Bjarne Eldhuset

Hi, I'm going to shoot a music video in the autumn, and as it will be shown in PAL-format, most US post houses seem to be either to expensive, don't offer PAL as an option, or will make some sort of conversion. In my case, to have 24 frames per second footage telecined to almost 30 (NTSC), and then converted to 25 again (PAL), will probably not look too good.... So, i wonder, Which best quality or near-best quality solutions do I have? Which post houses IN EUROPE offer direct to hard drive super 8 transfers? Who are the best? Who are the cheapest? Who are in between? Who do you love? Hoping to hear from those of you that have tried various european services. Greetings from Bjarne in Oslo, Norway.

Hi again, and thanks for all the good advice. I haven't been able to answer before now, due to a messed up internet-connection. I will be testing both the internal and the external light meter, and make notes, so i hope to get a good idea about the difference between the internal and the external light meter. Andy: - I will be testing with some rolls of negative stock, since my first real project on super 8 will be shot on negative stock as well. A bit expensive, but I need the experience with this stock. And anyway, who needs money, a happy girlfriend, and the ability to have a social life, when one can spend all time and income on super 8! - Thanks for the practical advice on how to use the light meter. Guess you saved me from measuring myself instead of the subject :-) Then, a question about distance: A. INTERNAL LIGHT METER: Since the internal lightmeter is metering the light that is bouncing off of your subject, I guess it would make quite a difference how far your camera is from the subject you're filming? Standing 5 meters from a person should possibly give quite a different reading from the internal light meter than standing, say, 25 meters from the subject? B. EXTERNAL LIGHT METER: A person is standing on point X. Using the external light meter, you get a reading at point x. You then do 3 shots, one at 5 meters away from X, one at 15 meters away, and one at 30 meters away. Will the exposure be the same for these 3 shots? Does the camera's distance from the measured object matter? Thanks again for all your answers and good advice, they have really helped me! Bjarne, Oslo, Norway.

Hi, I'm (still) a newcomer to super 8, and I guess I could just as well have called this thread "the idiot's questions about light measuring", as I probably will be asking some very basic questions here. I've previously shot on video, set the white balance, and just had the camera make all (not artistical:-) decisions for me. I've just purchased two super 8-cameras, and next weekend i intend to shoot 2-3 test rolls of Vision 2 200t and Vision 2 500t. Now, for the questions: 1. I've read that these films will give the best results if shot at f-stops between 5.8 and 16. Anyone now if this is correct? At which f-stop will the picture have least grain? How much light is enough light, and how little is to little to capture motion acceptably? 2. I tried placing my brother on a chair sitting next to a window. When using a minolta autometer IV-f, the window was approximately f-8, whilst in front of my brother, approximately f-2. At which f-stop should I shoot to get my brother to be most visible? At which f-stop should I shoot to get the window not to blow out? 3. Say I have a 5 meter wide white wall in a room. In the right corner a man walks around in circles. In the left corner sits a woman in a chair, next to a roof-light. Say the meter reads f-2 for the man and f-5.6 for the woman. - If i shoot at F-2, will the woman be overexposed, or will nothing in the range from x stop to z stop be overexposed? - If i shoot at f-5.6, will the man be very dark? I i had shot the same scene with the meter reading f-5.6 for the man, and 11 for the woman, would the man be as light as the woman was in the previous shot, and the woman much lighter? How do I use my light meter to find out wether or not a shot will be too dark or too bright? Lots of basic questions here, and I don't expect you to answer, but I will surely be grateful if you do! Best regards from Bjarne in Oslo.

1 Hi, S8 Booster, where in Norway are you at? Actually, since i bought some film from norsk smalfilm, I've spent hours and hours on filmshooting.com, and read just about every thread on this subject. I guess i just got too much information/discussion to get a grip on this subject. Since it's not been possible to register for a while, during the holidays, I haven't been able to ask my silly questions on filmshooting.com, but I'll join there too as soon as new users can register Then I'll haunt both forums til I drop, because at the moment I'm reading just about everything I come across regarding super-8 :-)

Thanks for the advice, Skratch. I am aware that focusing is critical, and I will be very carefull when setting the focus. I was thinking of measuring the distance with , uhm, I'm not sure what it's called in English, but say a-roll- of-tape-you-measure-length-with :-) I take it you have a nizo your self, or experience with one, so I'll ask you this; If I aim at pole or something, at full zoom, I find it somewhat hard to get the lines in the split image to align perfectly. Almost, but not perfect. Do you think I am doing something wrong, could the camera be somewhat of, or maybe the pole wasn't strait :-)

Ah, of course! It didn't cross my mind that I have to compensate for the light loss. The nizo professional has a working internal through the lens lightmeter. I went and tried it now, and it did indeed compensate with about 2/3 of a stop. As my Nikon doesn't have a working internal lightmeter, I will no surely calculate in the light loss of 2/3 of a stop when metering externally while using an external filter, shooting in daylight. thanks for all the good advice, this was a maybe a small step for mankind, but a super-8 leap for me :-) Best regards, Bjarne, Oslo, Norway. My home-valley, Setesdal - it will look great in super 8!

