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joby clegg

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About joby clegg

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  1. Thanks for your advice. According to this page Andec also has a flashscan, but only use it for colour reversal express telecine, using their cinetel flying spot for all negative and also for professional reversal telcine. From what I gathered the flashscan is inferior to a cinetel flying spot with a good colorist, especially for negative film. Am I wrong? joby
  2. joby clegg

    Andec Berlin

    What do people think of Andec Filmtec in Berlin. I'm thinking of getting a lot of Vision 2 negative developed and scanned with them. How do their colour correction and prices compare with other labs? Any info would be much appreciated. Also, are there any other super 8 filmmakers form Berlin on this forum? I've been trying to get something together locally. cheers, joby
  3. Thank you very much for the advice, I will try to do a test with the grey card to start with as I have limitted resources and can't really afford to mess up too many rolls. I'll also try using an external filter on all non-wideangle shots, does anyone know whether one should go for an 85 or an 85b for Vision 2, as there seems to some controversy about this. thanks again, joby
  4. Hello, I'm a newbie to this forum and a newbie to filmaking and I could really do with some pointers. I will start shooting my first super 8 short next week, I will be using a Nizo Professional (with a Nizo 461 M as backup) with vision 2 film stock at 24 fps. I decided to go for Vision 2 negative stock because: a: most of the film will take place either outside at sunrise or inside a train in the early morning, so it will be relatively lowlight. b: i heard, though i don't understand exactly why, that negative film is more forgiving of exposure errors, and is better for telecine. I will shoot tests of both 200t and 500t next week and see if I can post them. My question is: 1: Do I absolutly need an 85 daylight filter? Even on the train where there is a mixture of artificial and dawnlight? And if so, do I need to bore holes in the cartridges in order to release the internal daylight filter in the Nizo Pro? I'd rather not have to buy an external 85 filter because i will also need a wide-angle lens in some of the train scenes. 2: I know everyone says to use a seperate light meter, but I am a beginner and would like to keep things as simple as possible on the shoot. I understand from other posts that the nizo pro will read the 200T as 100ASA, if I take a reading from the internal light-meter, then switch to manual and go up 1/2 an f-stop, will that work out as the slightly over-exposed result which is supposed to be good for this stock? I very much hope someone out there knows the answers, or can point me in a good direction, trying to find this stuff out via google just leaves me more and more confused. all the best, joby
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