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Tomas Stacewicz

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About Tomas Stacewicz

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    Gothenburg, Sweden

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  1. For 600 dollars you can get at decent Kinor-16. But then you have to send it for a overhaul (probably worth 300-400 dollars more), but that applies to whatever camera you buy.
  2. Isn't one of the advantages of using primes that they generally are faster compared to zoom lenses? I.e. you will need more light and that have to be taking to account when doing a budget.
  3. I'm impressed! It's stunning how you succed to capture my interest and a want to see the conslusion in a film that revolves around people having fun and running; i.e. without a actual story or message. A little bit overexposed here and there but the camerawork is top notch. You have a talent for visual storytelling!
  4. Here are some examples (mosty European): http://www.slowmotioninc.com/index.html (US) These guys may service or repair your camera or even do upgrades to Super16, PL-mounts and crystal sync electronics. http://www.lesbosher.co.uk/ (UK) Les Bosher does service and repair, and furthermore offers a upgrade to Super16 and PL-mount. http://www.solidentertainment.se/ (Sweden) Anders Banke does service but his speciality is electronic upgrades to crystal sync, digital footage counter, remote control, etc. etc. I beleive he also can do a videoassist solution for your camera. http://www.geocities.com/russiancamera/ (Ukraine) Olexandr Kalynychenko is a very serviceminded fellow that does service, repair and an upgrade of the electronics to crystal sync.
  5. Well then, let me give you a european example then (prices are for non-european citizens). 100' (30,5 meters) of 16mm E100D plus processing at ANDEC = 76 EURO (amounts to 95.42 $) 15 meters of Super8 E100D with processing at Wittner = 28.16 EURO (amounts to 35.36 $) Both these rolls approximate the same amount of film timewise. Uppsala Bildteknik takes charges by 0.65 EUR per meter (including colour correcting) + a DVD for 16.2 EUR. This makes a total telecine-cost for 16mm of 35.65 EUR (44.76 $) and for Super8 of 25.93 EUR (32.56 $) TOTAL COST 16mm = 111.65 EUR/140.18 $ + shipping TOAL COST Super8 = 54.09 EUR/67.91 $ + shipping Shipping is also somewhat less expensive for Super8 because of the lighter package. For me that makes the costs for Super8 less than half compared to 16mm. Maby you guys should start buying and developing your Super8 stock in Europe?
  6. That would be great! Are you planning to do these upgrades yourself in the future? That would be wonderful news!
  7. As I said, the cost of purchasing, developing and doing a telecine transfer is less than half of that of 16mm, using the same stock, in central/northen Europe. So if you do have a family of 3 + children and a normal income and expences on housing and food (etc.), Super8 is often the only alternative for the amateure filmmmaker with a professional ambition. Then of course you want to have maximum use and benefit of the format (good cameras, Super-Duper8, good lenses, good stock etc). Most of the costs in filmmaking goes to filmstock, development and telecine. So its only natual that you do whatever you can to cut the expenses. Today I only have a simple Russian Zeinit Quartz 1X8S-2, with wich I recently shoot my lost scene on the fortcoming first short using the WittnerChrome 100D. I'm planning to buy a Beaulieu 4008 ZMII, widening the gate to Super-Duper8 and using a c-mount zoom lens for the 16mm format (to prevent vignetting with the wider gate), compendium, etc. Why being satisfied with any less just because the format is inferiour to 16mm (which I from time to time will shoot on also as I own a K-3 and a Kinor-16 SX-2M). I love the 16mm format but my economy will force me to use Super8 most of the time, as I refuse to use DV-techology.
  8. One of the most renown technicians, Les Boscher, does. He even does conversions of Kinors to Super16 och PL-mount.
  9. People that have compared the picture quality of Arri SR:s and Aatons with the Kinor-16 say otherwise; it plays in the same league. But when it comes to accessories, service, etc. I agree with you. Obviously, you have to gain something if you want to pay the higher price.
  10. So, its obvious that the Super8 format is more sutible for guerilla filmmaking.
  11. So, it's easy to remove the handle then? What if, I would like to remove the handle? What should I take into consideration? There are a number of functions in the handle, right? Is it easy to safely do this modification yourself (removal of handle)? I don't own a 4008 myself, but I am planning to buy one. The only thing I am not happy with about this model is the handle. So there is a battery switch there? What else? I recall that you stick in the key to disable/enable the Wratten gelatine filter, right?
  12. CONT' Here in Sweden we have a rank-telecine facility using the FlashScan8 http://www.uppsalabildteknik.com/english.php, that takes charges by the meter. This makes Super8 scanning much cheaper (half the price compared to 16mm).
  13. Either out of economic reasons or out of eastetic/artistic reasons. To be honest, mostly out of economic reasons. I can buy a 16mm 100' daylight load of E100D without processing for the same amount that I buy the same stock (E100D) but two cartriges of Super8 + processing. It is a lot cheaper to shoot on Super8 in Europe. Still, I prefer the Super8-look over (low res) DV any day.
  14. CONT' For example, if I was looking for a look like in NIGHT OF THE LIVING DEAD (which suprisingly was shot on 35mm but looks like 16mm from the 70's), of that black and white Fassbinder look from the 60's and early 70's I probably would choose a black and white stock of Super8 instead of degrading good 35mm, or using a vintage looking 16mm stock like FOMAPAN. But that's me. The bottom line is that the professional use of Super8 shouldn't be overlooked, especially with the Super-Duper8 format around.
  15. Today 16mm film almost looks like 35mm during the 70's. So if the director is after a 70's look of 16mm, I suppose that Super8 is a viable solution.
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