How does Digital16 work?

Essentially, Digital16 is a double-head sound system using DAT instead of SEPMAG. A clone DAT of the final mix is locked to the film projector using standard SMPTE/EBU timecode.

Are there any compatibility issues?

NO. The DAT format has been standardised with a common timecode rate (25fps), a common sampling rate (48kHz) and a common timecode reference for First Frame of Picture (10:00:00:00).

The traditional 24fps film speed is sued for the print, and the Sync Unit handles the necessary frame rate conversions.

What if the venue doesn’t have Digital16?

On a Standard-16mm print, the optical soundtrack can be retained if required. Since the synchronising signal is generated by the projector, the film does not need any control track or other special processes.

Can Super-16mm be used with Digital16?

YES. Because the system does not need a reference from the film (except for Picture Start on the leader) it can be used with Super-16mm prints. Several professional 16mm projectors have correctly-engineered Super-16mm capability, and give outstanding results.

Does the Filmmaker have to do anything unusual in the Dubbing Theatre for Digital16?

NO. All that is required is a clone DAT of the final mix, preferably in Dolby® Lt Rt format, and recorded to the standards outlined above. We also recommend making a backup DAT in case of loss or damage.

How is multi-channel audio derived?

Because Digital16 uses a copy of the final mix, it can fully reproduce a Dolby soundtrack (L/C/R/S), provided the screening venue has the appropriate decoding capability. The use of Dolby sound systems is strongly recommended to realise the full potential of the format.

Can the film go out of sync with Digital16?

Like traditional double-head systems, the film must not be damaged or cut, as this will lead to a loss of synchronisation. Fortunately modern polyester base film stocks do not tear or break and provided the print is professionally handled, it will retain its integrity throughout its life. It is also specified that the leaders must not be cut off the print, as Digital16 films are intended to be run singly. Special arrangements have been devised where D16 films are run together or as part of a mixed programme (see below).

How is the system operated?

The Projectionist firstly places the Picture Start mark in the gate of the projector, then “parks” the DAT near its equivalent timecode reference. The Digital16 unit and DAT reproducer are set to “chase” the timecode and the Projectionist then runs the show.

What if several films are run in sequence, e.g. at an end-of-year Show, or at a Festival?

In theory, multiple D16 prints could be spliced together and a compilation DAT made. However this is difficult to achieve in practice. Instead, it is recommended to assemble prints leader-to-leader (without removing them), and at the end of each film the DAT can be reloaded and the film advanced to the next Picture Start mark. Operation has been designed to be as quick and easy as possible, though two-person operation is strongly recommended in Festival and other pressurised environments. Also, retaining the leaders on the prints minimises handling and greatly prolongs print life.

What about hard drives and M/O discs?

The DAT format was chosen for reasons of ubiquity in the target market, interchangeability, and economy. However, the system can accommodate any audio source which can follow SMPTE/EBU timecode, and if programme material is intended for purely internal setups such as film schools, etc. it is possible to load all the film mixes onto a digital audio hard drive or other carrier and slave this to the D16 unit. This is a more specialised application of the system and we recommend you contact us or your service engineer for more information.