Dan Horstman

I meant for capture into the computer for editing.

Best thing to do is send the fim to a lab before shooting and get end tests. Then you will be able to see how this film reads in density, red, green and blue compared to the factory numbers. Then you can determine how much you will need to over expose the film to cut through the age fog and help reduce the grain. But if you are gonna wing it...I'd say rate everything at 1/2 the ASA listed (so you will over expose by 1 stop) this will help reduce grain and should cut through the age fog.

We can process B/W Negative here at Colorlab. We can also process B/W Reversal as a negative film. You will then need a work print or video transfer to have a positive to work with. Dan

Sweet! Miska get that film checked out...daddy needs a new hat. :lol:

One more thing is were you shooting the film indoors or outdoors. The film has different ASA recomendations for those two situations.

Work lamps are ok. They tend to be kinda orange. Florescent tubes are ok. Sometimes you'll get a flicker from them. You can get different color temp tubes. The standard ones tend to be pretty green. I would suggest Chinese Lanterns with photoflood bulbs (or reveal bulbs in a pinch) They give a nice soft light.

As far as I know, microfilm has no perforations so it can't be shot in a 16mm camera. Wish it did though...it would be fun to play with.

Well, yes, you can get them to look either cool or warm. But when printing Fuji film here at Colorlab we have a special filter pack that is a minus green and minus blue that we have to use for all Fuji film because if printed at normal it will come out with a green/blue tint to it. So the Fuji film is naturally more green and blue compared to the Kodak.

I'd say keep saving your money. You probably won't be able to get a better quality camera than the home video camera you are currently using for $650.00. Unless you want to switch over to 16mm...then grab a Krasnogorsk 3 off ebay ($100 to $200), get a light meter and a couple rolls of film (get fresh stock from Kodak) Of course 16mm means more money down the road for film stock, processing and telecine...but it is the only way to make a significant upgrade in your image quality for the money you have.

Many of the CMOS and CCD security cameras have a composite out which you can run to a deck to record the image. You can get some that have USB outs (they are basicly webcams) which you could plug into a laptop and record the video direct to the computer. The quality isn't as good as a DV camera, but you can get some that are pretty darn close. For sound you could use a Lavalier Mic and MiniDisc recorder for each actor. Or you could get a PZM mic (cause it is easy to hide) and put it in the center of the car. You'll need to slate the head and probably the tail of each shot. I have no idea how well the security camera and the MiniDisc will stay in sync. There could be some drift. But you should be able to fix it in editing.

In my experience 2 stops over can still be printed to look normal. More than that and the image starts to get thin and washed out...but I personally believe that any image on the film can be "usable" in the right context but I like to "ride the snake" so to speak. (see my posts on the Day For Night thread to see more of my craziness)

The ACL shutter is 175 degrees. 175/360 x 1/24 = 1/49.44 (round up to 1/50 of a second) What kind of light meter are you using Jimmy? Some allow you to change the shutter angle and will allow you to adjust for different frame rates. And as far as books. The Filmmakers Handbook was the main text book when I was in school. You can get it for about $15 on amazon. It has pretty much everything you'll need.

But if you are capturing by firewire you shouldn't have any generation loss unless you are using a different compression codec (like an mpeg-4) for capture or output. We telecine to MiniDV here at Colorlab using the highest quality MiniDV decks available.

What is N16? Never heard of it. I just spooled down a roll of 7279 from 2000 this morning. It was double perf and I know it wasn't a special order. I'll take that bet. What kind of hat are you putting up as stakes. I have a couple hats I would be willing to part with should I lose. Miska get that film checked out and let us know.

With the telecine and color correction technologoy, either of the stocks you mention will be able to give you what you are looking for. If you want a warm look I would recomend the Kodak over the Fuji. The Fuji tends to be more blue/green than the Kodak films.

Here at Colorlab, we've had maybe 2 requests in the last year for 16mm prints from Super 8.

What kind of lens are you using? Did you set it for F-Stops or T-Stops? Is the film brand new or old stock?

I doubt that it is completely unusable. But I wouldn't use it for a professional project. You will probably have some fogging, but some of it might be usable.

Not true. (unless you are the person who gave Miska the film) I have some 7293 that is double perf. I had some 7245 that was double. Any of the stocks you have could be double perf. You should send all this film to a lab for end tests. They will clip off a couple feet from the head, process it and then read the density. You can compare the results with the factory numbers. We have them here at Colorlab and most labs should have them. If not you can get them from Kodak. If you want to send them here to me at Colorlab, we do end tests for free. (in hopes that when you acutally shoot the film that you will send it to us for processing) As far as mixing them. I would say you will be ok. I just shot some 7293 (over exposed one stop so the grain was reduced and the age fog was cut through) and it cut in just fine with Vision stock. I haven't compared it to Vision 2 stocks.

One thing to check is the loop. It should be 12 frames. Make sure that it is distributed evenly when you push the film in against the pressure plate. Also make sure you are threading around all the rollers properly. I had a scratching problem on my ACL for a while...and it was just cause the guy I had loading kept missing the last roller.

El Mariachi was 16mm shot on an Arri S.

One stop over is not a lot. Many DPs over expose one stop as a rule. The whole room being white might be a problem. You will want to do reflected meter readings from everything to see how they will show up. I am thinking that it will be very difficult to hold detail on all that white and still expose your actors faces correctly with any film stock no matter how you rate it. I would say shoot some tests before you do your real shoot.

If you do go with film... Get extra mags. Or get an Aaton XTR with 800 foot mags (they are rare, but they are out there) that way you have as little down time reloading as possible.

Personally I'd overexpose the 250D by one stop. The grain should be very low and overexposure will give you depth into the shadows.

Sorry got mixed up. Thanks for the correction Mark.