Michael Ryan

Hello Troy, Troy, you always have to choose your words carefully (don't worry, I've made the same mistake also). You said in your post above, "Though these Technicolor films undoubtedly look better now than they did then," I have to ask you what you base this statement on? It may or may not be true, but unless you were sitting in the 14th row of the Bijou in 1939 watching THE WIZARD OF OZ or GONE WITH THE WIND I'm not sure how you can make such a statement. If you guess about technology and its effects, what is the point? I could just as easily say, "Technicolor films will never look as good as they did when first projected." Of course I wasn't around in 1939 so I have no way of knowing if that statement is true or not. Richard makes some very excellent points. Film is a proven archival format. What about all these other formats? In 50 years will you be able to open a jpeg file? Mike

Hello Leo, I'm no expert on the Cine Special or the Reflex Special, but I'm fairly sure that these two cameras are not really related. I'm always being told that the Cine Special (made in the '30s and '40s??) is the same as the Kodak Reflex Special. However, I don't think so. I have the Reflex Special (the exact camera in the photo in my last post) and I was told that Kodak actually based the camera on a 16mm Mitchell camera. I have seen the picture of the Mitchell and it looks very, very similar. The Reflex Special is a fairly large camera (tripod only) and the Cine Specials are small. My Reflex Special takes 100 ft rolls inside, 400 ft rolls (as the mag in the pictures shows) and I also have a 1200 ft mag. Comes with a 24 sync and varible speed motor as well. Along with 8 primes lenses. Again, Leo, I may be wrong, but it just doesn't seem related in any way to the Cine Special. Mike

Hello All, Here are some of mine: Last shot in Hitchcock's VERTIGO. Jimmy Stewart standing on the bell tower ledge looking down on his fallen love. Last shot in CASABLANCA. Bogart and Raines walking off into the fog. also from SUNSET BLVD. When Norma Desmond stands up in the light of the movie projector. the dolly in shot that introduced John Wayne in STAGECOACH. Mike

Hello All, The Kodak Reflex Special. I was told they only made about 800 of these units in the '60s or '70s, but it's a very good camera. Mike

Hello All, I thought I was one of the few that could see the glory of Robert Richardson's work. In my opinion he is one of the best living cinematographers. Really, a master of the widescreen. So many people shoot in widescreen, but really don't understand how to use the space. Richardson is a master at it. Most all of his films look incredible, but JFK is really a standout for me. HEAVEN AND EARTH is another. THE AVIATOR was really a feast for the eyes. He is an ultimate cinematographer at the very top of his game. I actually look forward to seeing films with his name on it reguardless of what the story is about or who is in it. Mike

Hello All, I don't know how popular Chantal Kreviazuk is in the U.S., but she is BIG in Canada. Kreviazuk and director Cline Mayo talk about their short film PRETTY BROKEN. You won't read about this in any other publication. The article also talks about a feature film that Kreviazuk will appear in (an exclusive). Mike

Hello Jay, I'm going to add a little perspective here. First, it's always good to use the best equipment you can get. Using first rate equipment is a very good goal and we should all strive to meet the highest standards of current technology. Now, having said that, let me give you an example. About 25 years ago I saw Alfred Hitchcock's VERTIGO for the first time. However, I didn't see it on a huge movie screen with a restored print. I watched it on a 20 inch black and white TV that had all kinds of issues. The print the TV station was running was in horrible condition with lots and lots of physical defects. The last scene in the movie, that scene where Jimmy Stewart looks down and slighty opens his arms, a moment where his despair hit me like a ton of bricks. That moment has stayed with me for 25 years. I have seen VERTIGO since on a huge screen, restored print, but you know that last scene wasn't any more powerful than the first time I saw it on that 20 inch black and white TV. If you have a story that will move people that's what it is really all about. The technology, not so important. Mike

from Chris: "Justin Lovell is a great guy and offers a great service, but he is in Canada. So you have to deal with any potential hassles involved with international posting." Canada is really not on the surface of the moon as some might think. Toronto is actually further south than many Nothern U.S. cities (if you look at your map). And Canada (not China as many would believe) is the U.S. largest trading partner. With import/export between the two nations at 1.4 billion per day (as in every 24 hours). Millions of U.S. jobs depend on Canada, so getting product from the U.S. to Canada and Canada to the U.S. is about as hassle free as can be made. As you can imagine, lots of good things depend on that trade both ways. Mike

I would second that vote for Justin Lovell. He is doing some of the best telecine (for the money) that I have ever seen. Amazing. Mike

Hello All, Clive makes an interesting point about the difference in quality between Super-8 and regular 8. It would be very interesting to see some results of some regular 8 100D. 100D is a much better film than what was around for regular 8 shooters in the '50s and '60s. Does anyone have any experience shooting 100D in regular 8 or is able to post some footage? Thanks, Mike

Hello Mark, Is there anything you can tell us about the film? What kind of camera are you shooting with? What's it about? Anywhere that we can see it? Mike

