From: 40 Frames Directory (email suppressed)
Date: Sat Mar 19 2005 - 08:05:30 PST
> I'm more interested in shooting 35mm. The KEM can edit both 16 and 35,
> but the sad truth is that there are very few theaters who are still
willing to
> screen 16.
I understand your concerns about 16mm for exhibition, but I think it
depends on the nature of your work as much as the format. DB Griffith shot
Brazen Hymns on 35mm. And a number of people have made the decision to
switch due to the limited screening potential for 16mm, Pat O'Neil for
instance.
I'd be curious to know, weighing all costs, if the 35mm switch for these
people was either more economical or seen by a wider number of people.
> Are the 35mm Magnasync, etc. recorders similarly available? General price
> range?
MTE recorders are switchable. Again, refer to Scottsound in Burbank. I'd
call them as I've never been able to connect to their website.
> That might be a little overstated but I understand your point. Question:
> With sound editing going digital now is there any modern practical use for
> a flatbed? I like making the old machines work.
As mentioned above, DB Griffith cut Brazen Hymns on a 35mm KEM, running in
sync and cutting on a Pro Tools systems with use of a shaft encoder, USD,
and 888 box. It has its limitations but so does mag....one simply deals
with the trade-offs.
Alain
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