Note: This lenghty, technical explanation is a description of the
prototype methods used in making inkjet printed film. It is not a
perfect system, and is still a very labor-intensive, hand-made method.
There are probably better ways to go about this. You'll probably
find a better way to do it. When you do, let me know!
But for the curious person, here's how I did it.
Materials needed for 16mm and Super 8 films:
-Printable transparency film used for overhead projectors
-Sharp box cutter or hobby knife
-Computer with video and image editing software
-Inkjet printer
-Projector or film viewer to view films
-Template for arranging video frames onto film. (These will be offered soon.)
-Tape for splicing film. Regular clear office tape may be used.
Optional but recommended
-Special film splicing tape (much thinnner and more reliable than office tape.)
-Empty film spool (very short films can be fed into projector by hand).
-Guillotine-style film splicer: These can cut out sprocket holes very easily.
16MM or Super 8?
Due to its larger size, 16mm film is easier to cut out and handle. However,
16mm projectors are more expensive and cumbersome than Super 8 models.
If you have access to a 16mm projector, this is a better option for a first-time film maker.
Super 8 film is smaller, so many more frames can fit onto a transparency sheet.
Super 8 projectors are small and easier to find. The resolution is less than 16mm,
but large text and faces can still be recognized. But, the sprocket holes are very
difficult to cut out, more so than 16mm.
STEP ONE: Preparing video for filmstrip export
Let's assume you want to project content at a regular speed. Most domestic video
recording devices capture moving pictures at higher frames rates than film devices.
NTSC video runs at almost 30 frames per second. European PAL and SECAM video runs at
25 frames per second. (In Brazil, PAL-M is 30 frames per second.)
Most 16mm projectors run at 24 frames per second, and most Super 8 projectors
run at 18 frames per second. If video were to be transfered to film directly, it
would be in slower motion than normal due to the reduced frame rate of film. This can
be remedied by speeding up the video to be exported.
While the video is on your non-linear editor program's timeline, adjust the speed.
A screenshot of Adobe Premiere is shown. Your method may vary.
NTSC and PAL-M
For 18 fps film, speed up the video by 160%. For 24 fps, speed up by 125%.
PAL and SECAM
For 18 fps film, speed up the video by 138% For 24 fps, speed up by 104%.
STEP TWO
Export the video 60 frames at a time in the filmstrip format. The length of 60 frames
was chosen for this odd reason: I have never found a film export size which
accurately matches the aspect ratio of Super 8 or 16mm film. Every "filmstrip"
is stretched a bit to match the size of the template.
If you are using the supplied Super8 template at 600 dpi, export the 60 frames at
the size of 125 by 92 pixels. In your picture editor, arrange the top frame of video
to correspond with the top frame on the template. Then, stretch the filmstrip
using a transform function on your image editor.
Shown below: The unstretched filmstrip, with the top frame aligned on frame one.
Below: The frame is stretched to frame 60.
STEP THREE: PRINTING
Use a transparency sheet which will work with your printer. For solid colors,
choose the setting of "photo paper" or a similar setting. Experiment with
your printer's settings to obtain the image quality you would like.
One item is essential: Be certain you are not reducing the size of the
image. For printing, imaging software may reduce the size of your film template
in order to fit the entire image onto a sheet. Make sure this function is turned off.
If you have the image printed by someone else, make sure the size is
correct. You can do this by holding a strip of film leader up to your printout.
Also, make sure your transparency sheet is not nudged or held up
as it prints. This will alter the overall film size.
Remember: a small variation in film dimensions may render your film unplayable.
STEP FOUR: CUTTING/SPLICING
Currently I cut out my films with a "Guillotine" style splicer, which is intended
to cut the holes from plain splicing tape used in editing films. In this case, it is
used to make the sprocket holes in film. They are rather expensive and difficult to find,
but this is the most recommended method. I've been told of publishing companies
which can make hole punchers to customer's specifications. This may be
investigated in the future.
Below: a Guillotine-style splicer used to make sprocket holes, and to splice
the film together.
If you do not have access to such a machine, you can cut out the sprocket holes
by hand. This is how the first prototypes were made. I will not do it this way again.
The areas to be cut are the sprocket hole and the film strip. Cut directly inside the
guidelines on the template. On the example below, these are the areas marked
with a red line.
I now use a rotary cutter for cutting the film strip edge.
The films are spliced together using tape. I have not tried to splice
with acetone cement.
In April of 2007, a 90 second demonstration film was successfully projected
at the PDX Film Festival in Portland, Oregon. The 16mm film experienced
difficulties with picture stability, but otherwise ran acceptably.
This website will be updated in the future, with quality comparisons,
videos, and other material available.