Richardson Leao

I was just thinking about another DIY project and i'd like some ideas... would it be possible to make iron oxide emulsion, apply to the corner of s8 film (developed) and then record sound with a magnetic head, possible?

cheers

Why does it have to be Super-8 ?

 

If Eight Millimeter, why don't you employ Double-8, there are so many fine cameras with a precision almost like 16 mm. I can offer several Bolex-Paillard H 8 Reflex, small pocket cameras, and more. Forget that plastic trash from the Sixties.

wittner also sells foma s8 by the meter

Dear all,

I am honored to be able to help to organise one of the first super8 only short film festival in Brazil.

It will happen from the 25th till the 27th of November at the beautiful Curitiba (about 400Km south of Sao Paulo):

http://en.wikipedia.org/wiki/Curitiba

The Festival has had already a great start as a major Brazilian bank backed the sponsorship. The program is not quite ready yet but I can forward that there will be plenty of activity beyond the screening (e.g. workshops of home film developing and photography principles applied to s8). We will be taking submissions soon, probably before the end of the week. I am just jumping ahead of the main organisers as I understand the drag associated to overseas trip planning. Just one point, the main contests will prize films FINISHED in super8, with magnetic sound strip or a separate sound track (for example in a CD). There is also a smaller competition for films finished in video, but the idea of the organisers is to praise the s8 medium from shooting to distribution and the people that used scissors and scotch tape as tools instead of mouse and keybord. I'll post the dates, the website and addresses for submission.

ciao

richardson

Hi Simon, I heard also you might be producing stainless steel spirals for processing, r they available yet?

cheers

richardson

Hello, Karl

 

Yes, any stock after every desired formula in every process in lengths up to 100 foot; 500 ft. and 1000 ft. in preparation

 

Push or pull development almost endless, i. e. if you desire to plague a given piece of film, I'll do that. Since the baths are of natural temperature but never under 20 degrees Celsius I change the times. The tolerances are barely measurable. When I put a test strip under the densitometer to compare values I rather compare differences in chemical developer composition than of my work.

 

Prenoted footage, minimum 48 hours in advance, can be treated like 100 feet every half hour (to negative). Reversal development time is one hour, mostly we have Fomapan R. One foot of 35mm film developed to negative costs Swiss Franc --.64, same in 16 is --.48, no matter what changes you demand. Reversing is --.83 and --.54, respectively.

 

I'd definitely emphasize that you are the world's ONLY LAB OFFERING REVERSAL PRINTS FROM B&W REVERSAL IN 2008. Thank you for the stressing ! As a matter of fact I'd love to have such business. At the time being it is dead calm. It's a cinch and it is not !

 

How can a movie producer, I ask, not have his production shot chemically and not in 35 or 65 ? To have cooperation with us lab people is social, teaching, is such a joy. About a year ago there was a private man here who had an Arriflex II C overhauled in München, then started with Orwo UN 54, viewed my "muster" in projection, bought himself a Steenbeck 6000, you know, and so on. Unfortunately, he had to interrupt production. It's almost a wrap for us now . . .

Hi, My kem 16 table has a prism that rotates in close contact with the film and it always gets dirty. I wonder which kind of product i could use to clean the prism and if it would exist any antistatic solution i could apply to it. CHeers

Hi,

 

It works, sales are fairly small which is usual for a specialist product like this. They is also a company that customises them to customers requirements, adding a viewfinder etc.

 

Stephen

thanks Stephen! But if 3rd party companies do the reflex viewfinder, why it does not come from factory? that's what i don't get about this camera, why it's not reflex...

i am just a bit curious about this camera, is there anyone using it? how are they sales? cheers

Please weigh in if so. I am looking at trying the 160vivid and 500 eterna just wondering what other people experience with these stocks have been. Thanks

 

Ronney Ross

In super8??? From where?

And one from england (a kinor) was in ebay for 100 pounds and no bidders...

