Jim Hoene

It should except I'm a complete novice. It sounds like your usage of "offline" means less than optimal. Is this some industry term? thanks for your patience!

When you say "overlap", do you mean inserting some ambient sound? thanks

Well I was told that I'd be ok for shots of 10-15 seconds but then I'll start getting some drift. I'm planning on a short documentary which will have some interviews which may have shots exceeding that length. I am very encouraged by your comments though. Thanks

Can anyone explain this a bit further? thanks

Never mind, I found out it needs modifying.....end of line

Im putting together equipment for making short films using the Super8 format (Canon 814's) and I have been considering what to record sound with. I'd like to keep my basic equipment (recorder, mic's and cords, booms etc) below $2,000. I have been looking at the pmd660 which although it looks a little small appears to have many good features including XLR inputs, an optional wired remote with a peak indicator (I wonder does this mean you can adjust levels remotely or just monitor). I also like the flash media and ease of downloading to a computer and it is a solid state device with few moving parts. Anyone have any experience with this or a suggestion for another unit? Here's a little info on the pmd660: ? Records uncompressed 16-bit PCM .wav files at 44.1 kHz or 48 kHz. ? Records mono .mp3 files at 64 kbps ? Records stereo .mp3 files at 128 kbps ? Uses inexpensive, widely available Compact Flash media (CF) ? 1 GB CF card can hold over 1 hour of uncompressed stereo ? 1 GB CF card can hold over 17 hours (stereo) or 36 hours (mono) .mp3 ? Operates for four hours on four AA batteries ? Two XLR mic connections with +48v phantom power ? Two built-in condenser mics for easy, true stereo recordings ? Stereo line I/O ? Solid State Design ? No moving parts-no maintenance ? "Copy Segment" cut-and-paste editing to a new sound file ? 99 "Virtual Tracks" for EDL-style editing ? Built-in USB port for easy file transfer ? Optional wired remote control with peak indicator

Did they shoot this in 16mm?

Is the 814XL-S already equipped with crystal sync or do they require a modification?

Stick with Super 8 , get it telecined to DigiBeta if you can and cut on your home computer for video/internet release. Digibeta or DV? I mean MiniDV

Whew! I was worried I would have a tough time getting to a matted widescreen format. I guess the main trouble for me as a Super8 user is the degradation of the image after being blown up as Dominic mentioned.

Hi and thanks. Are Hollywood productions usually shot in "Academy Frame" or 1.37:1 and simply masked during projection? If so, then I guess the viewfinder of the camera must indicate the area that will be visible during projection so you can frame the shot correctly. How is " framing for a particular aspect ratio is a different thing from what you actually expose onto the camera original" Thanks again you all are really helping me cut through this.

that sounds like a reverse letter-box job. I want to get a widescreen image for projection from my original print which will be in 4x3. I guess what I was trying to say was that I want my films to be viewed in the aspect ratio that one would expect at the theatre. thanks!

What is the aspect ratio that is used for projection in most US theatres... 1.85:1 or 2.39:1? I would like to film in super 8 and produce films to be projected in whatever is customary for feature films. Besides trying to use Super Duper 8 or Max8 is this viable? In other words can I get reasonable results by blowing up and cropping and is this easily (relative terms) done? Thanks

Yeah, and I've heard that lap dissolves can be done in post. Does that usually work out ok?

Thanks that is good info, What do you think of the 814XL-S versus the 1014XL-s, I know it has the 10x zoom but what other neat stuff can they do that a 814 can't? I want to shoot independant films of a feature length so it sounds to me that I need the crystal sync feature and a DAT. However, isn't DAT kind of being phased out? What do you think about something like the Marantz PMD 660 which I guess is a memory card format recorder. I have seen the Zoom H4 and it looks kind of small for what I think I want to do although very cool. I asked about the 814 versus the 1014 because I want to shoot with 2 cameras or have a backup/second unit camera and the 814's could save 500 or 600 bucks over a couple of 1014's. You also mentioned standard tripods, what is an example and what do they cost approximately. Thanks again!

Is that the Autozoom Electronic? That is an interesting camera. How do you find it?

First thanks to all. What is reversal used for? Also, and this may be off topic but can Super8 be cropped into a 1.85:1? If so are there any rules for framing your shots to make the best of it? Thanks again.

Right now a Bell & Howell 1222 soundstar but then I'm considering a Canon 814Xl-S Are you talking about transfering by telecine to a digital media for editing purpose when you suggest using negative? Which method of editing is best? Do you lose some of that film look when transfering to digital?

I want to film with a Canon 814XL-S. ? What tripod fits this? ? What should I use to record sound? ? How should I edit the film and soundtrack? ? Which is the best film stock for color and for b&w? ? I will be using natural light most of the time and then minimal lighting otherwise. ? I would like to have both music and regular sound (dialogue, ambient noise) Thanks for your ideas!

Well I went to Kodak's site and found these films available for Super8: Ektachrome 64T Kodak Vision2 500T color negative film 7218 Kodak Vision2 200T color negative film 7217 and for b&w: Plus-X Reversal Film 7265 Tri-X Reversal Film 7266 Can these be used in any Super 8?

How Can I look up which film is right for my camera?

Thanks guys!

Very good-thanks!

Yeah, someone posted a thread about a Yashica xl20 (or 20xl) that was a sound camera with only 18fps. I dont have access to the camera right now to check for a speed selector. I just cant believe that a company like Bell & Howell would produce a sound camera presumably in the mid-to-late 70's with only 18fps. I know Bell & Howell is not considered one of the great camera makers in the Super8 gauge but even my dad's old "Two-twenty" circa 1953 had at least 9 and 18fps. Your point about the quietness of the camera at 18fps v. 24fps makes sense, particularly for a low end sound camera which probably has a built-in mic or one of those little "boom" mikes. Still, isn't 18fps below the "flicker threshold"?