You won't get as wide coverage though with a zoom lens. That's effectively like 8mm of course in the horizontal plane. It is of course essential that the anamorphic stays vertical at all times, unless you're looking for drunken effects.įor 16mm filming the widest possible focal length is about 16mm, depending on all the above factors. Also they are easy to join to the anamorphic because their front doesn't rotate during focusing. I've found that 35mm still SLR lenses can work well on a 16mm movie camera. Or use fixed focal length prime lenses with their front elements as non-recessed as possible. And the zoom lens should be small, like the little Switar or Pan-Cinor Compact lenses, or the smaller TV lenses. To lessen this effect the anamorphic should be as physically short as possible. As you zoom back to the wider settings, you'll very likely start seeing the inside of the anamorphic unit. For one thing, the front element should be smaller than the rear element of the anamorphic. (Nothing happens to the height, it's not like a fisheye converter.) The type of lens on your camera, though, is crucial. When you put an anamorphic lens onto the front of your camera lens, you hope to double the width of the image. Photoworld, Llandudno, Wales.phone 01492 871818īefore we examine the third face of Sixteen Mil, perhaps I should tidy up one or two points about SCOPE filming. Standard 8mm film, should you wish to try it, is available from By the way, it's quite easy to mask the Bolex reflex finder for any format, as the prism swings out nicely, revealing the ground glass. Once you get going it may be worth shifting the camera lens over to centralise the image, though not essential. Rock steady, high quality widescreen pictures with Half-Sixteen. These extra holes don't matter, but then it will likely cost more than 16mm. An alternative is to use standard 8mm film which is identical to 16mm 2R, although having twice the number of holes. Look for 2R on the label, meaning: two rows of perforations. Anyway, the fact remains that you may have to search on Ebay for out-dated Double-perf. This is a great shame because double-perf is also very useful for doing special effects in 16mm. But in recent years film manufacturers have gone over pretty exclusively to Single-perf stock. You will of course need Double-perforated film. This horizontal format is like a mini version of VistaVision ! The machine must also be capable of tipping onto its side, as the camera was. Projectors catering for both 16mm and standard 8mm are the easiest to modify. The claw movement stays the same of course. Film rollers need to be replaced with 8mm ones, the sprockets need slight modification, and the gate-channel also has to be 8mm wide. The 16mm projector conversion is more involved. It was the brainchild of UK solicitor David Jones, and he and Tony Shapps worked on the system. On the face of it, Half-Sixteen seems the ideal format and it's a wonder that camera and projector manufacturers haven't embraced it. The image is quite big, about 1.66 : 1 ratio, considerably better quality than super-8, at less cost. Process the film, then split the 16mm film using maybe one of those cheap Russian splitters. Now expose the second half, in the same way as you would standard 8mm. When the film runs out, turn the take-up spool over, plonk it on the feed spindle and re-thread. Conversion is straightforward: you mask the gate vertically, do the same with the viewfinder, and then tip the camera on its side and start filming. Half-Sixteen can be adapted to ANY 16mm movie camera that takes spools of film. Faces of Sixteen Mil, part 3: HALF-SIXTEEN
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