Hello Clive (or anyone else that can answer), I'm not so much talking about old film, but shooting the new stocks. Would it be a true statement that if you shot a roll of new 100D film and it was exposed correctly and shot with a good Super 8 and good regular 8 camera, than the image quality should be about the same for both? (not projected, but telecined). Mike

Hello Clive, Clive, if you are still out there, I have a question for you. When you are having regular 8 film telecined I would take it that the image quality would be the same as a Super-8 image that was telecined? You would only notice a difference if the image was projected onto a screen because the Super-8 is larger? Is this a true statement? Thanks, Mike

Someone mentioned that R8 would be suitable for expanding the image (and therefore the gate) and coming up with yet another subformat..."ultra 8"?? Hello Marty, I'm not sure if you were thinking about my original post. The lens I bought (an anamorphic YashicaScope) has a 1.5 compression ratio. I believe that this give it an aspect ratio that would fit well on a 16x9 widescreen TV. This would be different than an Ultra 8 camera. I almost bought a Kodak K-100 that was adapted to Ultra 16, but I couldn't find a place that would transfer it. Mike

Thanks guys, Glenn, have you ever had any of your 8mm telecined to miniDV? If so what were the results? If anyone else has had experience with 8mm and telecine results, let me know. Thanks, Mike Today it's just a little warmer in Toronto Read SUPER 8 TODAY magazine. www.super8today.com

Hello All, OK, so I haven't thought about regular 8mm for a very long time. And if you thought that Super-8 was dead....I thought regular 8mm was frozen along with Cro-magnon man. Now, out of the blue, all I see and read about is regular 8mm. It's almost every where. My dentist was talking about it and this is a guy that believes the world begins and ends with an '07 BMW. What's the deal? Why is this super old format turning us on and turning our heads? I just picked up a Yashica 8T with 3 primes and a YashicaScope anamorphic lens (this was made for this regular 8 camera). An anamorphic lens that was actually MADE for a home use camera!! How cool is that? I'll let you guys know later. Just wanted to hear yours thoughts on the big wave which looks a lot like regular 8mm. Mike Cold in Toronto Read SUPER 8 TODAY www.super8today.com Check out Chantal Kreviazuk's new album GHOST STORIES and her new short film PRETTY BROKEN which was partly shot on Super-8

Hello Justin, Really outstanding work. I have to disagree with some of the others, I really liked the use of that SAVING PRIVATE RYAN stutter look of the camera and movement. I think it added a lot to the film. Loved the black and white as well. Sound was really fantastic. When you consider that this was all edited "in camera" that makes it all the more remarkable. In my opinion, Justin is one of the best Super-8 filmmakers out there. His films are always first rate and really they are setting the standard as to what can be done on Super 8. Transfer is also excellent. Justin, keep writing, keep making films! Mike

Hello All, I love film. The trailer of APOCALYPTO looks fantastic. Dean Semler (sp?) is a wonderful cinematographer. The trailer made me want to see the film. You see, it's all good. Just enjoy life for what it is. Mike

Hello All, I'm very interested in reading the article about Super-8 Technicolor. I didn't even know that this could be done. Mike

Hello John, Your work over the years at Kodak has been awesome and the help you have given to lots of filmmakers on this site has been extremely valuable. But, John, you have lots of good work left to complete and the filmmaking community needs you around for a lot longer. Stay positive, keep focused on your task at hand and we will all send our good thoughts and prayers. You are needed. Mike

Hello All, Really, people...this is such a non issue. Just type your first and last name in the required place. Haven't you had to do this about a million times since you were able to first print your name? Once you type your real name in the required place, if you want us to then refer to you as digital blue fart 99338 we will be more than happy to do so. Just use your real name. It's really not a big issue. Really. Mike

Hello Riku, Get in touch with Rick Palidwor, he is the director of SLEEP ALWAYS. He has lots and lots and lots of connections in the independent film world. I'm sure he could find something for you to help out on. I don't have his website address at the moment, but google SLEEP ALWAYS and you will find him. Mike

Hello All, I have just watched the video for Bob Dylan's new song WHEN THE DEAL GOES DOWN. Very interesting. It looks like it was mainly shot in regualr 8mm or Super 8. It also featured the very lovely Scarlett Johansson (who looked even better in Super 8). Does anyone know the DP or production company that shot this? Mike

Hello All, I have been following the stats on LITTLE MISS SUNSHINE for about the last month and I have watched its steady climb to the top. When it first came out it was in less than 100 theaters. However, its gross PER THEATER was big week after week. Every week the number of theaters it is playing in has jumped way up (I think it's now playing in just over 1500 screens). It's gross PER THEATER normally puts it in the number 1 ranked film spot. As a theater owner you don't care so much about a film's total gross nation wide. You really care about a film's gross PER THEATER (that shows the amount of butts in your theater paying to watch the film). On most nights LMS is putting more butts in seats than any other film. The way it's climbing it will be number 1 in gross per theater and nation wide gross. As they say in Australia, GOOD ON YA, MATE Mike

Hello All, What is a great director? Two words: FRANK CAPRA Mike