I think you should really look out for an Elmo 1012S-XL. These are really good cameras, very quiet, comparable to the more expensive Beaulieus and Canon 1014XLS.

 

The Beaulieus theoretically need more tender loving care. The Canon fetches premium prices.

 

Although the Elmo is a bit on the heavy side, it is the best bang for the buck in my opinion.

 

And you can usually pick them up on Ebay for around $250-$300.

don't forget the canon 814, it has almost everything of the 1014 but it's much lighter. Also, I am very happy with my Nizo S560

I also think that a camera with manual exposure option, a good sharp lens and different fps is a good learning tool, as it opens the way for understanding the principles of other formats (16 or 35). Don't forget to get a cheap lightmeter too.

Many machine vision cameras will use the cameralink format, which either goes direct into a PCI(e) slot or uses firewire. In any case, it's likely that at least a demo application capable of capturing single frames exists.

 

Personally I would not try to capture film in motion - I'd look at it more as a non-realtime scanner, in which you'd step a frame, grab it, step a frame, grab it, etc. Some of the best machine vision cameras don't support their full resolution at 24hz anyway.

 

This becomes even more necessary as you begin to consider RGB backlighting and perhaps double-passes for higher dynamic range, unless you're willing to splurge money on several cameras and space them out down the length of the film.

 

With sufficient resolution, you can obviate registration concerns and stabilise to a sprocket hole in as a post process.

 

P

i didn't add a shutter as the spinning prism does the job (in some angles, no light passes straight to the ccd. maybe i'll try until the perfect camera appears. I was more thinking in using the table to cut the film before doing HD, specially if I get a camera that could invert the image (negative). Then I could cut before scanning. But thanks for all the replies!

Are you shooting the screen or the film plane?

the film plane.

I think the machine vision monochrome idea is great. And which software I'd put the channels together?

Hi all,

I am converting a stenbeck table 16mm to a telecine machine but i am stuck trying to get a camera for it. First i got a sony with 420 tvl resolution and then i remove the ccd from the case and used a single macro lens between the ccd and the film frame to do 'on the fly' scanning. Well, that was almost good but i believe the resolution of the camera is the drawback of my system. I also tried to use a minidv camera (consumer) to do it and that is also not good and i have to have 2 extra close-up filter to make the system compact enough. Anyway, I would like some opinions in regard a camera to buy. I am very tempted in getting a board camera as they are small and they can be mounted in my custom-made xyz system. But are they any good? I found these with 550 tvl:

http://www.rfconcepts.co.uk/board-pinhole-sony.htm

but i dunno any thing about board cameras. Also, should i go for ccd or cmos?

many thanks!

Would that length still fit on a standard 100' spool?

 

Since I'm 100' spool limited, I was curious about the size of the spool.

the 125 ft length is because the polyester base is thinner than the acetate, so you can pack more film in a 100ft spool. And Karl, thanks for the info and i understand that the process is the same, the problem with high-speed old films is that they fog more than low iso films. I had once 2 packs of orwo expired in 1982, apparently stored at the same conditions, one 400 and the other 100, the 400 was terrible while the 100 was almost like new. Best,

That's some great looking stuff!

 

Did you alter processing at all, or is that exposed normal/processed normal?

that's not mine, and the film is using the kodak sound film stock. But i don't think the guy altered the processing. the high cons is a characteristic of sound recording film. i'll post my first results tonight as i developed the agfa film as reversal last night. It's soooooo beautiful.

i am using sound film in my kinor (that also uses polyester as base) and if it jam, the camera simply stop. Like it does with acetate. I think that was a safety trick olexandr included in the mod he made to me. Anyway, what is the iso of this film? I have processed news film in e6 iso 100 and it was ok. iso 400 was poop. The other option would be cross process, then, any lab could do it.

if people keep doing everything on post, very soon we won't need people, except from the post people...

