As part of planning your next feature, one of your first decisions will be to decide which format to shoot on: 35mm, 16mm, or video. Many filmmakers prefer shooting film because of the look and feel that only film can create. However, it is often the budget that will dictate the format, rather than the creative vision of the filmmaker. Big budget feature films and commercials are almost always shot on 35mm while 16mm is usually reserved for lower budget projects or documentaries. However, there is another way that is being used by savvy filmmakers who want the big budget look of 35mm, but can only afford to shoot in 16mm–and that other way is Super16. Thanks to modern technology, this versatile format can achieve stunning results.

Many of us already know that Super16 is not a new format; in fact as a film format, it has been around since the 1960’s. It was developed by the Scandinavian cinematographer Rune Ericson as a low-cost production alternative to 35mm, but one which would still allow for blow-up to 35mm for theatrical release. Soon after Ericson’s groundbreaking invention, Jean-Pierre Beauviala joined the effort and spearheaded a Super16 design team. Beauviala, the founder of the Aaton Camera Company, recognized the enormous potential of Super16 and as a result of his commitment, Aaton has been a leader in Super16 technology.

So just what is Super16? Simply put, it allows the filmmaker to use more of the negative’s surface area to record more data. This is achieved by enlarging the picture area–taking advantage of "wasted negative" that is normally reserved for a second row of perforations. By having only one row of "perfs", the picture area of the Super16 frame can be nearly 2mm wider than standard 16mm. This makes the aspect ratio of Super16 1.66:1, like a movie theater screen while regular 16’s aspect ratio is 1.33:1, like a TV screen. When Super16 is blown up to 1.85:1 (standard American widescreen), 46% more image is used than standard 16mm. For video transfers, the ratio jumps to 1.77:1 (also known as HDTV or 16x9) so even less of the image is cropped. There is absolutely no image lost when a Super16 film is presented on European widescreen because its aspect ratio is the same. This is extremely beneficial for films being distributed internationally.

Of course, using only one row of perfs to "register" the film requires cameras that are extremely well designed and constructed. Sound sync cameras are designed around single-sided transport mechanisms which obviate the need for perforations on both sides of the film. Add to this the requirements of noiseless operation and light weight for hand held and Steadicam operation and you begin to see that Super16 really is a technological breakthrough. But cameras are only part of the story.

Paralleling the camera innovations are similar improvements in film stocks and lens design. Modern film stocks have greater latitude, better color rendition, and far greater response to low light than films of only a couple of years ago. What is more important to Super16 work is that these same film stocks have tremendously improved grain structures which makes beautiful blow-ups to 35mm possible. Modern lens technology has also kept pace taking advantage of computer aided design and fabrication, allowing lens manufacturers to create lenses that were considered theoretically impossible only a few years ago. These lenses are faster and sharper, with virtually no distortion and a minimum of flare–absolute necessities when making blow ups.

The latest advances in Super16 have come from Aaton and Arriflex. (In New England, Boston Camera Rental Company stocks the latest from both manufacturers.) Arri’s foray into Super16 is called the SR3 which has become the standard in production circles It has a variable shutter and a PL, or positive lock lens mount, allowing the use of 35mm lenses including popular specialty lenses like the Shift and Tilts and the CMI Cinewand probe system.

Miniaturized electronics and computer technology now also play a major role in Arri film cameras. Computers not only govern the cameras’ speeds and ramping functions which can be adjusted via on board controls or by remote external controls, but also camera data functions. High-quality color videotaps with internal timecode expedite post production schedules thus saving time and money. The 16SR3 is lightweight, tipping the scales at just over 15 pounds with a loaded magazine and battery, making it ideal for hand held applications.

The Aaton equivalent in terms of sophistication and features is the XTRprod. It is available with a PL lens mount, a Panavision mount, or the standard Aaton mount. It offers features similar to the SR3 such as on-board speed controls, integrated videotaps, and time code. The XTRprod weighs just over 13 pounds with a loaded magazine and a battery, making it one of the lightest 16mm production cameras.

One exciting prospect for both cameras is the introduction of 800’ magazines. These mags give the filmmaker twenty-two minutes of continuous filming at 24 frames per second as opposed to the eleven minutes in a standard 400’ magazine.

Technology advances at a rapid state which makes it difficult to keep up with. With production time and money in short supply, the creative filmmaker needs to know what tools are available to get the job done. Answers to questions about the suitability of any gear or appropriateness of shooting Super16 should be discussed with your equipment supplier. Like any service oriented supplier, Boston Camera Rental Company’s expert and factory trained staff will be happy to answer any questions to help you decide how to bring your vision to the screen in any format.

Craig Sinanian is an equipment technician at Boston Camera Rental Company. He has received factory training at Arriflex New York, is an active member of SMPTE, and is currently studying film production at Emerson College.