Anthony Schilling

I saw the examples in S8 today, but didn't do much justice. I've been using the 85B and getting nice punchy colors and no bluish cast. some folks like the cooler look of the 85 filter, I like the warmer 85B look.

Forde Labs. They process all current S8 stocks. they also do ultrasonic cleaning prep, which makes for spotless films.

So I've shot about 1200 ft of 64T since it's release. I watched all of it projected last night, and have to say I like it a lot more than K40. It has so much more detail and better color saturation. It is not at all grainy when projected. And when underexposed, the colors hold up nicely where K40 would get really muddy and desaturated. 64T looks and performs the same as I imagined, or hoped 100D would look in S8. It's refueled my desire to shoot and project.

The exposure time may be what makes a difference in dreary overcast, comes out to about an extra 2/3rds maybe. Otherwise reversal rated at 25 or 40ASA daylight can get pretty muddy in those conditions. With negs, I did a shoot last summer with 7218, one camera with a 220 shutter, another was a beaulieu 4008 with guillotine (which translates to about a 130 shutter equivilant I think) But no difference in saturation.

I don't know exactly why but I notice it quite a bit with low speed reversal. I live in a lot of overcast, often take out a canon 512XL with a fixed 220 shutter angle (have other cams with variable 180/220) and get better saturation with more exposure time. maybe the colors just bleed more? I also notice desaturation if I go to a 90 or 45 degree shutter.

A 220 shutter angle can give some extra saturation punch on an overcast day.

Aside from the S8 aesthetic, or look.. I can get about 1000 times more creative than any other format in camera, due to compact size and endless features. If I take my 3 best cameras, I have stop motion, frame rates from 1 frame per minute to 54pfs, shutter angles from 45-220 degrees, open shutter exposure, ect... the only 16mm camera that can even come close to accomplishing what I can now is the A-minima, starting at about 15K. Now you give me uncompressed transfers to work with and maybe 50D, look out!

With some of the higher end post houses (that do S8), your paying digibeta rates anyway, and getting a miniDV or DVcam dub so you can capture it. And there's digibeta tape stock and dub time that cost extra. And if your lucky enough to find a digibeta deck and pay over $500 to rent it, it's probably not worth it. But if I can get the full 4:2:2 for $125hr, thats pretty awsome. All the video files I'm working on now are stored on an external 400gig seagate, all the Vegas virtual files and test renders too. having uncompressed transfers that I can just plug into my system, and never see a deck would work great for me.

My question is, if I get a straight to hard drive transfer, why do i need anything else? Can't I just plug the hard drive back into my computer and pull the uncompressed file into Sony Vegas? The black majic card and SATA would be needed for hooking up decks and capturing from a deck... which defeats the purpose and advantage of a straight to HD transfer.

Look into doing a bleach bypass process if your shooting outside with no filter, can be a cool effect, no pun intended.

I've always said the only way we would see something new, that would rival existing S8 cameras is to reinvent and reintroduce the format as a new small guage film format... involving 16:9 frames from a new camera that ran 100ft daylight spools of DS8. Kodak would only have to offer the standard 16mm daylight spools with S8 perfs.. and offer the whole line of stocks available in 16mm. Still unlikely, but the best case scenario.

I've been known to bash Dwayne's in the past, but in reality they are nice folks and have the best prices on processing... I just kind of see it as, ya get what you pay for. If I got the same results from Dwayne's at $4.50 less per cart and free prep, as I did from Forde... THEN I would be surprised.

I've had perfect results with 64T at Forde Labs. Yale and Spectra have also been noted to be giving good results. See, there are at least 3 labs doing quality S8 color reversal processing in the US compard to one doing inferior work before with K14.

Try Forde Labs, my 64T from there come out a lot cleaner.

Canon, Nikon, Nizo, Beaulieu will all read 64T and a range of ASA from 12-400/640. If your buying a camera, stick with one of the many that will work... Bauer is one of the few better cams that will only read 40/160

That was Great!!!! one of the coolest videos i've ever seen. I about fell off my chair for the old "in out" rocket at the end. any chance I can get that for my Ipod?

Correct!

I tested some in S8 a few times. the grain is about the same as K40, maybe a little better. If the stock is fresh, the colors are real similar to 64T. probably the best potential S8 reversal film to date.

I've been watching my super 8 on the new video iPod.. if thats any indication on how it still exists and what you can do with it now, compared to the 70's.

The deck cost and availability is my problem, still haven't even found one in town to rent... I agree, direct to hard disk might the best option for quality and convienance.

The 1014E has a louder and higher pitch noise. the 814xls is always around $100-$200 cheaper than the 1014xls, with only 20mm less zoom and no in camera dissolves. sometimes sellers picture the mic mounted to make it look cool.

There are a few labs in Europe, I'm in the US.. so I don't know the details, but that's where I'd send them instead of all the way here. maybe someone can post a link that is familiar with European labs.

Second that, always good quality work.

I'm not disappointed at all with 64T, I notice more saturation and better overall performance than K40. in sunny conditions was very hard to see any grain when projected. grain was a little more noticable in dim overcast, but so it is with K40... but without the muddy look and the colors held up a lot better. Not to mention it's an awsome night film for time exposures.

the XLS is still a lot quieter than the 1014E. the XLS isn't that loud, nothing some egg crate and tape can't handle.