Alessandro Machi

I guess the edit function has been removed. Might I suggest a five or 10 minute window for editing for those of us who make spelling errors or leave a word and want to correct the mistake?

Hmmm, a producer promoting a trailer on kickstarter.

Would be interesting if the actual film transfer houses could set up small rooms that have the basics for low cost film scanning and simply charge a rate of 25 bucks an hour. However, the downside could be that if it takes four to six times as long as a conventional transfer, it may mitigate the cost effectiveness to some degree.

Here is a link to the Human Barbie Doll. The picture looks like CGI to me. Thoughts? http://www.starpulse.com/news/Kevin_Blair/2012/11/15/human_barbie_doll_valeria_lukyanova_re

If you have a super-8 camera that has a wide angle macro setting, you can use this Eumig Aspheric wide angle lens on your camera. However, if the thread size is different between your camera and the apsheric, it may or may not work once you get the proper step-up or step-down ring. You will be able to focus, however you might get what is known as "vignetting" in which part of the actual wide angle lens frame can be seen. On the cool side, the PMA creates three times the area of coverage and allows for awesome hand held running shots or skateboard shots. http://www.ebay.com/...=item3cbce310f1 I don't know the seller and have no say, just letting you all know.

I think the price includes processing, no?

Wedding videographers have established a nice niche shooting Super-8 film, I think the Ektachrome 100D was popular with them.

Cracks me up, DP's wouldn't hesitate to pick up a digital 8 camcorder or mini-dv and be cutting edge, but no way would anyone attempt anything of note on Super-8.

I've posted an article about this film thanks to the questions that were answered by Scott and Zack. And the article has a handy link back to this article as well.

Wouldn't it be good public relations to let the public know before the final run of 100 Ektachrome D is made, then let people who really like the stock buy a whole bunch of it and base the final run on pre-sales as well? And if Kodak is worried a huge buy on a final run of Ektachrome 100D film product will affect sales of the remaining film stocks, just give the buyer a cartridge or two of the negative stock that will replace the discontinued Ektachrome stock as a lure. I love Ektachrome 100 D, however, 50 negative may prove to be an even better alternative, as long as one can afford the negative transfer costs, so Kodak could win both ways, let people buy a ton of ektachrome, but lure them with a free sample negative replacement stock as well.

If Film still looks good digitally projected, and still looks like film, then why not focus on what digital format retains the look of film best?

A good news story from the east coast is not trite. I have mistakenly left some negatives outside in a box when it has rained. All I can suggest is if you are able to carefully remove them from their sleeve, assuming the sleeve is moist or worst, I assume you will get a better result than letting them fester in that environment. If you are afraid that trying to take them out will result in part of the negative sticking to the wet sleeve, maybe consider punching small holes through the sleeve but not the negatives so that they can at least air out. I'm not basing my answer on anything other than what I experienced. I lost some really cool BW production polaroids that got rain damaged, so I hope you can preserve your stuff.

I PM'd you a list of questions.

For starters, you might want to post a message on a super-8 facebook page as well. http://www.facebook.com/groups/27648968851/

I like your behind the scenes interview. By the end of it, I was really hoping to see a really climatic 5 to 10 second terrifying teaser.

I can post an article on my www.alexlogic.blogspot.com site. Why don't you put together some info about the film, aka press release. I'd like to focus on the super-8 aspect. The transfer looks really clean. Even without a few more backlights (the first thing to go in lower budgeted films), it looks really good.

If you get the chance, you should experiment with what might happen if you don't use an orange filter at all for indoors when you shoot negative film stock. On the one hand, the 85 filter might be helping to activate extra silver in the film for a thicker negative, on the other hand, the 85 filter lets less light in overall, which results in a slightly thinner negative. Even though the warm look is very retro and cool (or is that retro and warm?), you might be able to get that anyways by not using the filter and gaining the extra overall light hitting the film, and then adjusting the warmth during the transfer. However, the overwarm 85 filter shot negative might reduce grain as the reduction in blue grain makes the film have less of a "grainy" look overall. The philosophy in the past used to be, over-expose the negative by 2/3 to one stop when possible. So, if the meter only goes up to 250, that is actually a blessing when shooting 500 ASA negative film stock, especially when one factors in the light that is siphoned off to the viewfinder. One stop overexposure when shooting super-8 indoors is probably ideal since the viewfinder siphons out around 1/3 to 1/2 of a stop of light. While I generally agree that one is probably better off slightly underexposing Ektachrome 100D versus overexposing it when shooting it outdoors, that also relates to whether or not the scene is backlit, and the color of the people's skin color, hair and clothing as well. In a backlighting situation, underexposure in combination with dark hair, clothing, or skin color can begin to take the vibrancy out of the facial tones. I hope you can get a chance to try some negative indoor filming without the 85 filter when it is not a totally critical situation, you may find the trade off of more light hitting the film more than offsets hitting the film with an 85 filter, especially in low light situations, as long as the removal of the 85 filter does not fool the light meter into under-exposing by lifting the setting above wide open. However, it is also possible that the balancing of the blue grains with the orange grains may produce more of a grainy look, and perhaps that is the reason for going more orange and retro at the same time. I like the black columns on both sides of the image, and the full super-8 frame transfer, it feels like one is watching a movie in a theatre. I have said in the past that that black column on both sides could become a way to offer commercial free programing with small, non animated, subtle logos as advertising in that black area, kind of how they do during soccer games when they put a still logo somewhere within the image. In this case, the logo could actually be in the black area and not in the actual movie area. And, it appears that on an SD monitor the positioning is still centered so that most of the image would still appear intact. Good stuff.

I just found the news article, sorry if I gave the impression that I worked on it.

I just discovered all the great Super-8mm reviews at BH in New York regarding Kodak Super-8mm Ektachrome 100D. Of course, if you live near a place that sells Super-8 film, it still makes sense to support them regularly so they are also there for those times when you have to have film the same day. Keep in mind, some labs that sell super-8 film will sometimes include the processing in the cost of the film, so saving a couple of bucks by buying the film only from B&H may not work out as well as one might think. I have not kept up on that aspect of buying film from BH. Any one want to share their preference on how they buy their super-8 film?

Probably because there was more than one encounter, no?

What's interesting about this music video is that it kind of made me feel like this is one type of song and style that does not work with super-8mm. The song is so slow and soothing that I think I need to see prettier images, or, really scary images, the complete opposite to what we got.

Here is the link. http://www.pluginmusic.com/news/article/annie-and-the-beekeepers-premiere-come-on-video

My prior experience is that it's all in the lower black levels. if they are already crushed, you won't be able to do anything later on. Lift the blacks without clipping the highlights when shooting should give you the best options later on, however, then there is the trade off issue of shooting wide open versus maybe stopping down a stop for potentially a clearer image. Also, make sure your lens is cleaned really well (no thumb prints), especially in back lit situations.

You've basically mentioned three cameras that illustrate the flexibility of Super-8, the Canon 814XLS is a real time workhouse, the Bauer 709 microcomputer offers a ton of options, but I don't think it offers time lapse, then A512 I think has a 12 to 1 zoom and time-exposure as well. You should decide what type of filmmaker you like being, and go with the camera that closest matches your curiosity. One intriguing aspect of time-exposure is that it can eat up a lot of time, but not a lot film, so if you have time to spare, creative time-exposure is a lot of fun to explore. I've never used the Bauer 709 micro computer but one of the micro's has either a 12 to 1 or 15 to 1 zoom. I have heard that the computers on these cameras can stop working.