Anthony Schilling

Thats funny, because the opposite is true for me. with 64T, I can creat looks that don't have audience members saying, "it looks like it's from the 70's". 64T is a refreshing change with suppurior colors and detail, clean whites... no more muddy crap that looks like I put vasaline on my lens.

You scared me for a minute!

If the camera is running strong, i wouldn't worry about it jamming. happened to me once with a beat cam. you'll need an external filter for daylight shooting. it'd be best to get an 85B.

I don't know your budget, but if you ever want to get a little serious... the Workprinter is pretty much the only up to date consumer range transfer unit, but can give stunning results that are close to a pro telecine. The better ones capture straight to your hard drive. here's one that requires no computer http://www.moviestuff.tv/c_15.html seems expensive but can pay for itself against pro transfers if you shoot often. plus they hold their purchase value on ebay because of the 6 week back order.

sticking with a smaller guage like 16mm will reveal more flaws

The camera will actually recognize 4 speeds... 40T/25D, 160T/100D so it will read fine.

Keep it simple. if your cam reads 40/160 only and your meter is reading f5.6, use manual adjustment and set -1/3 from f8. in other words, set your exposure 2/3rds of the way to the next highest # in your meter.

I hear it's notched for 40ASA, so a -1/3 should do the trick. I'm excited to have 5 carts coming next week. Not worried about the skin tones, I prefer a more abstract or cool aesthetic for the stuff I do.

I asked them about direct to drive transfers yesterday. Seems they want to get into it as soon as they raise enough $$ for the setup. They are currently still investing in other quality assurance improvements/products ect. Hopefully they get on the waggon soon, I'm dying to try some cross processed E-6 transfers through them with their Velvia or 100D. And no additional cost for the hard drive upload? Sounds almost too good to be good, but worth looking into. These services need to get better and cheaper evetually.

I've only used Flying Spot for my S8 negs, almost afraid to try another place. But the 200 & 500T in S8 are amazing for their speed and frame size... better than most would expect. I encourage people to try the 500T under tungston or existing light, the grain is not bad at all. rich blacks and shadow detail, super 8 has never seen films that perform like these.

I have the 49mm Nizo 1 wide angle. But it only works with a macro setup... is that the standard?

If you want to go with manual exposure setting, you will have to set your intervals too. The autoB uses a seperate meter next to the Nizo logo, and controls the frame intervals based on full open apeture. If you stop down manually, the intervals do not change and may underexpose. So for manual, you would have to set your own intervals on the intervolometer, and manual exposure setting. I'd stick with full auto if your a first timer... it still looks decent. else you can use the auto setting just to guage your intervals in relation to a manual setting you want to use.

Yes, open red lever all the way to B

It appears that the way the cartridge is currently set up, it will read it as 100ASA. When a cart is notched for 160, and disables the filter it is then read as 100ASA. but don't worry, your film will look fine. according to John Pytlak of Kodak, the one stop overexposure is good for decreasing grain.

Don't forget, you'll need an 85B filter on the lens for daylight.

You can order a Beaulieu with a modified widescreen gate and crystal sync 24fps for audio from Pro8mm, but it will cost you probably over $1500 for the whole package (ask them for a real quote). If you just want the look, you can crop and pan in NLE real easy like David mentioned. Simple programs that come with most OS, like windows movie maker or Imovie, will give you the basic fundamentals to move easily into more advanced NLE programs.

I wouldn't recomend anyone to shoot a film for 35mm blowup theater print on S8. It's great for a million other things, including knowlege you will need to shoot S16. And I wouldn't recomend anyone to shoot 16mm for a project without experimenting with S8 first. You can shoot and transfer 400 ft of S8 film for pretty cheap, using some of the same film stocks most commonly used in 16mm and 35mm.

It can be done, but pushing it. keep a good distance from camera and mic. control the direction of the mic opposite the camera, monidirectional. would be good to do some recording tests while dry running the camera. you can find egg crate material at most retail stores... it's spongy stuff, like a big flat sponge with the surface shaped like the inside of an egg carton.

If your filming for the whole 2:30 duration, you'll start noticing drift after about a minute... small enough to stretch your audio to fit, and not notice any consequences. If you have some natural background noise, you shouldn't hear the camera in your scene.. for a quiet room filming/recording, you'll need to silence the camera with a barney or egg crate foam.

I went to a film festival last year where someone took 16mm film stock, and covered it with garbage (mostly food) for a few days.. washed it off and projected it. It was a really cool effect of dancing blotchy visuals set to music... but got kind of old after a few minutes. maybe should have used a 100ft spool instead of a 10 minute 400ft spool :blink:

That would pretty much sum up my catagory. untill now, my workflow has been miniDV dub from digibeta, NLE, to DVD. The direct to HD transfer rate would be just a drop in the bucket when all is said and done. I have yet to wittness it, but would assume the benifits of a 4:2:2 uncompressed would be quite noticable once it got to a DVD press.

XL stands for existing light (220 shutter) , S is for sound. No, they haven't made sound film for a while. But if it's serviced, should hold sync pretty well for seperate sound recording. intervolometer means you can shoot timelapses at intervals of 1 frame per second, and up to 1 frame per minute.

The 7201 50D is a vision2 stock. It's finer grain than the 7245 EXR50D. It's also a lot less grainy than 7217 is capable of being. And based on what I've seen in the 17, the 7201 could be phenomenal in S8... where the improvements would be most obvious... especially rated at 25ASA.

I'm keeping my fingers crossed. have a S8 music video scheduled for April or May... 50D would be the perfect daylight stock to cut with the 17 and 18.

Yeah, thats probably the case, where I live 25ASA can be pushing it in winter overcast.. but using the 220 shutter always helped with K40. I've recently noticed the new 64T holds it's colors nicely when underexposed.