars, of which I am a new rabid fan.

...shot on Panavision Elaines, which is a little quirky.

Rabid, eh Nate? We might have to take you back behind the toolshed and shoot you.

I did the Jay Mohr series "Action" on the Elaine--let's just say it's an interesting camera. Not much of a reason to use them any more. Sexy in their day, though.

FX Network...."The Shield" shoots in super16, SR2's I believe. Personally, I love the way this series is shot. Lot's of handheld and steadicam shooting.

"Leaving Las Vegas" was shot on super 16mm, and Robert Rodriguez's first film "El Mariachi" was shot on standard 16mm

I don't quite understand why vanquishing film gives some glee.

I don't understand this, are you saying there are other better Super-16mm cameras?

The Panavisions are large and cumbersome, not "better" but for anyone who likes to shoot handheld, the Aaton Super 16 cameras are a joy to shoot with. I've shot many films with them and I still miss their size and balance.

As for examples of Super 16 delights, some that come to mind are PARTY GIRL, PARROTS OF TELEGRAPH HILL, MARCH OF THE PENGUINS, LITHIVM, MONSOON WEDDING, GET ON THE BUS... (parrots might have been regular 16 though)

And it turn, I don't quite understand what this statement has to do with the one of mine that it seems this is commenting on...?

As far as the Elaine goes, I was pretty much saying that yes, there are better choices. The best argument for using the Elaine is that you can use Panavision acccessories; however against that as David says is the fact that this system is quite heavy, as well as viewing optics that deliver a much smaller and darker image than either the Arris or Aatons. In addition, the 16mm Panavision lenses are a bit long in the tooth at this point (if I remember, the zooms were Panavised Canon video lenses), I don't know if they have been updated over the years in the way that the Primos are.

I haven't had the opportunity to shoot with the Arri 416 yet but I've played with it a little and it seems to offer some great features and a nice shooting package. Ergonmically it's definitely an improvement over the SR series. And again as David points out, the Aatons have always been about great handheld ergonomics. A bit underdeveloped compared to the Arris in studio configuration, but certainly workable.

Oh, and by the way, this:

http://www.pointzeropictures.com/fil...hd-and-s16.htm

includes a partial list of films and television shows originated on Super 16.

Apparently a bunch of newer shows not yet out are being shot in Super-16.

Examples of stuff originated on Super-16mm
 

All shot with an Arri SR2 S-16.

http://www.bermanfilms.com/demo/berman_2006_demo.mov

I have shot in Super-16 and telecined down to mini-DV with Fotokem doing the developing and Magic Film Works (both in Burbank) doing the telecine down to mini-DV. All was beautiful, I just wish I had enough for an HD transfer.