" And finally, if the Festival visitor had not tired of the medium, they could purchase colour 16mm film of Britain ’ s historic buildings and pageantry and filmstrips of the Festival of Britain and London as souvenirs.

Although the pilot was produced in colour, the videotape was wiped in the 1970s leaving only a 16mm black-and-white film telerecording.

A feature film version of the serial was shot in eleven days in December 1973 in colour on 16mm film.

* All episodes of this story excluding Episode 1 exist on their original PAL colour master tapes, with the first episode only existing as a monochrome 16mm film print.

* For many years, Episode 3 of the serial existed in the BBC Archives only as a black-and-white 16mm telerecording, as the 625-line colour PAL transmission master videotape for that episode was wiped for reuse by the BBC in 1976.

Some telerecordings of the black and white episodes survive, but as the completed videotapes of the colour series were wiped, the only surviving colour sketches are the 16mm film inserts.

Most are copies of black and white 16mm prints struck for television but a faded colour print is carried by the Internet Archive.

In common with other 1970s shows, several Pipkins episodes recorded on colour videotape — including the very first Inigo Pipkin — are missing from the archives ( poor storage of former ATV master colour videotapes has led to the loss of many shows ), and no 16mm black and white film copies of the lost episodes exist.

Freshmen shoot and edit a project shot on 16mm reversal black-and-white film.

In 1952 Marker made his first film, Olympia 52, a 16mm feature documentary about the 1952 Helsinki Olympic Games.

When this project never came about, Lynch decided to work on a film alone, and so purchased the cheapest 16mm camera that he could find in order to do so.

He began frequenting film camera rental houses, learning art of filmmaking and made two 16mm films ( Transfer and From the Drain ).

A silent home movie on 16 mm film | 16mm black-and-white reversal double perforation film stock

A 35mm Champion Matsuri copy was used for the majority of the film and the uncut 16mm internegative was spliced in for all the missing portions, on many occasions within the same shot as an incomplete Matsuri shot, resulting in missing frames and inconsistent quality.

Neither scan shows the manufacturer's information, which is repeated every 80 frames on 16mm film.

Jittlov released his footage the following year to 16mm film collectors as a short film titled The Wizard of Speed and Time, along with four of his other short multi-technique animated films, most of which eventually evolved into his own feature-length film of the same title.

Smallfilms was resultantly able to produce two minutes of film per day, ten times as much as a conventional animation studio, with Postgate moving the cardboard pieces himself, and working his 16mm camera frame-by-frame with a home-made clicker.

Wenders completed several short films before graduating from the Hochschule with a feature-length 16mm black and white film, Summer in the City.

However, the TV and 16mm versions of the film seen in the 1950s and 60s were struck from the original version which includes the montage.

Over a period of many decades, the dyes in color 16mm film slowly degrade and become transparent.

* DIY processing 16mm – guide for DIY processing of black / white 16 mm film

* Introduction to 16mm film

cs: 16mm film

Andec Film in Berlin now makes prints from Super 8 negative film, although optical blow-ups to 16mm or 35mm are available at other labs.

Later, they released two singles, " Uncivilized " and " Eternal ", and later earned video play on several programs in Germany and France with the 16mm film clip to " Eternal ".

Other professional standard formats include 70 mm film and 16mm film whilst amateurs film makers used 9. 5 mm film, 8mm film or Standard 8 and Super 8 before the move into digital format.

The BBC based its Film Department at the studios ; and at its peak 56 film crews used the studios as a base for location filming of dramas, documentaries and other programmes ; shot on 16mm and occasionally 35mm film.

In the 1980s, the BBC developed and expanded the use of electronic PSC ( Portable Single Camera ) location equipment and the use of 16mm film on location gradually reduced.

It was shot on 16mm film, much of it on location in India.

In order to offset the cost of location filming, and also perhaps because the equipment was more portable, the series was shot on 16mm film rather than the usual 35.

Advances in portable video cameras and recording equipment meant that the show could be videotaped on board a real ferry with more realism than using studio sets and more cheaply than using 16mm film which was normal for location television drama at the time.

The relatively new " electronic field production " ( i. e. portable video ) technology used for location footage in place of the traditional 16mm film also exhibited serious problems due ( amongst other things ) to the movement of the ship which disrupted the stability of the video recorders.

Additionally, location footage was shot on 16mm film, of the type used for location filming at the time.

Euston eschewed studio filming and all material was filmed on location using the more expensive but higher quality 16mm film stock.

Loach employed a realistic documentary style, using predominantly 16mm film on location, which contrasted with the vast amount of BBC drama of the time, which was commonly made in the electronic television studio.

Pennies was the last of Potter's television dramas to be filmed in the ' hybrid ' format of studio videotape and location 16mm film.

Both were recorded on 2 " Ampex quadruplex videotape at Thames studios in London, with location scenes shot in Amsterdam on more expensive 16mm film.

This series was generally made on location, entirely on 16mm film, by Thames ' subsidiary Euston Films ( perhaps best known for dramas such as The Sweeney and Minder ), giving the programmes a consistently gritty feel.

While many Crawfords Productions police dramas combined videotaped interiors with location footage shot on 16mm film, Cop Shop was shot entirely on video, including external scenes.

Euston Films had pioneered the technique of shooting action and adventure series entirely on location using 16mm film, for a more gritty and realistic look.

Unusually for a British situation-comedy at that time it was recorded entirely on location on 16mm film and consequently there was no laughter track.