Pro 8/22 (Fuji F64-D)

Royce Marcus · February 19, 2012

Hey guys, I'm new here so hello to all fellow S8 enthusiasts! I mostly work as an editor, but have agreed for an upcoming short doc to shoot some Super 8 B-roll that I'm very excited about. I own a Nizo 801 and previously have only shot Kodak's 100D stock, but for this shoot wanted to give the guys at Pro 8 a chance and had a question about a film stock they sell.

The B-roll we're going to shoot is going to be exterior in some woods. They aren't very, very thick, but there's obviously some amount foliage that prevents maximizing sunlight from coming through. In my heart of hearts, I really want to try Pro 8s 8/22 (Fuji F64-D) stock, but have some serious concerns with getting usable image under these conditions. Now, please forgive me, because my cinematography skills are still a bit juvenile, but if operate under the sunny 16 rule and shoot at 24FPS (to make it cheaper and easier for an HD transfer) the 801's shutter speed is 1/57th (close to the stock's ASA 64), and if compensate by moving up to f/22, do you guys think I would get any usable image? I've heard that with color negative super 8 you should over expose by 2 f stops. Or do you think I will need to bump up to one of the 250D stocks? The only reason I'm die-hard on the 64D is because of it's color; I just really really love the greens and feel it is a great look for the doc. I'm just wondering if anyone has shot this stock and can give me some real world feedback on it.

Thanks a ton,

Royce

Royce Marcus · February 20, 2012

EDIT: Wow sorry about that. I have no idea why I asked to move to an f/22. What I mean to say is would it work if I stopped up? My Nizo has an internal ND filter so do you think the same situation would work at a f/11 or f/8 if conditions were sunny?

Will Montgomery · February 20, 2012

Shooting in woods with lots of shadows kind of sounds like a 250D job to me. 64D is great in strong sunlight. You'd probably fine Kodak 250D to have less grain than Fuji 64D if that is an issue.

As far as color goes, just instruct the colorist on what you want it to look like. Tell them what you like about 64D and they can get any negative stock to look like what you want.

Royce Marcus · February 20, 2012

Yeah, I think since I've only had limited experience with Super 8 (and cinematography in general) I'm going to move to the 250D (probably pro8-63 which uses Fuji Eterna 250D). Also, looking back on it, I would actually not use the internal 85 filter (since the stock will already be daylight balanced), which would require setting the filter switch on my nizo to the lightbulb, a la the instructions for ektachrome 100D. Can someone confirm this for me? I've never used pro8's cartridges so am not positive how they notch them, but this seems like the most likely course of action.

Chris Burke · February 20, 2012

the 250D is a great stock as is the 64d. I guess it all boils down to what kind of look you want. If you want more detail in the shadows, go with the 250D.If you want darker, deeper shadows then 64D is it. I would definitely shoot one stop over. Two stops is a bit much, but if you need to the 250d is probably going to handle the highlights better, believe it or not. there is actually little difference in grain between the two, so the 250D will give you more flexibility in the woods. Try the vivid 250D,if you can get it.

Royce Marcus · February 21, 2012

Thanks for the input Chris. I'm actually electing for the regular 250D rather than the vivid. I'm using it as b-roll for a doc on a homeless Vietnam veteran, so I want the colors to be a bit flatter and, oddly enough, less "Super 8ey". This was originally going to be shot with some 16mm, but my camera source fell through so I'm giving the super 8 a try.

My Nizo 801 cartridge notches understands daylight from 10 ASA to 100 ASA. I'm not positive how pro8 is going to notch the 250D cartridge, but assuming they notch it at 250D, my nizo is not going to understand it and, my guess is, rate it at 100ASA. If this is true, I should have to stop down to compensate, correct? By my math, stop it down 1 1/3 (let's call it 1 stop since I am going to shoot at 24FPS instead of the usual 18FPS) of a stop to get "correct" exposure? Does this sound alright? Sorry if these are very amateur questions in the S8 realm, but I only recently learned about these cartridge notches and am still trying to make heads and tails of them.