Thanks again for taking time to answer me! So, basically, the above means that: - Shooting inside, without sunlight filter the film will be exposed at EI-100. - Shooting outside, with an external sunlight filter, the film will be exposed at EI-160. Hopefully, I finally got this now. Guess I'll be doing quite a lot of testing this weekend!

Thanks a lot for your answers, Steve and John! I guess I shouldn't worry, as I'm going to test things thoroughly. Shooting one or just a few frames at a time for testing purposes was a good tip. Guess I could use 3600 different setups per roll of film, but then again, I might settle for half (I know, I'm lazy :-) I have made a test-scheme, and I'll be shooting each test subject, and object, at 1, then 2 stops under the lightmeter-reading, then 1 and 2 stops over, and of course the setting indicated by the lightmeter. This should give me a pretty good idea of which settings are best to use in different situations, I hope. About this though, "If you are using a filter on the lens set the internal filter to the sunshine (daylight) so you don't double filter", if I set the internal filter to sunshine, wouldn't I risk having two sunshine-filters? but I suppose the non-existing filter notch won't allow any internal filter to be used anyway?

hehe, thanks for the advice! I do plan on using an external lightmeter, but still I would very much like to know for sure the answers to the above questions :-) Best regards from Oslo, Norway, where the polar bear sweats tonight.

Hi, this is my first post here. I have done several projects on video, but I am a newbie to super 8. The last few weeks I have spent hours and hours reading through posts regarding the Vision 2 200t-film, and I'm still not confident that i get it right. As I am a beginner, I'll allow myself to ask stupid questions, allthough they now doubt have been asked and answered x times before :-) I currently have two cameras, one Nizo professional with a working internal lightmeter, and a Nikon R10 with a dead internal lightmeter. I will use an external lightmeter with the Nikon, and external daylight filter with both whilst shooting outside. I've read that any camera reading the notches correctly, will set this film to 100 ASA, thereby overexposing it with a stop. I've also read that if the internal filter is engaged, the film will be exposed at 160 ASA, because the filter will take away light according to about 2/3 of a stop. But, I want to use an external daylight filter, as there is to much dirt on the internal one. Will the film be exposed at approximately 160 ASA if I use an external filter screwed onto the lens? Scenario A - I dont't cut a filter notch in the cartridge. 1. At what ASA will the camera rate the film inside? 2. At what ASA will the camera rate the film outside if using an external daylight filter? 3. If not cutting a filter notch, it should have nothing to say wether the internal filter is positioned on the sun-symbol or the light bulb-symbol, as no filter will be engaged anyway? Scenario B - I cut a filter notch in the cartridge. 4. At what ASA will the camera rate the film inside? 5. At what ASA will the camera rate the film outside if using an external daylight filter? 6. If using an external daylight filter, should the camera be positioned at the light-bulb-symbol or the sun-symbol while shooting outside? If at the light-bulb, no internal filter will be applied? General questions: 7. How much is to much overexposure for this stock? 8. With the Nikon R10, I have the possibility to enter the ASA numbers manually. What should i rate the vision 2 200t when filming inside, and outside - with daylight filter - without daylight filter 9. If using vision 2 500t, what should I rate it inside and outside - with daylight filter? - without daylight filter? 10. At what ASA will the Vision 2 500 be rated by the camera - if without filter-notch, with external daylight filter? - if without filter-notch, without external daylight filter? - if with a filter-notch cut out, with external daylight filter? - if witout filter-notch, without external daylight filter? I guess I want strait, "factifying" answers to these questions, but I fully understand that a lot of this is up to the individuals personal taste. I'm just trying to understand my cameras better, before I'm going to shoot 5-6 test rolls, whilst carefully making notes of metering, light, stops'n'starts'n'justaboudaeverythingelse. Hope somebody will try to answer some of these questions! Best regards from Bjarne in Oslo, Norway, where no ice bears are roaming the streets this evening.