Alessandro Machi

Yeah. I was referring to how well it adheres when it is old. I had used some of my school's professional film cement and even though my splices were as clean and precise as most negative cutters' work, they came apart in the projector at every single splice. It was my final too! I had to buy my own cement and re-splice every single one, losing a frame on both sides of the splice. It was terrible. Yeah, I just watched a film do that during a rank transfer. The film was a 16mm print probably from the early 70's. They were cement splices cut at a 45% angle. The colorist was not to happy about it.

Try this link http://www.cinematography.com/forum2004/in...?showtopic=1256

I don't agree that most transfer houses don't accept tape splices. If it has to do with the film transfer "bumping" at the tape splices and the transfer house not wanting to be held responsible, that I can agree with. Dwaynes sends their processed film back with tape spliced leader.

I was visiting a rank transfer facility and the 16mm film that was being transfered kept coming apart at the cement splices. The kicker was the cement splices were made at an angle, (perhaps 45 degrees?). Tape splices come apart also, however my preference is tape. For my purposes, I use the 4 frame splice tabs versus the two frame because the splices are merely to link up two pieces of unedited film. Probably for already edited films you would go with the two frame splice if you choose tape.

uh oh, I hear a voice, it's someone from this forum saying, "Oh, you just want something for free". Actually, I've already invested close to $2,000 dollars on my pin registered super-8 camera and I have nothing to show for it. $600 hundred dollars to transfer 17 minutes worth of super-8 film, when the shot is a lock off and remains constant for all 7 cartridges, seems a bit excessive. If any post house in LA is interested in getting a Spirit Super-8 gate to compete with the one and only one that already exists in LA, I would be available to do the super-8 film prepping and perhaps once every two weeks the post house could have a super-8 day. So many times Super-8 seems to run into a brick wall called a monopoly where there is one and only one big time player. I'm specifically talking a Spirit film transfer, not Rank. Thankfully, after many years, there is some competition among the Super-8 Rank houses, but there is none for the Spirit in the LA area.

Can I submit my footage? It won't get much better than pin registered.

I'd like to know more about this. Was this test footage or was it an actual film project? What camera was used to shoot the footage? I'd like to do a Spirit test to HD with the pin registered Super-8 camera I have, but I was quoted $600.00 to transfer 20 minutes of film.

Media Distributors on Ventura Blvd in Studio City is pretty good.

Interesting you should say that. Lisa Schwartzbaum of Entertainment Weekly LOVED THIS MOVIE yet HATED Pay it Forward. From a story point of view I didn't find the movies that different frankly.

The opposite is actually true. I know a camera manufacturer who could make a pin-registered Super-8 camera for between 4 and 5 grand. The problem of course had to do with pre-orders. Could one really get 50-100 pre-orders?

By your logic Mitch, then it would be crazy that Kodak has NO ADVERTISING money allocated for Super-8 film. Every year Kodak spends money advertising 16mm and 35mm but no money is allocated for advertising Super-8. If Kodak were spending a very small amount of money advertising Super-8 film on a yearly basis, then I could see your point. There is a huge middle America Market that bought Super-8 cameras a long time ago and have just assumed the format no longer exists. So if you think it's crazy for Kodak to make a very small investment, a very small investment, in a new super-8 product, (which would actually increase sales enough to offset the cost of the prizes they would purchase) then at least point to some advertising that Kodak does for Super-8. If you say the fact that Kodak makes Super-8 is good enough, I would disagree because the point of advertising Super-8 would not be to lose money, but to make money by reaching millions upon millions of people who grew up with Super-8 and have just assumed the format no loner exists.

Hey John, thanks for explaining how Santa Claus does it! :D The phrasing just took me by surprise because at first it says Kodak has no liability if it views unsolicited material, but then at the end of the statement it seems to say that the idea won't even be viewed.

:blink: Here is the Kodak Sponsorship link. http://www.kodak.com/US/en/corp/sponsorshi...whatwhere.jhtml IMPORTANT -- PLEASE READ: "It is the policy of Eastman Kodak Company to consider unsolicited proposals, ideas and other information submitted from outside sources only on a non-confidential basis and wholly without obligation on the part of Kodak." ----------------- Ok, I guess that is Lawyers speak for "if we like your idea we won't acknowledge you submitted and therefore will not owe you anything. ------------------ "While Kodak values the goodwill of those who write suggesting we sponsor or affiliate with a certain party, the volume of such submissions is beyond our ability to respond." -------------------- Is that really really really really really true? Is the volume that great that Kodak cannot respond, via an email? Would it take 10 Kodak personnel working round the clock to answer all of those ideas? :unsure: How does Santa Claus Do it? ----------------------- "Therefore, Kodak can only consider proposals from agencies or other professionals authorized to represent the party seeking our support. Others will neither be reviewed nor answered. We appreciate your taking the time to visit our site and hope you understand our reasons for having to limit submissions in this way." ----------------------- :blink: :blink: :angry:

