Chris Burke

there is no problem shooting the modern stocks. If the camera is functioning properly, quite probably NOT, the only thing that will happen is that the stock will be overexposed, which is a good thing. Modern stocks have huge exposure latitude, so don't worry. Coming from a photography background, you already know all the basics. Get a good spot meter. Get a 85 filter to use in front of the lens for the tungsten stock outdoors. Make sure the internal 85 is always disengaged. it is over 40 years old, so probably not in that great shape. The super8wiki site says that it has auto exposure. It has a 225º shutter, so it will be 1/38th at 24fps. If it is only auto exposure, the only thing that you have control over is the film stock. So 50D outdoors sunny, 200t indoor well lit, outdoor cloudy, 500t low light, evening. But what are your expectations? I have shot the 500T on a cloudy day outdoors with no worries. The Sankyo 255XL I shot with metered it as 160 ISO. With an 85 up front, that is one stop over and it looked great!

Their film stock is really cool but really expensive. I was able to get some test footage very close in look to the Lomochrome Purple. Granted they have some still film stocks that are truly unique, but you can get the same look via Photoshop, Resolve or the like. Is this new one that unique? I support them as much as my wallet allows. Digital still bores the heck out of me. It just seems that you can do the same thing cheaper on your own.

Kodak stocks are made to intercut very well. 250D in full daylight is going to be low grain. 50D in full daylight will be grainless and very sharp. The colors contrast and overall look will be very similar between the two.

I recently have been watching the new episodes and the old ones on Hulu. Wow! Viewed on a TCL 4k HDR panel. for a show shot on Super 16, it looks great! Shot on Fuji Eterna, it holds up very well. The difference between the old and new is noticable, but not that much. At least on my screen. The tv must do a great job at "upscaling" non 4k footage. the S16 footage has great color. It pops but keeps flesh tones realistic. The new episodes looks sharper with more desaturation. My overall point here is that all the talk of Super 16 not being adequate for modern streaming or TV is wrong. Perhaps the OCN from the original run has been rescanned at 4k or HD masters upscaled?? Who knows, but it looks great!

can you get a super 8 camera? And therefore shoot 500T... Or can you get the '19 500T in the load type you need? Your camera has registration pins, no? Therefore, it would produce a much better image than super 8, sharper also, but any way you can shoot 500t would be the way to go. If you are going for that "retro" look, an XL super 8 camera with 500T loaded can practically see in the dark. To me, even in super 8, if you get a dense enough negative, the 500t is rather low grain. How are you transferring your film? Some scanners do a better job with the film rated at the box speed, correct?

Clint Eastwood is or was great for shorter efficient days. He is a very humble and respectful person as well. He goes to the end of the lunch line and waits with everyone else . His sets are very quiet and low stress. some reality tv shows, without any unions backing up the crew, will regularly go over 20 hours./day and regularly are hiring new crew due to burn out.

Season Three teaser looks interesting!

nice stuff. bravo

Imagine if Jodorowsky was able to make his Dune....

I worked on Road To The Winter Classic last fall and at least the home games for the Boston Bruins were shot with Amira and FS7 on at least one occasion. If memory serves me correctly, they did not use those codecs and different lenses, but the footage looked very similar and great! I was very surprised at how well the Sony cut in with the Amira. See if you can watch that somewhere and watch the Boston footage. We are on standby for perhaps another go at it for the Stanley Cup. When on set I will inquire and report back here, which might be in two weeks.

HDMI to SDI converter for sale. Open box, but never used. $100 plus shipping

While during an interview with the two XTR's, do you overlap/stagger the cameras to get full coverage? Do you start the second camera a minute or so before the first one rolls out? I have thought about doing this and want to know others experience. I know that matching lenses and the frame is very important for this, but you can cut away in the edit and then cut back to the interviewee and no one would ever know. Do you try to match the frame and focal length with the two or are they different?

What happened to all the cameras? Is it that everyone is hanging on to what they have like me? It seems as if they all disappeared. How many were there to begin with? Were cameras actually destroyed because they were thought to be worthless? I have an Arri 2c in BNCR mount which I want to change to PL. I can't afford to do so now, but will wait till I can.

Vuescan works as does Photoshop. Any software that can link to and import scans from a film negative scanner, will be able to invert the image. I have many times with Kodak Portra film stock which is a close cousin to Vision 3 and the results are great.

You have to clip test in order to tell the condition of the film, but 2 stops over is realistic. it will probably only suit you shooting outdoors on a sunny day. If you are shooting on an overcast cloudy day, be sure to have fast lenses. Metering it at 50asa on anything but the brightest of days will give you lots of grain.