dasonras

Oh, i wasn't talking about only stuff i've seen on the net; i've watched many BW films in person at NYU. I am just tired of that film-noir crunch shooting that so many do with this camera. I've seen some BW footage from the K-3 and it was superbly utilized. Looked just like a 1950 glamour film. Anyways, what i am finding is that people who used light meter had good control over the exposure. Those who relied on the internal meter alone, came out with very contrasty film. I've shot vision2 super-8 film and was exremely impressed with the exposure range and color lattitude. With this is in mind, i am very anxious to see what a vision2 stock looks like at 16mm on this ca/m /

I'm interested in viewing samples of footage shot on the K-3, but it has to be color film. I am tired of watching poorly exposed BW. Specifically, looking for vision2 series stock. I saw one clip on the internet; it was a music video. Thanks

Well, we are shooting for one week straight, so a rental budget doesn't seem to fit in. Our budget is going to be restricted to filmstock and processing. The editing phase estimated time is 3 months since we need to foley all sound and even incorporate ADR.

I wasn't aware of the sync drift being an issue. The longest take we took was 1 minute and it was a wide master shot. The audio synched up fine in post. Is this issue dependent on the camera used? We shot on Canon 1014. I have however, dealt with this issue when shooting with the Krasnagorsk-3 16mm camera. The fps knob had the markings slightly nudged too far right and the film seemed like it recorded faster than 24fps.

That makes sense. I ran into some issues last year. I shot 24fps. The house transferred to minidv, and when i captured it in avid i edited in a 24p timeline. However, i had a bunch of interlacing problems and such (i was able to fix it), but could have saved some headaches; i later found out that the house recorded onto minidv at 29.9 fps. I process and telecine at my nearest house, CINELAB in Fall River, MA. They charge $15.00 per neg cart process and $00.25 per foot for telecine. How do theses prices sound? Reasonable? The film is going to be a 30 minute straight rock opera that includes 6 songs. Basically one location and no more than 5 actors. It's been a huge debate whether to shoot super 8 film or DVX100 minidv. We shot a test music video three months ago to test the quality of super 8. To be honest, we were in love with the color depth and grain of super 8. It has a quality that is unmatched to any digital emulation. Another question... I have three super 8 cameras. All of them you set the diopter the same way; rather easy. However, i have a new super 8, Beaulieu 1008, and it has a different method to set the diopter that i am not familiar with. It is a color-like split beam sort of setup. I really don't know how this works. Any thoughts on this camera? I've never shot with it before. The only reason i got it because i found that it was a very very quiet camera.

I am a student, so my budget it limited. My film is intended to be 30 minutes in the final cut. I am purchasing an 90 minutes of film vision2 200T. This is a full musical with lip synching. Now, my question is, would i be able to shoot 18fps to save on filmstock and in post speed to 24fps? Is there any resolution loss or strobing when changing this frame rate? Also, will I have any issues with syncing my prerecorded "sync sesitive" sound track in post? I am working with Avid Xpress Pro, if that matters. Also, when my video is transferred to digital tape, will this be recorded onto the tape as 29.9 fps?

I emailed black and white yesterday and I am waiting for response. Oh, don't get me wrong, I am fully aware of the look that today's super 8 provides. I normally shoot vision2 200t negative and my last music video was fantastic. The color was bright, vibrant, and very saturated. What i am looking for is the right balance of grain and random film artifacts. My movie will be roughly 30 minutes final cut. If i shoot video first, i can afford to shoot for hours. Then i can edit it down to the right length and then transfer to film ( to achieve a film look). This way i pay only for the amount of film i need. I've used so many programs and played with plugins. I am not satisfied with the results. You can tell it is fake. The artifacts and grain seem like just an overlay. Magic Bullet came very close to impressing me, but rendering times are too long.

Okay, your gonna think i am crazy to ask this but... I am going to shoot on DVX100a, however, i want that extrememely grainy and blotchy look of super 8mm film. I was originally going to shoot straight onto super8, however that was when we were dealing with a no-dialogue film. We now plan to shoot a "talkie" and it is becoming too expensive to shoot super 8 when you take into account the number of takes we will have to shoot. So, I want to shoot on 24p video, edit NLE, and then transfer to super 8 film. However, then I also want to transfer back to video because the end product will be DVD. The transfer to 8mm is purely for gaining the grain and blotchy colors. However it will be less expensive because i will be buying film for an "already edited film." How would i go about this? Is there a way i could do it on my own? Point and shoot style? What about flicker and frame rates?