It is the simplest way, you're right. Unless you have the money to do it right by going up a format size to have greater resolution to zoom into, the enlargement poses a problem. On a 1.85 frame, it would have to be more than a 50% enlargement to avoid seeing any frame edges.

Hi all,

I have ordered 2 x 600m of agfa sound film (the ultra high contrast we discussed in a forum a while ago) and i wonder if someone would be interested in some of it very cheaply (for example, 7 euro for 30m without a spool or 10 euro with the spool). I could list it in ebay in if preferred. i thought about puting it in classifieds but i guess it's part of the discussion on the usage of high cons as it would be good to share the results of the experiment. Cheers

PS: Sorry if I bother anyone in writing this topic in the 16mm forum.

this is a clip with the kodak sound film:

Attached is a copy of my Los Cabos - Travelogue submitted to "Your Trip" on the Travel Channel. The footage was all shot in and around Cabo San Lucas and San Jose del Cabo. A lot of questions have come up regarding E64T and the Eumig Nautica, whether you can shoot it underwater, how it exposes, if you should use the PMA adapter. The underwater footage attached was shot with the PMA stacked on top of a Hoya 85b filter.

 

Here is a direct link (I've noticed it streams better when the video is fully loaded)

 

http://yourtrip.travelchannel.com/clip.asp...&type=video

 

Enjoy,

the bw part is awesome!

Good point!

I've never been near an SR3 but SR2's are not that uncommon over here so it's not that much of a jump to realise that SR3's would be 16mm too! ;)

 

However I must confess I just cut and pasted it from the popular 35mm camera thread thing without paying too much attention. Having removed it from it's context it may be a bit askew now as is the way when you do such things.

 

No matter as you picked up on it, and on the upside that gives a recommendation for a nice 16mm camera too! Even better!

 

love

 

Freya

there;s a place in Oz that sells recans of both 35 and 16mm, the name escaped from my head now but i bought from these dudes in syd. maybe if u do a search in this forum u can find it.

i really appreciate this ... First off, I'm in a small town in Melbourne, Australia and the only hiring houses in the area concern themselves with a few old video cameras but thats about it . I've looked into a hiring firm in the city but they only hire out for big productions - and in any case I'm told their camera fees alone are in excess of AUS $2000 . So the only option left was eBay . At this point, I've had an interested seller who's offering a 16mm BL (and I know that the 35mm IIC is not a silent camera so that's that) . Ive got a really good price for it and the man has agreed to upload a test screening but my main concern is, yeah, that it might break down or otherwise produce a poor image . At the end of the day, Im looking for a good camera, that gives sync sound and is reliable ... which arriflex model is the best?

concerning arri models, the BL is not one of the best models but it's a very good camera. we filmed a short recently with a friends camera and it was damn silent. you have to be a very unlucky person to have this camera broken,. Unless off course you don't maintain, lubricate etc. Poor image is also unlikely. The bl is a sync cam and it's very stable. Go for it man... if the camera is runing smoothly when u get it and u maintain it well, that will be with u forever. i'm a russian gear advocate but if u need silence... i guess i have to agree that the bl is better. Just a few remarks:

NOT MANY PEOPLE CONVERT BL TO S16. I don't think Aranda (in australia) does nor the Les Boshes (forgot the spel) in the UK, so, if u wanna the 16x9 you'll have to crop.

i am more for the buying than renting. u can buy decent regular 16mm cameras for the price of few days rent and u can familiarise yourself with the equip. i see some differences in price with 35mm but they are not exorbitant. if you buy shortends/recans, the only thing I believe will cost more is the processing. the telecine is generally paid by the hour. So, there's not a real difference. Also, the cameras off course are more expensive. But, if u have 5K to spare, u could get a kinor 35 converted to to perf and then u would save a lot of film and film in native 1.66 ratio.

