Samuel Berger

I really liked it, it was very nostalgic for me as it's what I used to make in the 80's.

I remember the episode of The Rifleman where Mark drinks contaminated water and has a fever dream. The dream sequences utilized the same glittery effects. I've often wondered if they consulted with the cinematographer from Midsummer Night's Dream. I recently found it again on YouTube and I guess I just remembered it wrong for years. The episode is not nearly as expressionistic.

You might not like my advice because it's not on your list: Eclair CM3. They're cheap but great. I just missed out on one that Richard at Cinema Gear sold for $4000 including tripod! Other than that, I agree with others that 16mm is the way to go. I don't think movie theatres even have 35mm projectors any more.

Unrelated, but, I sent you a DM.

That would be the awesome people at https://www.cinelab.com/pricing Check the pro rate card for E6 35mm.

I sure will, was this on eBay?

Printing from negative? The only alternative is to shoot reversal, but then you're handling your camera positive every step of the way instead of a workprint. The other thing is, if you're shooting 35mm, how many venues actually still have 35mm projectors?

I'm mostly interested in the notch hack, now. I gotta look into the details of this!

If you watch the video you linked, at 6:23 this rule is inverted. The truck stop hookers are framed wider than the officer.

Unfortunately, the great Bernie O'Doherty has left us. Is there another place that offers a brightening of the viewfinder/ground glass? @Dom Jaeger

The 3rd season looked awful. It was shot on the HDW-F700 and then HDW-F900. But here's the thing, it didn't look AS terrible to me at the time. But, that was because back then in 1999-2001 most people had CRT TVs and they were not HD. Watching the clips on YouTube now I see just how bad it looked.

I noticed, when re-inserting the cartridge, that the door struggled a bit to lock up. Then I pushed the film into the camera and I heard a clicking sound of the cartridge settling into place. Now I know to watch out for that. I'm going there in two weeks again, next time with the Nikon R10. I'll be sending my film to Cinelab for a transfer.

I ran into an unexpected problem. I noticed my second cartridge never got to the "EXPOSED" tag. It turned out that the cart had not been pushed in far enough and so I thought I was filming when I really wasn't. Sad.

I have that manual, it doesn't assume the existence of daylight film. Some cameras did and in fact "knew" when daylight film was loaded. I'm not sure if this camera does that.

I took the Elmo Super 110 with me today to Six Flags. I had a roll of 50D and one of 200T. I hadn't used it in many years. This may sound a bit odd, but, I totally forgot when to use the filter key. If I remember correctly, the only time I need to put it on the front slot is when using Tungsten film indoors. It ocurred to me now that maybe I was supposed to have placed it in the forward position with the 50D. Luckily I can grade it in post if it's wrong. But what is the right way? @Mark Dunn

Thank you, I will check it out. What are the Lossauchrome made from?

What was the budget for this movie? He seems to have brought in over $200,000 at the box office but I found no information on the production budget.

What strength ND filter? And I gotta say, I think it's good that the Elmo Super 110 is underrated. It's a great camera and I own one. I owned an Elmo Super 108 35 years ago and even that one shot amazing Kodachrome. I also owned an Elmo 1012XLS and it was pretty darn good! The Elmos are also very portable. Let's face it, with Super 8 film it's all really about the lenses and reliability. There's no codec or sensor to worry about. No audio capability issues. The only reason to overspend on a Canon 1014 XLS is if you have money to burn and/or you like the form factor. I think the Canon has an amazing form factor and I love the ergonomics. But that isn't going to produce better quality images. Top of the crop is the Logmar, but that's never going to happen for me.

The bottom one is the way to go IF they didn't push in the shadows so much. I doubt it was that crushed in the original. I'm glad I own a VCR.

You probably don't know this but donkeys and elephants in America are political mascots.

How about now?

It's worrisome that the VHS transfer from the 80s nails the skin tones a lot better than even the latest 4K UHD.

They were very often saturated, but this was also due to production design. The Hammer films, as I watched them in the 70s on TV, were almost cartoony in saturation. I don't know if this was due to the TV prints. But, in later years, I started collecting them on DVD in the late 90s. And wouldn't you know it, they really didn't look quite the same. In particular, 1958's "Blood of the Vampire" seems almost monochromatic in comparison to how I watched it. Something was lost somewhere. In THE GOOD, THE BAD AND THE UGLY the skies were pure blue on TV in the 70s, now in the blu ray it looks almost green. Don't even get me started on skin tones. @David Mullen ASC might have witnessed this trend. His "The Love Witch" was Hammer-like in spirit.

I hear that fungus jumping from one lens to another is a myth. Well, is it? How likely is it that spores will spread and take root in neighbouring lenses? I just bought a used Yashica super 8 and it smells strongly, musty. There's not much evidence of fungus on the lenses. It came from Florida. I'm now paranoid that I imported fungus into my previously uncontaminated office.

Eu também. (Me too.)