grantbennett2

Our Pro8mm adapted Canon 1014 XL-S is ready for hire in the UK . We will shortly be adding details to our website, www.cinesanctuary.co.uk.

If you would like more details now, please do not hesitate in contacting us.

Merry Christmas

Grant Bennett

I'm having a Super 8 camera adapted to Max 8 framing; a part of the conversion is the fitting of a 24 or 25 FPS crystal sync.

I was wondering if it is still the norm to use 25 FPS based recording systems for commercials, documentaries and music promos in the UK and the rest of

Europe.

I have been working as a HD feature dallies colourist for the past few years and of course those transfers were destined for US cutting rooms so I'm a little out of date with local work flows.

Many thanks

Grant Bennett

This is a very good result for neg, its so clean! did you have to de-spot ?

I use a Movie Stuff Sniper HD and the quality of the results are truly amazing. As a colourist of 20 years experience with flying spot and CCD telecine machines I was blown away with the results from a sub £10,000

bit of kit.

I have transferred Super 8 on Cintel MK3, Ursa, Ursa Gold and Philips Spirit (HD) and ok the optiics will be far superior than a camcorder lens and if you make side by side comparisons you will pick up differences.

its all down to how your footage is to be used and your budget.

Well I finally received my two processed rolls of Wittner Konfekt (Fujichrome Velvia 100 Professional) Super 8 reversal film back from the lab. The results show that my Canon 1014 XL-S is functioning correctly. Now it is all systems go with the Max8 conversion by Pro8mm.

I must admit I prefer the skin tones of the Kodak Ektachrome 100D.

If anyone in the UK or the rest of Europe would like to hire this Max 8 format camera in the near future please contact me through my company Cine Sanctuary www.cinesanctuary.co.uk.

Daily rate is £170 per day with discounts for weekly and weekend bookings; return shipping is not included in this price.

If any bookings taken as a result of this post I will whatever donation is required to the forum.

Many thanks

Grant Bennett

Yes, Light for your look and enhance with your colourist.

Grant Bennett

Colourist

Hi, The uniform flat dead feel to the colour is good; I would go just very slightly more blue than green. You could raise the master gamma and pull the master black back (no crushing) to wash out the skin tone a bit.

Grant Bennett

Colourist

I have decided to initially have my Canon 1014XL-S converted to MAX8 and start hiring this out through my transfer company Cine Sanctuary. If I find this goes well I will go ahead and purchase some more cameras.

Supplied in a pelikan case with the Canon will be a lens cap, rubber lens hood, remote cable with locking release button, gate brush, Tiffin 85 filter, ND filters, Instructions, Tripod.

I hope to supply reversal and negative stock packages myself; passing film to UK based contacts for processing and telecine.

I would be most grateful for any ideas as to how much I should charge for the camera rental.

Many thanks

Grant Bennett

www.cinesanctuary.co.uk

"Holy Crap". Indeed!

I can't wait to see some shot footage. As a colourist with over 20 years experience I know just how good S8 can look.

As a 40 something who loves old stuff I must say that in its present form it looks rather soulless. It could do with a higher quality look; and needs to be very resistant to wear.

Perhaps with further development a more portable version for hand held shooting could be offered. As is I think it would be difficult to use for the traditional pop promo type shooting.

As a potential customer in the rental market I would be looking for an affordable price but not so cheap that everyone had a camera in the boot of their car.

I'm considering adding Super-8 (MAX8) camera hire to my small format transfer company's services. The cameras would be purchased from Pro8.

What I would like to know from cinematographers is what equipment they would require in a rental package. The other question is wether UK customers

would require crystal sync at 24, or 25 FPS.

Any thoughts and advice will be much appreciated.

Grant Bennett

Hi there,

Your film is at the end, but flopped so wind it back onto another spool and at the same time Twist the film so when it arrives at the new reel the sprockets will be on the correct edge at the beginning of the reel.

Grant

www.cinesanctuary.co.uk

I started my telecine colourist career in 92 at Complete video in London. At the time S16mm was just starting to get popular for music promos and any project where letterboxing was desirable. We did one series for the BBC which was shot S16mm, but framed and letterboxed half way between 1.33 and 1.66.

As far as the Inspector Morse series I would imagine the early series from the 80s and 90s would have been standard 16mm. They are on tv here all the time and would have been remastered if they had been shot S16 and the framing worked.