35mm, as I'm sure you already know costs more in raw stock and processing than 16mm, but a major advantage is that you can make a contact print with 35mm for release. There is no need to do an optical blowup or costly DI. Nailing your exposure becomes more critical, but hey, cinematographers have been able to do it without DIs for over a hundred years. This is why it is important for you to hire a skilled cinematographer and have he/she decide what camera would be best for your shoot. I would also recommend that you rent the camera instead of buying an old one that will be more likely to break down on set. If you have a problem with a bought camera on set that can't be solved by the ACs, who do you call to fix it? Do you call yourself? A feature is a huge investment of time and money as I'm sure you already know. Why risk the efforts of yourself and the hard work of your cast and crew by shooting on a camera that may not be as reliable?

 

As far as an Arri S 16mm camera. That camera is a coffee grinder. You will not be able to sound with it and it does not come with a crystal sync motor. The Arri SR is a sync sound camera, but some of them can be a bit noisy. The Arri IIC 35mm is also not a sync sound camera because it is also very loud, same goes for the Arri 35III. The BL's are sync sound. If you do decide to buy a camera, make sure you get it checked out and serviced if necessary before the shoot.

 

Another reason to rent is so you can get all the necessary accessories and proper lenses. You will get a better deal from a rental house on things such as a follow focus, filters, lenses, if you rent the camera from them as well.

 

The only reason I could see you wanting to buy a camera is if there are no rental houses in your area. Where are you located?

u have more options than ekta. Wittner in germany sells 64t fuji and 50d velvia (also fuji)

i imported from them from australia and i had no probs at all.

http://wittner-kinotechnik.de/katalog/04_filmm/16_filmm.php

You're probably right, but I already have a few tungsten lamps, and I've been spending a fortune on this stuff as it is and my wife is reaching for the frying pan. Also, if what I have doesn't suffice or do the trick, I was just going to buy some inexpensive halogen work lights at Home Depot. Those would still require that filtering, correct?

 

I'm literally only going to be filling the frame from the top of a person's head to the waistline with a black backdrop, and since it's going to be a hologram, I don't even think color temp IS that important. Or maybe it will be VERY important.

 

That being said, what's the cheapest daylight solution out there for what I want to do with Ektachrome? I'm only talking three lamps tops, correct? Left, right and top?

 

The backdrop is a black semi-circle curtain, which will give me those sharp edges of the subject, which I want. The BIG question...

 

Where the heck do I position my lamps so they stay out of frame? But maybe I should move this to Lighting or I'll get yelled at.

Hello everyone! ;)

 

Well, this is my first post and I hope that I will be able to contribute to the discussions here, as I have found it very useful for information.

 

I'd like to kick off with a couple of video links to my Vimeo page, which I've just set up today!

 

Sorry It's only some 'home movie' stuff, but it was shot on Wittnerchrome 100D with a Canon 1014xl-s. The two videos show contrasting light conditions and give an idea to those who've not used 100D how it performs in sunny and overcast conditions.

 

The first video is some footage from my wedding, which was exactly one year ago yesterday:

 

http://www.vimeo.com/1514130

 

The second video was shot a few days later with some freinds:

 

http://www.vimeo.com/1514481

 

Hope they are of use!

 

Thanks,

 

Jamie :)

didn't realize that 100d was so nice. I'm converted...

Welcome to the forum!

Since Kodachrome left us we only have Ektachrome 100D in 16mm color reversal. It is a great reversal stock so don't feel bad. Plus-X and Tri-X are also available as reversal.

 

Fuji does have a full line of negative 16mm stocks available in the U.S. Go to their website and look up the sales offices. It's a pain to order but you can do it. I think you have to fill out some forms and fax them over... it's not just a simple credit card transaction the first time. Fuji stocks have a different look so try some out before commiting a big project to it. Nothing wrong with the look, just might be not what you expect if you've dealt exclusively with Kodak.

check the fuji vivid, great stuff. Also, there is orwo, foma and in europe, some companis sell fuji velvia in 16mm, also great stock.