Sarah Naomi Campbell

Here is the list of available sound formats provided, none of which list Stereo...? Optical Magnetic SepMag/Cardband Dolby A Dolby SR LTRT DTS SDDS OTHER SILENT Dolby E Dolby Digital

Greetings, I just wrapped post-production on a no-budget short shot on film and then transferred to digital for editing. The sound which was composed and edited in post is in stereo. My question: for the purpose of submitting to film festivals, what is the default for basic DVD's with Stereo sound? The list they provide doesn't list stereo and so I am unsure as to which is appropriate. Thanks for your input...

I just wrapped shooting on my second film, which I shot over a period of two years. I last purchased/shot/developed Velvia in late 2006. I began with Kodachrome until it ran out, and then switched to 64T, and then finished with Velvia. Kodachrome stands alone in terms of it's look: it has a much softer feel to it, which almost feels anachronistic now. The "nice bright colors" are fabulous, that is, until you compare them to Velvia. This stock has been described as 'cartoony", which is understandable, but it is also part of the charm! What i adore about Velvia is that saturation which really helps the stock retain the color in telecine. Kodachrome, in my experience, sometimes ended up looking a little washed out after the switch. As for 64T? Forget about it! Perhaps it is part of my learning curve, but I never seemed able to get the look I was striving for; the temperature is so much cooler than both Kodachrome and Velvia combined, the grain is fairly noticable, and it just seemed more trouble than it was worth. Aesthetically speaking, I prefer Velvia over all other stocks. One does have to be careful with respect to lighting, but it is very rich, creates beautiful, if not true skin tones and really tests well with viewers. I've had more than one audience member ask if it was Kodachrome, which I take as a wonderful compliment. Obviously, I would be heartbroken if the stock were indeed discontinued. I also would prefer to retain my current and local to Portland, OR telecine transfer contact rather than go through Spectra. I did call and speak to Spectra and they apparently are boycotting the stock to avoid a price increase. I am hopeful that the stock will re-emerge. Good luck to all and let's focus our energies on keeping this stock available. In my view, the more diverse the stock available to super 8 filmmakers, the better for all. My favorite stock may well be another's least favorite, but that is partially why I love filmmaking; I appreciate the diversity of experience and point of view.

If you have not received any credit whatsoever, I would apply as a freshman, and just wipe the slate clean. Similar comparable situations in the US would be a student who flunked a semester or two at community college, and opts to apply as a freshman rather than a transfer student. If you have not a single credit, I don't think it's a problem, since you wouldn't be able to "transfer" any credits. As for whether there are any American universities without any guidelines for admission, I couldn't say. However, I wouldn't really want to find out, either. The whole point of higher education is to receive quality instruction. I would hesitate over a school which would admit any student. Good luck!

Thank you for the feedback. It can be difficult for a beginner when conflicting advice is given. Actually, the best advice I would give anyone including myself is simply this: Use a light meter. Know your camera. Experiment. Having said that, the mercurial aspect of super 8 filmmaking is part of its charm, wouldn't you agree? Good luck with your future projects, and again, thanks for taking the time to add your comments.

Thank you for the feedback; part of the learning curve for me is the transition both from 35mm still photography to super 8mm, and from Kodachrome 40 to 64t. When shooting still photography, I've never used a light meter before, but have always shot manually, relying on the internal light meter. This is an entirely new ballgame, gents! There are so many variables to consider, not the least of which is the challenge of shooting on a camera which doesn't recognize the ASA of the film! An aside: why would any camera manufacture create this scenario? A better question would be, why would Kodak create 64T when so many cameras do not recognize the ASA? I do hope that the Velvia 50D is recognized by the camera, and if not, the difference between 40 and 50 can be compensated for by adjusting the f-stop. Unfortunately, I do not have a manual for this camera...Anyone out there with one willing to share? By the way, what would you recommend in this instance? Ie. How should I compensate for the discrepancy between 40, the asa my camera will recognize, and Velvia 50? Many thanks, ~Sarah

Greetings, I just got back 2 rolls of 64t, I shot outside, which were horribly under-exposed. I shot closer to dusk than I wanted to, and as I am shooting on a 514 Canon, I was under the impression that I should stop down by a couple of f-stops to compensate for the over-exposure I've experienced in the past with Ektachrome 64T. Now, I have decided to re-shoot the outdoor scene with Velvia 50D. I do not have an external filter, nor am I able to get one in the size I need (47). I also do not have a light meter (I'm trying to find one that is less than 100.00) so I will be relying on the internal light meter and adjusting the f-stops. Does anyone have any recommendations for me? Is Velvia 50 suited to outdoor shooting on this particular camera? Should I shoot on auto or risk manual? Thank you for your help, ~Sarah