Samuel Berger

That was Tom Lombard, not me.

Thanks. Tom. I ended up buying an Angenieux 17-68

It's possible that expecting a customer to order 24 rolls at a time was a bit much.

Except if you're the Soviet Union, looks like they made a lot of cameras from whatever they found lying around on the ground.

I understand, you have decided against Super 8 for this. For anyone else interested, these are the steps: 1) Find a Super 8 camera, 2) Buy film here: http://store.kodak.com/store/kodak/en_US/DisplayCategoryListPage/ThemeID.4792758000/categoryID.70237500 (Get to the student discount site from there) 3) Stick the cartridge inside the camera. 4) Point it at whatever you want to shoot. 5) Shoot. 6) Take the cartridge to Spectra if you live in Los Angeles. 5626 Vineland Ave North Hollywood, CA 91601 7) Ask for processing and scanning. There, you've just shot actual film and your project will stand out from others that try to fake the look. To fine tune the above, you'll only need to learn about built-in filters, and built-in light meters and you'll have the basics down.

Then why not shoot on Super 8? It would make a lot of sense given the project's context.

Greetings, posters from the future year of 2028! By now you should have at least a few DS8 colour stocks to choose from, and I'm sure you're enjoying feeding your DS8 cameras with the best stocks available. However, our timeline might be diverted from becoming your reality, if hobbyists don't do something about the dire conditions of DS8 in 2018. There have been no colour stocks for years now. Many converted Bolex H8 cameras, perfect for shooting DS8, sit unused due to the lack of film. Only Fomapan seems to still exist. In all of this time, only Paul Cotto had come forward with an idea for a perforator. Well, his interests went elsewhere and no one has risen to take his place. I'm sure some of our present hobbyists have thought about costs of building a perforator. What conclusions did they arrive at? I think a Kickstarter should be created for a Super 8/DS8 perforator, because it can't possibly be an unattainable goal. People everywhere want more filmstock for their cameras. Perhaps it is time for hobbyists to put their heads together and take advantage of modern crowdfunding. Otherwise that future of a 2028 where we are all shooting any Super 8 stock we want will be a parallel universe.

Man, Tsuburaya Eiji took a lot of SFX secrets to his grave.

If anyone knows where I can buy a dog-legged C-mount zoom that doesn't cost a human arm and a leg, please let me know. Everything on eBay is beyond my means right now and I'm in love with the Filmo 70-DR, just not its lack of reflex.

I imagine it's guys who've spent thousands on their cameras and aren't quite ready to give them up.

People do it to take stills during filming. https://www.google.com/search?q=Pelican+case+camera+blimp

I think we're at a point when properly exposed Super 8 can be used for professional productions. The grain was fairly tight on the 50D and lack of bounce fill gave the outdoor scenes a period feel. I watched Gregg Arakis' THE LIVING END when it came out on VHS and it looked like this trailer. But THE LIVING END was shot on 16mm stock at the time. So the reduction in grain size has certainly made smaller formats viable, and not instantly recognisable by the audience as "Super 8".

What I would like to see is a hack and modification for the Wolverine to allow scanning at 4k and 24fps. There is currently a software limitation to it that keeps the generated MP4 at 30fps and the scan is not even true HD that I can tell. Modifying those $300 machines would ensure that future scans for backup purposes cost nothing. Even as things are, the price of cartridges is too high. I look forward to the day when a hobbyist investor will do what it takes to create a slitter/perforator and start selling carts at $8.99 again. Empty carts from Kodak can be purchased at $3 dollars each, it's in their catalogue. Paul Cotto was working on such a machine, but I think he lost interest.

Yes. I'm seen people create them out of Pelican cases with foam and a hole cut out. Google Pelican case camera blimp to see how it's done with DSLRs. I tried to find a pic of the one somebody made for the K-3 but that was in 2005 when I left the hobby, so it's gone now. I would not spend the money on a Pelican, I would look for something like a Fat Max foam padded toolbox since your main preoccupation is blimping sound and not whether it will get hit.

It's pretty cool, you can record dialogue with a smartphone and sync it in post to Super 8.

On Mr. Carter's example, the camera was 23 feet away from him and zoomed in. This helped put distance between the microphone and the camera. He used a Bolex Rex 4. I have one and they are not loud at all. At that distance it would be hard to hear it. But I also own a Krasnagorsk 3 and the K-3 is very, VERY loud in comparison. I wouldn't attempt to record sound while shooting without blimping it or at least muffling it.

I don't know how exactly he is syncing sound but it's not hard to do in FCPX. Mr. Carter, from this forum, has uploaded a sample video of himself, shot with a Regular 8mm non-sync camera at 16fps. That is a completely sync-less, wind-up camera. In this video he shows the exact process.

Negative Super 8 stock is radically improved over past iterations in terms of grain. Check out this trailer by Emil Ink for Twobolts Pictures' crime comedy, "The Heist". (Warning: dialogue is not family friendly) Emil shot the picture with 23 rolls of fresh new Kodak Vision3 50D and 2 rolls of fresh new Kodak Vision3 200T, avoiding old stock and it looks great! Processed at Spectra in North Hollywood and scanned by Gamma Ray Digital, this trailer can be viewed at 2K on Vimeo. BTS: https://www.facebook.com/TBfilms1/videos/1773846159552569/ Other behind the scenes photos and videos available on their Facebook page. https://www.facebook.com/TBfilms1/

Who did you send it to?

CDs are about to become extinct. http://www.businessinsider.com/best-buy-pulling-cds-from-stores-reaction-2018-2

At least they aren't making digital music players like SONY, I hate it when music comes out green.

I'm alcohol intolerant but I understand the spirit of it. My main frustration is the spring running time and how long it takes to wind it back up. I timed 28 seconds of running time and 36 seconds to wind it back up. You miss out on a lot by doing that. The Filmo has a ratchet-style wind up mechanism that lasts much longer and winds up much faster. I don't know why those commies didn't just reverse engineer the Filmo like they did the Moviecam Super America decades later and give it a reflex viewfinder. I think the K-3 is very fun for a day at the Lunapark or the zoo or some such thing where speed isn't critical. But I wanted to use it to cover my kids' indoor sports events and I don't think it's ideal. A floor routine in gymnastics, for example, lasts 45 seconds to a minute. I would miss a big part of it. A Judo match can take longer than 30 seconds till someone hits the mat, etc.. So for those particular purposes I can't recommend the K-3. But yes it's an okay camera for stuff that isn't time-critical or that requires long takes. I'm not getting rid of mine anytime soon.

Then it finally makes sense why you have such a vested interest in the financial downfall of PANAVISION. Wait, actually no, it doesn't. Hmm. :-/

Off the video tap.

Awesome! At Melody Ranch?