8 mm S8 mm and 9.5 mm now transfered by capstan driven telecine. SD and HD transfers available.

Hello All.

I was hoping you might be able to give me details of your requirements when having newly shot S8 reversal and negative film transfered. I have worked as a professional colourist for fifteen years, and have recently started my own transfer company. I also work as a freelance colourist.

For 16mm and 35mm transfers I use either a Philips Shadow or a Spirit 4K recording to standard def formats and HD CAM or HD CAM SR.

Super 8, Regular 8 and 9.5mm are another matter. Presently I offer a "Domestic" service using High quality projectors , a sony vcr1 multiplexer, and video camera direct into a mac for colour-correction

in Apple Color. This gives very good results (they pass my critical eye test).

My future plan is to purchase a professional machine, Flash scan HD is my favourite choice.

I know that a lot of film makers who shoot on small format, do with the view to going back to film after post production.

So please advise me what file format you require your initial transfers to.

I would also like to offer a final grading service, this could be a graded rushes type service or a grade of your cut film.

Any advice from your experiences good or bad.

Please take a look at my website www.cinesanctuary.co.uk

Many thanks

Grant Bennett

Hmm worth looking into more closely

Results look good though, I wish I had a S8 gate for my Spirit at work.

Thanks for replys

Grant

Most of the time when I get Super 8 on hard drive, I get it as uncompressed 10 bit SD 4:2:2. Can the flashscan provide that sort of output? I think that it would be a better alternative to digibeta, because of cost. The main advantage of going with a tape transfer is that you can get the keycode. But you don't need that with super 8. Keep us posted with your results/ findings.

 

chris

Yes Flashscan can output SDI 10 bit, Thanks for reminding me about the keycode issue.

many thanks

Grant

I hope it is ok to ask these questions on this forum, if not please excuse!

I´m a colourist in london with 15 years experience grading film/tape.

I hope soon to set up my own small company transfering R8/S8 film using the quality Flashscan telecine.

I expect to transfer mostly homemovie cine movie to dvd, but would like to also offer graded transfers.

The transfers would be standard def and what I call primary grading (no windowing of areas).I would be transfering to digi beta, and dv cam.

I see from the forum that many film makers like to transfer direct to drives at the highest quality. My big question is in what format do require the data?

Any information and suggestions are most welcome.

Many thanks

Grant Benett

Well I finaly got around to running some clear leader through the camera, and the shutter is still open when film isnt running.

 

is this problem fixable? any ideas, the camera internals seem clean and film runs with no problems

 

many thanks

 

grant

Latest update, I decided, with nothing to loose to have a look in the internal mechanism.

I ran the camera till the spring was fully unwound then removed the back cover followed by the silver plate with the footage counter and shutter release mechanism on it. I then gently wound the spring, as i did it slipped, this made me think that I had broken the mechanism. So I put everything back together and ran the camera.

It works and the shutter is now closed when not running, I'm not sure what happened but I guess something reseated itself.

Anyhow now I can shoot my first roll.

Well I finaly got around to running some clear leader through the camera, and the shutter is still open when film isnt running.

is this problem fixable? any ideas, the camera internals seem clean and film runs with no problems

many thanks

grant

The other thing i have noticed is that when the camera is at rest and not turning ovrt the shutter is open, then when you run it the shutter works fine.

is this correct?

thanks

Grant Bennett

OK thanks

Camera arrived today, it is double perf! and in very nice condition. The seller said it is circa 1950

it has various speeds 24 16 10 64 and 3 intermediate settings + single shot

next step film!

I will shoot at 24 and telecine at 25 fps to pal digibeta

When you say lube, is this a special product ?

with the fact it will run at 24 does this allow any of you to recomend any different stock other than 50asa neg.

many thanks for your time

Grant

Hello All

My first time here, and I hope you can help. I have just purchased a Keystone A9 16mm camera here in the UK.

From looking at previous posts, am I correct in saying that this camera will only run double perf film.

The camera has an Elgeet 25mm f1.9 lens, and takes 30 metre rolls

I'm looking forward to using it with negative stock, has anyone any fav stock choice with this camera, I guess a slow stock is required.

I look forward to your replies. :rolleyes:

Grant Bennett telecine colourist