The Auricon 16mm cameras can record sound on film, either optical or magnetic, but the magnetically striped film is no longer made.I thought it was quite strudy. If it was bad, I will have to look for another cameras.
But there any 16 m.m. cameras that could record sound on film? And today there is any 16 m.m. film with magnetic stripe still manufactured?
The "Auricon" looks nice... but you do need an amplifier. It may be portable, but not for a person like me, who dosen't have a strudy physical condition. But it my be an ideea for the future.
I guess 16 m.m. can only record one track of optical sound and 16 m.m. optical sound film haves perforations on just one side.
But as I indicated they were inhomogeneously spread over the world.16 mm COMMAG cameras, combined magnetic sound system, are professional gear.
16 mm COMMAG cameras, combined magnetic sound system, are professional gear. Today you can find those cameras for cheap but prestriped stock is no longer available.
You can have magnetic stripes on processed film, also polyester base, at Vangelisti, Italy. So if you want to work with a COMMAG projector, you can go that way, rerecording until satisfactory. 16 mm sound production is expensive. Sound recorders are no longer bulky and heavy but you still have to take care of camera noise dampening, directional microphones, crystal control of the camera motor, and claps. After the shoot you either synch and edit copies on an editor or, more expensive still, with an editing suite. You can try to edit image and sound digitally yourself but then you have left filmmaking.
If it’s not entirely out of the question, shoot 8 mm. You can pick a projector-coupler-recorder combination that will perform like nothing available in 16 mm. You can use relatively cheap magnetic tape, copy recordings, and cut those up. Or record digitally, copy onto tape, and edit. Sound couplers work with smooth rollers or sprocket rollers. Higher tape speeds can be combined with modest frame rates such as 16 fps and 7.5 ips (19,05 cm/s). Perforated magnetic stock is made by Pyral-Mulann, France.
If you are crazy enough, find a 16 mm optical sound recorder. Feed it with ORWO TF 12, develop the recordings. Have prints made off the sound negatives. Now you can see the sound and edit on viewer and projector.
Depends on the application; they are designed for differing purposes.But what film splicer do you recomend: glue or tape?
If you are splicing for projection, go with the cement splicer. It takes a little bit to learn how to do good cement splices, but they are far more durable in projection.I don't think they have it in RomaniaFound it on archive.org. I wonder if borrowing it is for free.
I will look for books about this subject published in Romanian. There is even one published in 1943.
Purposes... well I want a splicer for an eventual repair of old films - I do have 4 rolls. Finding spools that you can put films onto it is another adventure in Romania.
Sync sound in the pre-digital age was always a real issue
Moviola made optical and magnetic sound and picture readers that you used with a set of rewinds and a sync block. IIRC Acmade made a nice motorized one too, the Pic Sync I think it was called.But there where any tabletop (like "Zeiss-Ikon" Moviescop) that had manual winding and sound reproduction?
Shees, finding a viewer (not projector) for 16 m.m. in Romania is impossible.
I do not know. Hand cranking is not good for sound reproduction, it is very hard to keep the speed consistent enough to not hear the speed distortion.That was and very intrersing ideea!
But there where any hand crank projectors that had optical sound head?
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