Anthony Schilling

You can calculate exposure based on exposure time with light meter. If there is no shutter , there is no shutter angle, so 24fps would be 1/24th second exposure, or 1/6th of a second at 6 fps. You can tell SPR was filmed with a narrow shutter by the sharp but choppy motion blur in the action scenes, especially when you see sand getting kicked up.. I like that look.

Yeah, I've done a lot of minidisc syncing with Vegas.. it's so easy.. not to mention you get pretty decent audio (16bit) from a $200 HI MD. The odds of Kodak bringing sound stripe back are null. I have a Nizo on the way, with sync cable socket... But it seems like the cable that works with is mini jack to 6 pin. i'll have to see if one on my cable will work, or maybe rig something.

Today's the day in the USA, $14.

If your reading 160ASA, go -1/3rd and it looks perfect.

Don't use the expression 500T then. you can still order 7279 and push it 2/3rds for some grit.. It would be wise to sit in on your transfer if you can, and dial in the look you want with the colorist.

The 250D is beautiful... and a full stop faster than corrected 200T

Correct me if i'm wrong, but the camera should read it as 160ASA without filter, overexposing it by 1/3rd stop. at least this is how it has seemd to work in all cameras.

You can shoot 20 minutes worth of color negative and get a good transfer at Cinepost. Film, process, prep and transfer (8 carts: 20 minutes @ 24fps) can be done for around $350 with results that look closer to 16mm than traditional S-8.

Well I only tried them once, to see how the 100D reversal looked in Super 8... It was the worst looking film I had ever shot. It was either expired film, bad processing, or notched for exposure other than was stated. cost be $150 for 4 carts and my time to shoot 2 of them, lot of stop motion too. So I don't recommend "gambling" at those prices... glad I didn't pay for a telecine package too.

I recently pushed some S-8 500T to 800ASA and it held up just fine... a far cry from the gravel pit I have seen with the old 800T cut down to S-8.

Pro8 seems to offer one stop shopping (film-process-transfer) for pro shoots that want the aesthetic of S-8.

I haven't recieved mine yet.. and whats up with Super 8 Today Mag? I think I signed up for that too, but haven't heard anything.

I've seen the 64t first hand and those stills don't do it justice. the first 3 are improperly filtered and exposed as 40ASA. The last still is much sharper and less grainy while running on the original. There are a few trade offs with K-40 and 64T, all in favor of 64T with the exception for a slight increase in grain. I would say 64T is sharper with more detail and saturation. the 85B filter makes a big difference from the 85. As long as people filter and expose it right, i'm sure they'll be pretty happy with it. If anyone wants finest grain and best image possible in S-8, bring on the 7201 50D!

Nice clips Yemi. boy what a kick in the pants 50D would be in S8. As a prosumer format, S-8 negs are a great alternative for a supurior look and aesthetic that the DVX100, and DVCam can't touch. The 17 and 18 can already be tightened up fine when lit properly, a 50D would finish it soo well.

It's in the news section of this home page.

Second That, I wish K would reconsider. It's safe to say it would be the best the format ever looked in daylight. the 200T would be tough to give up, would be awsome if they just added it.

An article here says it's coming out in Oct, thats great! It also says it will be out in all formats... I hope that includes S-8.

I got a few 85B & 85 filters at a second hand camera store for about $6 each. My pictures aren't blue and there is still food in my fridge.

Maybe your jitter problem is on Ebay now? My take on the whole jitter problem is that it has to be a camera issue. If it was a cart issue, I would have experienced it at some point too, but I haven't. I've seen it on other peoples footage, but NEVER on mine. My guess is that i'm either extremely lucky, or it's because my cameras are new old stock In fact, the only jitters I've ever had were on 16mm at 64fps with my R16.

For the best S-8 Xfer, use Flying Spot www.fsft.com. If your on a tight budget, Cinepost http://www.posthouse.com/TELECINE_PAGE.html gives a good bang for the buck I hear.

Why not use Super 8 color neg for a gritty look.

Download Total Recorder.

Thanks, got a lot of good info there, but not too many film shooters. Anyone ever remove pulldown for NLE film edit?

Has Anyone worked with 24P and film in NLE? Sony Vegas recommends removing 24P pulldown during edit, then reinserts it when rendered. thats fine, except I will be mixing film from digibeta (shot at 24fps, pulldown to 29.97) with little compression. So for sound sync issues, is it better to leave the pulldown in on 24P, or remove pulldown from film when editing the 2 together? Also, does it matter if there are differences in compression between the 2?

A new color reversal will be replacing K-40 in a few weeks. a lot more places will process it too. Ektachrome 64T.