Rick Palidwor

I totally agree with Oliver, especially if by "Max-8" you are talking about working with Pro8 (way too expensive). I know people who modify cameras for $100 or less. Then you only need a telecine service that will transfer with modified gate. There are many out there. Two in Canada are Photoplays.ca and Frame Discreet. If you are finishing on video you could consider just masking it with your digital editing program. If you are not familiar with our "super-duper 8" (Max-8) feature check these frame grabs: http://friendlyfirefilms.com/sleepalwaysframegrabs.html Rick

That camera probably only has one notch-detection pin (take a look in the chamber) and depending on how the cart is notched it is most likely to be read as 40, so you'll need to manually compensate from that. Rick

From scanning this thread I don't think anyone addressed the battery question. Whether you use the external or internal meter, you probably need the battery for the internal meter because manual exposure control will probably not work without it. At least that is the case with many cameras. Check this easily by turning the manual exposure dial. If the needle moves, your okay, if not, you need the battery. And if the internal meter works, why not expose based on that in your tests. You may not need the external meter after all. Rick

Auto and Manual is for exposure. If you shoot in auto camera will set aperture automatically. Best to start in auto, take a light reading, and then go into manual tpo set desired aperture. + and - bias the auto either over-exposure or under-exposure. Rick

What was batch # of latest rolls? That is the question. Rick

From what I know Kodak notches 200 so that it is most likely read as 160 and that slight over-exposure will not be a bad thing. However, I have to not loaded any 200 into that camera so you might want to double check how it will read, which should be easy. Get a cart of 160 film that you know the camera will read properly, like an old 160 Ektachrome or Tri-X and see what reading you get. Now load the 200. It should be the same. If not, you'll know how much you have to correct with manual control. I keep old 160 carts around for that very purpose. Rick

I don't know that camera but if it has manual exposure control you can correct the exposure if the camera does not properly read the 64, so no worries. Rick

Check the batch number again as that appears to be the problem with the first carts you were using. Try and return the film (explain the issue) and order some more, but maybe from some place else - like directly from Kodak. As Andy said, you want batch 311 or up. If this new film is from a previous batch it is very likely not your camera that's the problem. Rick

It sounds like you have a bad cartridge. It's not uncommon. Before you give up on it try tapping it with the paln if your hand firmly a few times. Some people claim that helps. You can also look at the back of the cartridge, at the cog in the centre that turns, and turn it clockwise a couple of times. This may get you past the jam. Rick

I think that Super 8 Wiki is wrong. It should be able to read the standard 160 Tungsten as Chris suggests, which is close enough for a 200 negative - the slight over-exposure will be fine. I don't think there is a need to use an external meter unless that is your preference. Rick

Andy don't know if you'll get this in time but I predict you will not have enough light for the 64. If you want colour you should have negative 200 or 500. Consider using the Minolta you mentioned in the other thread. Aperture goes to 1.2 and it has a larger shutter. You'll get over a stop of light with that over the Canon. Rick

When you say the meter batteries are not the right size I get concerned, as they might not be the right ones and though you see some action on the exposure needle it may not be giving you a correct reading. Check the post on Wein Cell batteries (about half-way down the page) and perhaps post some questions on that thread, as they seem to be more expert than me on these issues. But to test your exposure readings on the Canon I would load a roll of Tri-X and take a reading off some surface. Now load the Tri-X into your Minolta and compare the reading. The Minolta, being an XL camera, should give you about a half-stop difference. So if Canon said f2.8, Minolta should be about half-way between 2.8 and 4. If it's not close to a half-stop difference in that direction I would not trust the batteries you bought. Rick

It should definitely run without batteries. I have never encountered a cmaera that needed film loaded to run. In addition to the 3 batteries in the top compartment you need a 4th battery, in the handle. If that doesn't do it, clean the contacts. Rick

The motor will run but from what I remember the aperture mechanism simply stops working, period, though it is likely just sitting wide open. In a pinch, in low-light, one might cross their fingers and hope for the best, but I doubt I would try that strategy at a wedding, unless I don't like the people getting married :) I don't have time to address these at the moment, but they are basic exposure control questions which you should be able to learn more about on other threads, perhaps that sticky thread at the top of the main page. Rick

Sorry I am not going to be any help as I don't know San Francisco stores but I would be surprised if they were impossible to find. Have you tried hard? I would just call all the stores. Or do you know any other filmmakers who may be able to lend you theirs? Alternately, go back to the Minolta (which will be better in a low-light wedding). You say that it "only accepts K40", which is not entirely true. It is a one-pine camera that will read cartrdiges as either 40 or 160 ISO. If you load 64 and it depresses the pin in the cart chamber, it reads it as 40 and will over-expose the 64 by about half a stop. Use manual exposure control to set aperture with this in mind. If you are shooting a different stock (or if 64T misses that pin) it will be read as 160. Compensate exposure accordingly. Perfect stock would be 200 negative, as that will be read close enough that you can trust meter and even shoot auto exposure with confidence if you have to. Rick

