Anthony Schilling

http://www.fordelabs.com/ Kodak ordering is: 1-800-621-3456 Forde now handles E-6, so they now cover processing for all current S-8 stocks. whatever your plans are getting into film, shoot at least 2 carts of S-8 before you go any further.

Assuming you go the quality/economic route and buy direct from Kodak, use a lab like Forde. 20 minutes of 16mm will cost you $384 for stock and processing. 20 minutes of S8 comes out to $220 for stock and process. so its about 40% cheaper for run time... and 75% less raw material, so in that sense its more expensive. some higher end transfer houses go up to 6 or $700 per hr for 16mm.. 20 minutes of run time, vs 40 minutes of S8 footage at $300 per hr on a good machine. So yeah, it's cheaper and you have a whole line of featues at your finger tips, cheaper than rental/insurance on a 16mm package with the same whistles.. and you can film from a bus. but I wouldn't shoot a feature with S-8, at least not quite yet.. It's great for a million other uses.

I bought an 814xls from them once too, I paid too much with the Euro at the time. as for the camera, I sometimes get exposure fluttering on autoexpose.. so I just keep my exposures locked, otherwise its been running solid for almost 2 years. somewhat of a monotone experience I guess, have had worse.

Superzoom8, I have one but took the shutter out... I did shoot a test roll before i took it out and it gives really nice sharp images that were rock solid.

Got mine yesterday and am pretty happy with it. some great articles, especially the interview with Colette Scott of Kodak... she gives some insight that makes the future of S8 sound promising.

It's all a matter of taste really. I personally don't care for overexposure on reversals, it makes B&W look too washed out for my taste... I like it either dead on, or maybe 1/3 under for a richer contrastier look. K-40 appears to take on a greenish hue when overexposed. I've only purposely over exposed K40 at a full stop for the effect, which can look pretty cool in the right situation, and fun to play with in post.. the lower contrast gives you some headroom to put some whacky spin on it.

I got to see a tiny bit of some cross processed 64T, it looked cool but heard it was really hard to transfer.

Never heard of this Debenham... have a link? I've been looking for ways to go straight to hard drive. getting a digibeta deck has always been out of the question.

Your camera will over expose it by 1/3rd automatically already, so careful not to add too much on top of that.

Why must everyone make this so much more difficult than it is?

Whats the time period, mood, scenario? There are many options in S-8 alone depending on where you are, many of which can look "too good for super 8" and still need to be dirtied up to meet expectations. The new 64T would be indistinguishable from kodachrome to the viewer. has more latatude (transfers much better) saturation, and grain. Or you can nail a variety of "desired" looks with S8 200T easier than 16mm. Hey I'll shoot it if somebody pays me.

Here are a few stills of super 8 7217 I had done by Flying Spot. I had the colorist punch up the saturation and contrast just a tad.. added a little more contrast to the flower myself.

Overcast, dreary day. Canon 512XL f4 on the leaf, 5.6 on the green. I still have 2 carts of pro8mm 100D. going to have them processed somewhere else and see if I can get a better example and compare with 64T soon.

I think what you need to do is wind from one core to another, then back wind onto 100ft spools... otherwise the perfs may be on the wrong side. anyway, thats how I do it and it works.

If you want to shoot a night scene, your better off calling kodak and ordering a roll of 500T for $35... because 250D is only 64ASA with 80A filter, and would be a waste at night.

It's grainier than K-40... I'd put it between 7240 and K-40 in terms of that. A bit more saturation and detail. It's also lower contrast and better to transfer. The grain tightens up real nice in sunlight with nice colors. going to do some tungston tests soon. With the exception of increase grain (not too bothersome) I like it better than K40... but still wonder if 7285 100D may have been better for grain, saturation, and more modern looking than 64T.

I posted these on anither forum, but thought I'd put some here too for those who are interested in seeing the new stock. Canon 512XL, 85B filter.. workprinter transfer. Here's another

Buying a tank of a camera probably wouldn't suit your needs. If you want to do something serious, just rent something really nice, and cheap. Or a few hundred bucks will get you a portable friendly Beaulieu, Bolex, or Scoopic for some nice pictures.

Are those the Kelso Dunes?

Their rates are pretty good, comes out to about the same if I were to Kodak-Forde-Cinepost, minus all the shipping. and I hear they do good work.

I've shot miles of the stuff, and am quite tired of K-40 to be honest. It has a narrow window of looking good... otherwise it's muddy, desaturated, contrasty, grainy ect... i can't wait to get my 64T back this week just for a change of flavor.

Saw this film last night, some parts look like 16mm, lots of saturation/contrast... like they may have used some 7285? They did a good job in some parts of achieving the sort of news reel look of the mid 70's. But I recall hearing it was mostly shot on 5218?

K-40 is not as grainless as many proclaim, as I notice when sitting right in front of the moniter with K-40. and if its low speed doesn't get enough light... grain city. I haven't projected the 64T yet, but notice a slight increase in grain, however it makes uo for it in just about all other areas. I agree with Santo about 200T beating the daylights out of K-40. If they ever come out with V2 50D in S8, whoa.

18fps 3:20, 24fps 2:30, I like to think of a cart in terms of 3600 pictures rather than running time.

The 814XLS is a really good bet, but they don't come up as often as other canons. I have 2 that i've been work horsing for 2 years, and they are great. Its biggest advantages are the crisp optics, variable 220 shutter for low light, and very handy user friendly exposure controls. the 1014xls is basically just heavier and more expensive. the 1014E has other choices like 54fps slomo, variable narrow shutter, and the longest canon zoom 7-70mm. Beaulieu uses Angenieux lenses, which seem a little crisper and more saturated than Canon. I'm waiting for my first Nizo to arrive... no experiences with a Nizo yet, but for it i'm going for unique features like shutterless and time exposure timelapses, perfect for the new 64T. also has 54fps. be careful, some Nizo models shoot 25fps instread of 24. The 561 Macro seems like the best bang for the wistles in Nizo's.