Anthony Schilling

I just got back some 200T from Spectra last week, had them punch up the saturation, and shot it at a 45 degree shutter. It did not look retro at all, but progressive to say the least.

I'm pretty sure it's the 7201 50ASA neg they are considering, and 7285 100D reversal.

Sony Vegas 6.0 is a great NLE system that can pretty much handle anything. Very user friendly too.

The best thing out there for S8 is Flying Spot in Seattle www.fsft.com. They have good colorists, Thompson Shadow scanner, can go to HD if you want, and hard drive dumps are available.

Shoot it on a quiet crystal sync cam, and 7217. It will be great!

From the 16mm Vision2 line, I like the 100T best, but have not shot the 01 yet. very nice colors and fine grain. HD still looks like a mexican soap opera to me, it doesn't please the brain like film... even if the average consumer can't explain the difference I'm sure they still feel it. But the thing is, I have yet to meet a non film maker that knows most movies are still shot on film.

1-800-621-3456 is the Kodak line but I don't know if it will work from Canada?

Thats strange, I was under the impression that you treat it like a neg, and over expose to increase density.

I want to cross process some 85 this week too. I'm thinking of overexposing by maybe 1/2 stop? does that sound about right?

Uhhh, you mean the 17 & 18 that have been out in S8 for 2 years now? we're waiting for the 7201 to be added maybe.

Did you use an 85B filter? My results have been rich colors, clean whites, and fine detail. K40 always left me with soft detail, bla colors, strange hues, and sometimes a rainbow effect on the emulsion. maybe some was due to processing, but now with E6 I can get super clean processing at a number of places. I just reviewed some K40 footage last night, and it was painful to look at after dealing with E6 films.

The E64T is better for projection (its intended use) than most people think... so releasing a tungston balanced film was not such a bad idea. It is too grainy for telecine, but projected 64T shot in sunny weather can appear grainless at times. however, i do agree that if 100D was fresh from Kodak, it would be almost indistinguishable from the Velvia 50D... based on what I've seen of S8 100D that is not fogged or dirty. In that case it would be a huge hit, with fine grain for projection and telecine, with excellent colors. not to mention it would be easy to shoot, for those that don't know how to shoot 64T. This week, I'll be shooting some comparison scenes of Vel 50D, 100D and 64T exposed correctly on identical shots. will have stills posted in about 2.5 weeks.

I want to try it with some velvia and 64T x processed soon too. would be great to see some frame grabs.

They do offer 100D in 100ft cores now

Plus X is 100ASA and TriX is 200ASA in daylight. TriX is twice as fast as PlusX which means it's twice as sensitive to light. 500T is 2.5 times more sensitive than 200T. Abundance of light (sunny day) = slow film Low light = faster film faster film = slightly more grain

It's a miracle that many of them still run like tanks. I hear the life expectancy for expensive 3 chip cameras is about 5 years, before the CCD's and mico electronics start going sour.

I saw that. Sounds right up my alley. I know what film stock I'd use, just need to find music.

You can buy 1 of a million used ones left over from the 70's for less than materials would cost you to make one. and you would still be sane with a camera that worked.

While many cameras expose for 64asa, none expose for 50asa, so you should knock off 1/3rd with the velvia. It is the best looking S8 film I've seen so far... but the 64T is not bad at all. with 85B filter seems to reduuce grain even more and get a lot more saturation. No matter what stock you are shooting, results will vary depending on conditions. 64T at its best is capable of being grainless, saturated, with incredible detail. Velvia 50D, E64T, E100D all have strong points in S8, they are just different. My best images from all 3 E6 films still blow away anything I could have ever gotten from K40 or VNF.

It's good to go to digibeta at any place that offers it. you can always send the digibeta tape and an external drive to places like Flying Spot anytime down the road. and get a mini DV dub on the spot for immediate viewing. you can work with any platform now that hard drive dumps are available... no expensive decks or hardware to deal with. you can work in digibeta or even HD platform with a $90 reusable hard drive, and $125hr rate... peanuts compared to renting a digbeta deck for $700 per day, if you can find one... not to mention a $500+ black majic card you would need.

Right, internal meters will compensate with whatever filter is in front of the lens. If you screwed on an ND6, your meter will just open another 2 stops to compensate.

I'm having some getting trasferred there now, should have some examples up this week, along with some 100D from Wittner.

The cost rational is different than with video. You can obtain a video image for almost nothing, but what you have is basically a utilitarian recording. With film your getting tight, rich images... you can create all kinds of different looks before you even get to post. So when your paying for these lovely pictures, you try to make every shot count. I usually do batches of 16 carts for telecine, 40 minutes worth, and spend about $700 for the whole enchelada. I can hammer at least 2 decent bits out of that. Don't make the first time out your opus. If you can find an old working projector, shoot some B&W.. about $23 per cart afer processing.

There has been a white wrapper for a while.

I've used tons of K40 in S8/16mm, projected, transferred (pro & home). I used 16mm K40 for a convention in Las Vegas for the 100th anniversary... transferred on a Vialta and we gave it a saturated "technicolor" look of some of the few historic visuals left there. Sure it looked incredible, and nailed the look I was going for. I just prefer the look and performance of E6 films compared to K40 for pretty much everything else... A lot more shadow detail within richer colors, thats what I like.