Yes. When at "A", point at a light to see if the needle moves to verify the meter is working. Push the button and turn the dial to set the aperture manually. 85 is correct filter. By default it is engaged for outdoor shooting. To disengage you have to push the filter key into the slot on the top of the camera. If you don't have the key cut a piece of stiff plastic the size of the slot and push it in until you hear it click. Rick

I have no experience with that particular camera but chances are it will NOT adjust if in manual mode. Do a dry run with no film: hit the slow mo button and see if the aperture adjusts. If it does not show you aperture setting you may be able to look through the gate and detect whether the aperture changed. Rick

Depends on what you mean by Main Functionality as you tend to pay for functions. And it depends on which model line of 814 and 1014 you are looking at. For the $200 range you are willing to spend you may be able to get a Canon 814 Auto Zoom (older line, silver body). Nice cameras but only shoot 12, 18, 24fps and single. Heck, if you can get by with just 18 and 24 fps I find the Canon 518 Auto Zoom's reliable little units for less than $100. If you need slow motion look at the Canon 518 Auto Zoom Electronic (though it is only about 36fps, so not that slow). But good reliable cameras for $150 or less. Also, look at the Nikon 8X Super zooms or Super Zoom 8: only shoot 12, 18, 24 and single but great little tanks for $200 or less. You can also look at the Minolta D4 or D6. Decent little cameras for a decent price. Rick

The motor should run with the AA batteries in. Check battery compartment for signs of corrosion and if so, clean. If battery compartment is clean then it is probably an internal problem. I don't want to 'dis' that camera but it is probably not worth repairing as that could cost more than it is worth. Rick

I respectfully disagree. Even the best sound crews with best gear don't get a lot of usable production sound. Often impossible to have mic at same proximity in all shots, impossible to isolate different sounds when shooting (e.g. footsteps contaminating dialogue) not to mention camera noise (especially a problem with super 8). All the sound effects you hear in a professional movie were created after shooting was complete, and much of the dialogue. If you were a professional actor and you wrapped shooting on a project today, your contract would have you booked for Additional Dialogue Recording in a few months time. Par for the course unless you want sub-standard sound in which case your movie is dead in the water. Rick

Actually most projectors also run at 18fps - in fact 18 was the "normal" rate for super 8 and many cameras (and projectors) only run at 18. The reason you don't want to shoot 18fps for sound work is that most transfer set-ups ramp up the speed to 20 fps (18 fps to video flickers) and therefore sound will be immediately out of sync with picture and get progressively further out of sync over time. Having said all that, I have argued many times that this issue is over-blown as most production sound is not usable and needs to be replaced with ADR and foley, so even if camera take is perfect sync poorly done ADR and foley will undo that. In a digital editing environment it's relatively easy to tweak the sound into reasonable sync, to act as a better refrence, making 18 sound doable. Having said THAT, 24 is still recommended as the production track will produce a better reference to for the replacement sound. Having said THAT, who knows if those AA batteries are running that camera at true and consistent 24fps? Crystal sync motors are recommended for "proper" film-sound work. Having said THAT, we shot our super 8 feature Sleep Always at 18fps (and replaced all the sound later) and though I think I would opt for 24fps next time as it turned out our main camera when set to 18 was running close to 20 fps so production sound was relatively synced Rick

And check out Guy Maddin. He shoots a lot of super and regular 8 intended for big screen finish. It's amazing stuff. Rick

Check out Sleep Always, a super-duper 8 (widescreen) feature I made with Mitch Perkins. We went out of our way to make it look as good as we could and we think we did a pretty good job. More info at www.friendlyfirefilms.com. Check our IMDB page to see what some of our viewers have said: http://www.imdb.com/title/tt0404434/ Rick

Normally the internal meter is okay but it sounds like yours has a problem. Use external meter next time and set aperture manually. Hmmm. By default the filter is in, set for shooting Ektachrome outdoors. You insert the key to remove the filter. IOW, you'd want the filter in. Only reason for a reddish tint may be bad colour in the telecine. Where was it done? Not recommended to shoot sync sound with non-crystal camera, so you're unlikely to get decent sync at any time with that camera. Running on AA batteries, who says what speed it is running at or whether the speed is consistent between shots and within shots. Did you shoot at 18 or 24fps? If 18, telecine was likely done at 20fps to eliminate flicker, which immediately goes out of sync. If you insist on trying sync sound, shoot 24fps with a camera that is proven to run steady, keep your shots short and consider a tail slate so overall drift can be measured and perhaps corrected in digital suite. You might consider finding another camera becaues of light meter issue, unless you're okay with external meter. Rick