John, pity there is no mention of the "Straight 8" event in the Cannes sponsorship link. I entered for this (didn't get my film through though :( ) and I am sure it was to be held in the Kodak pavillion. I think that the "Straight 8" guys have had an excellent idea which really promotes super8 and film generally as a medium that requires skill and judgement to get right. I think that they had 94 entries for the Cannes event, and they are also doing it in Canada and London, amongst other festivals planned. Matt Flicker also has these kind of film festivals. In camera editing film festivals have been around for a long time. I have a page devoted to the "In Camera Editing Film Festivals" that are quite popular in Super-8 on my website. http://www.super-8mm.net/7.html A reality TV show concept on the making of such films would probably be successful. Kodak could sponsor it!

Thanks John for the Sponsorship link!

I just viewed someones home videos that they want transfered to DVD. MY scope showed me levels that were from zero IRE all the way up to 120 and even slightly higher. If I reshape the levels and bring the lower end back up to 7.5 IRE and the top end to a more reasonable 100-105 IRE, I can actually improve the amount of detail that I see, especially on underexposed faces. It seems to me that I would immediately want to make the set-up correction before doing anything else, then make additional adjustments to color and hue. If digital codecs are not all they should be, then it seems to me you would want to do the set-up adjustment BEFORE the codecs do their damage and take close to zero black and make it that much blacker.

I think 7.5 gives an overall better result if you are making both DVD and VHS copies. Another issue revolves around viewing environment. I'm wondering if smaller television sets don't show off the contrast value as well as a larger television set to the average viewing audience. Was 7.5 IRE created strictly for analog broadcast spec purposes? Lighting even can enter the equation. Reality TV, shot with low-end digital camcorders, actually benefits when the dynamic range is reduced and the darks are brought up and the brights slightly muted. That type of "adjustment" bodes well for what 7.5 IRE brings to the table.

I think zero black is overrated by digital video editors. The very nature of a television screen is such that chroma level needs some brightness level to attach itself to. 7.5 IRE allows chroma more signal to attach itself to. I am not saying that 7.5 black is better than zero black, I am merely saying that it is not obvious that one method or the other is better all the time.

Color bars serve more than one purpose. It is essential to put them on your tape as a way to evaluate any monitor that your tape is played on. Even if zero black is the order of the day, setting the set-up level on the monitor is absolutely critical for color correction purposes. Thank god for PLUGE. Also, anytime your camera tape is copied the color bars already recorded on the tape help quickly ascertain if some overall "adjustment" was made to the camera footage. Here's the fine print. Color Bars have nothing to do with the quality of the footage that follows. So even if you lay color bars on a tape, that doesn't mean the footage that follows does not need adjusting. Also, slapping color bars onto the front of an edit master tape that had no color correction applied via a properly calibrated monitor while the edit master was being made is actually WORSE than having no color bars at all. You can only use the color bars as a guide if the scenes that follow were color corrected to the same SMPTE spec, but you still need those color bars to verify that your monitor is properly calibrated.

Are those only for Beaulieu cameras?

I was watching KTLA news at ten in Los Angeles CA and I think the image quality looks real good on some of their location news stories. LOL, it looks as good as it did ten years ago when the Analog style of Camcorder ruled. Has KTLA recently switched cameras for their news stories and what have they switched to? It also looks like they are using HMI lighting, anybody have the scoop?

I agree that 2 minutes and 30 seconds is far too short. This is somewhat offset by the fact that Super-8 film can be reloaded in under 5 seconds. However, if one is trying to do a complete take of a music video, the task becomes next to impossible, unless one has two cameras and starts the second camera before the first camera runs out of film.

Neumade.com makes several super-8 products. Neumade carries White Super-8 movie leader, film cleaner and lubricant and apparently they still make splicers! I just ordered a Super-8mm rewind adapter so I can prep my own Super-8mm film on a Neumade 16mm 5/16 shaft Rewind set. If you don't see it on the website just call and ask for what you are looking for.

One technique used by some DP's is that they wll use those Roscoe/Lee swatch colored filters and put a paler one in front of the lens as they white balance. The idea is you can manipulate your the cameras color balance by using the opposite color from what you want to achieve. A pale blue filter should warm up the image. However, the idea is once the white balance is done you put the filter away. By keeping filters on the camera all day long you have to make sure the camera was not auto white balancing and in essence overriding the filters you left on the camera. Also, you can always readjust all of your video levels in post. I've been able to take away light fog from a shot by readjusting the set-up level and add color if I thought the shot was too pale.

Well, I think we can all agree that none of us agree on anything.