Super 8 production trailer

[Alex Fuchs]

O.K., the idea is to produce a production trailer on S8/N16 and do a telcine transfer and then made an DVD-Trailer to find some sponsors/producers to shoot the whole movie (then on S16 or HD). Has somebody experience to this workflow? How S8 looks after a transfer/offline edit to MiniDV/DigiBeta? Maybe somebody has experience. My idea was to shot all cu's with S8 and the medium and panorama shots on normal 16mm and put the shots in postproduction together.

thanks alex

Edited June 25, 2006 by Alex Fuchs

[Alex Haspel]

i'm skeptic about that format mix.

even if s8 will only be used in close ups, 16 will still look superiour.

 

but you could of course unserexpose the 16mm material by 3 stops, get that back in telecine (for the gain), and shoot everything slightly out of focus. then your material might match.

 

hoppla, das klang jetzt vielleicht ein bisschen zu sehr nach sarkastischem arschloch (was es natürlich nicht sollte),

wollte eigentlich nur meine zweifel bekunden.

 

good luck anyways,

[Scot McPhie]

You can check out my trailer for In My Image here:

 

http://www.mango-a-gogo.com/show/show.htm

 

this is all K40 Super 8 -- the aeroplane was K25 double super 8

 

- of course now you could shoot the trailer on the vision 2 negative stocks and then use them in 16mm for the feature. It will look a bit softer and grainier in some instances, but in others I bet it won't show that much

 

Scot

[Alex Fuchs]

hi scot,

your telcine transfer was from s8 to what? DigiBeta? MiniDV?

thanks alex

 

 

hi axel,

 

I thougth I would try to work like César Charlone (City of God, Man on Fire). He always shot cu's with super16 and all panorama shots with 35mm and then mix it in post after DI. Why should it not work with s8/16mm?

cheers & gruss to vienna

alex

[Robert Hughes]

Look at Sonnyboo's "Horrors of War" trailer - he mixes 16, Super 8 and even some 35mm together. In retrospect he said he should have skipped the 35mm footage; 16mm footage could blend with either S8 or 35, but S8 and 35 were too disparate to work together. He mainly used S8 for the monster's POV shots.

[Scot McPhie]

It was telecined to minidv by a Rank Cintel machine

 

Scot

Edited June 25, 2006 by Scotness

[Alex Haspel]

hi axel,

 

 

I thougth I would try to work like César Charlone (City of God, Man on Fire). He always shot cu's with super16 and all panorama shots with 35mm and then mix it in post after DI. Why should it not work with s8/16mm?

cheers & gruss to vienna

alex

 

 

well, my concern would be that at least all the super8 cameras i ever had a chance to lay my dirty hands on where consumer cameras.

meaning the aperature could not be set completely manual, directly on the lens...

and registration is also a lot poorer (ob das wirklich das superlativ von poor ist?).

and at least from my experience, super 8 will grainwise always look like super 8 because of it's size, even when only transered to pal.

 

i can definately imagine that mixing 16 and 35 can work, when using proffessional camera gear with both formats, which is not really possible in super8 (i'm surely getting flamed for this).

especially when finished on a inferior format like pal, where the slight differences between 16 & 35 (i.e. gain) are more likely becoming invisible.

 

best of luck anyways,

alex "axel" haspel

 

 

PS:

konnte ich meinen letzten punkt in dieser mir fremden sprache halbwegs klarmachen?

ich denke, da sowohl 16 als auch 35 dem format pal überlegen sind tendieren deren qualitative unterschiede eher dazu sich bei einer pal abtastung zu verspielen.

während super8 auflösungstechnisch (zumindest subjektiv wg. korn) pal dann doch eher unterlegen ist, vermute ich, dass die optischen differenzen zwischen 16 & s8 eher feststellbar sind.

aber vielleicht bin auch nur ein furchtbarer klemmer.

 

 

note to non german speaking readers: i was only translating my last point into german, since i am not completely sure about my eloquence in english. dont't worry, no conspirational stuff going on here.

Edited June 26, 2006 by haspel

[Alex Fuchs]

hi haspel,

 

i think you could be right with your objection that the differnce between s8 and 16mm is watchable on screen because of the grain, but this project i'm planning is just a try. It's all a matter of costs. Maybe I shot all the stuff in s8 (and by the way scotness footage after a telecine transfer of s8 negative stock looks pretty good). When things went wrong I will shoot the whole thing with Mini35/HDV or S16mm, but on one hand I want to check this S8 thing out (with Vision2 200 ASA negative stock) on the other hand S8 will look more like film then this soft Mini35 look will (it's only my opion, because I shot a lot of this Mini35 video stuff). By the way, there are a lot of S8 semi pro cams like the beaulieaus where you can set all cam functions manually and you can work with different c-mount lenses. So I can work as I do for 16mm stuff.

cheers alex from berlin to vienna

[Chris Graham]

hey, Scot

 

Like the "Hold Me Tight" clip. Was that shot on the Beaulieu?

[Scot McPhie]

hey, Scot

 

Like the "Hold Me Tight" clip. Was that shot on the Beaulieu?

 

The whole film (or about 99% of it) is actually HDV - we started on 16mm but ran into some technical problems with the camera so switched. A final cut has been done and I'm just waiting for the musical score - so it should be out on DVD really soon - all things going well - and I'll post a proper trailer for it too

 

 

BTW re the Super 8 and 16mm - there's some scenes in In My Image which on a tv screen look just like 16mm and there is no grain visible at all. This was shot on K40 though with it's Super fine grain, I'm not sure if you could do that with any of the other stocks - perhaps the repackaged Fuji Velvia. Grain though I believe can work for your story - I thought the softer/grainier and therefor bleaker look of Sleep Always suited it perfectly.

 

Scot