morgstar

I recently saw a feature shot with a combo of Super-8 and S16 as a blown up print and I have to say (though I was in the front row) - it crushed any ideas I'd ever had about shooting on Super-8 to blow up -- it looked like old Video-8 as a blow up NOT Super-8 -- the blacks had all kinds of colour grain artifacts -- which is likely to happen even if it's Tri-X unless they're going for B+W print stock? Sadly, the blow just lost all the grooviness and that beautiful feeling only Super-8 has as projected 8mm print .. sorry to say -- I'd go a different route altogether to achieve this look. Not to mention the HELL your post team will go through syncing sound (you'll most likely require front and tail slates for every take in order to post sync the dialogue) Arrrgh! And undoubtedly, the post team will say, "Who shot this piece of sh$#? The camera speed is all over the place" PS. Please don't shoot the messenger!

I recently saw a feature shot with a combo of Super-8 and S16 as a blown up print and I have to say (though I was in the front row) - it crushed any ideas I'd ever had about shooting on Super-8 to blow up -- it looked like old Video-8 as a blow up NOT Super-8 -- the blacks had all kinds of colour grain artifacts -- which is likely to happen even if it's Tri-X unless they're going for B+W print stock? Sadly, the blow u lost all the grooviness and that beautiful feeling only Super-8 has as projected 8mm print .. sorry to say -- I'd go a different route altogether to achieve this look. Not to mention the HELL your post team will go through syncing sound (you'll most likely require front and tail slates for every take in order to post sync the dialogue) Arrrgh! And undoubtedly, the post team will say, "Who shot this piece of sh$#? The camera speed is all over the place" PS. Please don't shoot the messenger!

I'm in Australia at the moment so 25fps is standard sync frame speed (PAL format) and the electrics are getting the right ballasts together for me now - think I'll shoot some at 45° and some at 90°, just for fun! Any idea what happens if you adjust the shutter angle of the telecine gate?

Thanks, Thomas! So, I gather 45° is a more intense effect to staccato the motion than 90°? We'll be shooting at 25 fps - I was sure there was also a trick in telecine -- I guess not .. thanks for your support -- Is this trick going to effect my lights at all -- will I get strobing if I'm not shooting flicker free everything?! Time to dig out that American Cinematographer's Manual!

I'm looking to shoot that shutter angle trick you see in a lot of music videos where motion becomes very ... well rigid I guess -- little to no motion blur -- I'm pretty sure it's not just a camera angle it's a combination of shooting with a certain angle and then using the same or slightly different angle in the telecine gate?? Any clues out there?? I have no time to test this so please make sure to state if you have definitive experience in this technique! We're shooting 35mm on an Arri 435.