Chris Burke

What is a good example of what 7293 looked like? To be specific, it's granularity, it's warmth or lack there of, any sort of typical tell tale signes of 7293 in Super 16. Thanks chris

Where does the cineglyph fall into this?? I have heard great things about Bonolabs tking straight to hard drive as uncompressed 10-bit HD 4:4:4 color.

check out www.thompsongrassvalley.com, you will see that the Shadow can do Data output, if so set up. I guess the spirit is the big brother to this. I am about to do this on a super 16 short. chris

What flavor of video are you going to master to? Keep in mind that film stock, processing, prep and telecine cost the same in either regular or super 16. Where you will save money is with a regular 16 camera package. My recommendation is that if you have a small budget and the final product will live in SD 4:3 world, that you shoot with regular 16, compose for 1.85 and telcine to DVCPro 50. This will give you a very affordable production path. Check the prices, and see if a Super 16 package is in the picture or not. It will give you a better image. Chekc out Vera Drake by Mike Leigh, shot on Super 16, looks like 35. chris

Sorry I do not have any screen grabs at the moment. By what you say that you are looking for, it sounds like you should shoot 7217 and desaturate in post. That will give you fine grain and a great look. Good luck. chris

You can use m42 screw mount lenses on a K-3. I have a 50mm 1.4 that I use as a telephoto. I just shot about 1400' on a k-3 and am having it transfered. should be back later this week if not early next week. i will post the results here. chris

what about using 7231 and push it a stop? If you can live with 100asa, then by all means do this. There will be grain, but not that bad. But you could also get a larger light package, the 31 has a descent amount of latitude. In any case, if you do shoot color and pull the color out or if you shoot black and white neg, you will get two different, yet appealing looks. When B&W is needed, I like the real stuff. chris

David is right. I would recommend the 7222 or 7231. The 22 is great for indoors without a lot of light the 31 for outdoors or indoors with loads of light. You can get a one light and cut with that, never send out your camera original out to festivals. If you movie is in demand and you only have one print, you may want to consider a Beta or DVCAM copy for screening only. Good luck. chris

you may find the blow up to 35mm to be quite expensive as well. Perhaps a digital projector is in your future. Check out bonolabs.com they have some great Super 16 to hard drive packages. Good luck

If this is a Mercedes add, why are you shooting on HDV and not 35mm? In any case, all the HDV cameras out there are 1/3 inch chip. the XL2 with a 35mm PS tecknik adapter and cine primes will give you a great look, the SDX 900 or Vari Cam for that matter will give you a much better, "sleeker" look. Little cameras with little chips and lenses, give a softer, low res look, akin to video. If this is desired, go for it, if not, push for a better format, even Super 16. chris

has anyone any experience with them? My 6080 is having power issues, so I want someone to check it out. chris

a barney would hurt either. I think there is someone out there who make custom covers for said Nizo. chris

www.k14movies.com is the site for Dwayne's. You will find mixed reviews about them here and on other boards, I personally have had nothing but great results from them. They are quick and cheap. You could watch your film shortly after shooting. chris :D

you may also want to consider the Eterna or 8672, 8572 which ever you are shooting. Eterna is an incredible film as is the 500T. The later has a lot of grain, which contrary to what many people consider a bad thing, is actually quite pretty. All the Vision 2 stocks are great, but so is Fuji and Fuji is cheaper. chris :)

I think that they are going for a ameture home movie look, perhaps it was Ektachrome.

what sort of Super 8 stock is used on this show? What frame rate do they shoot at and what sort of telecine to what format? chris :)

I saw it and own a DVD, only because I was curious about the look of S8. It does look good considering the afore mentioned production path. I thought the story and acting were quite weak. I did not believe or feel invested in the lead character and the story was a bit under developed. I will sell you my copy for ten bucks.

It is not always more expensive. It depends largely on the type of files (resolution) you will be having put on the hard drive and if the telecine house is set up to do this easily. More and more places are offering a tapeless solution. I am about to do this on a short where the transfer house is telecine direct to my FW800 hard drive, Super 16 to uncompressed 10 bit HD, I take the hard drive home, make offlline clips, sync audio, edit and then back to the same telecine house for an online. I am save a lot of money, especially on deck rental. Check around, you may find some place that can do the same for you. chris

I have not tried either the Bauer or the 801, but I have used the 6080 quite a bit. I have found it to have a very sharp lens. I am very pleased with the results. chris

Your issues may be just those three cameras. I have owned and used many more than three cameras. And countless many other brands. The 6080 is by far the quietest made Super 8 camera. Perhaps a 7008 Pro or 9008 is quieter, but in most folks price range, the 6080 can't be beat. Send your cameras to Duall in NYC. they do a good job on Nizos, get it lubed. chris

thanks Jonn, I am amazed at how small the grain was. 500 speed film and super 16, yet it looked really sharp. How similar is it to the 7217 in terms of grain? Is the 17 that much more sharp? Grain free? chris

I have heard that Vera Drake was shot on Super 16. I rented it and thought besided it being a wonderful film, it looked incredible. Dick Pope did a supberb job. I could not tell that it was shot on Super 16 instead of 35,if indeed that was the case. Checked it out on IMDB and they say that it was shot on 35mm. I am curious which stock they used to get those fantastic tones and fine grain. If it was Super 16, I can see that being my format of choice for a while to come. chris

Nizo 6080, I bought mine off of Matt, he should know. Also a great camera in it's own right.

I'd like to see the 7212 or 7222 in Super 8. I know there is Black and white reversal, but if there were a bw negative with the latitude of 22, then I think you may hook a lot more people who are shooting digital and CC to Black and white.

If you have not already done your telecine session, then may I suggest that you telecine direct to a hard drive. If the lab or where ever you are doing the transfer, has the ability to go to hard drive, then do it. If they can, have them transfer to the highest quality that your editing system can handle. Then make an offline from that. You can bring the finished project file and the online res material to a post house and have them assemble and do a color correction. I don't know how long your film is but, I am about to follow this route for a 8 minute short. Good luck.