Anthony Schilling

I'll be using the Shadow.

Most K-40 usage is no more than 5 carts by the average K-40 user.. more serious projects that use the V2 stocks will consume dozens of carts.

For my next project, i want to work with my films in the digi beta platform. usually i get a mini DV dub that I capture and edit. what capture cards and NLE programs support digi beta capture? right now I use Sony Vegas 5.0. also, I haven't been able to find a digibeta deck or camera in town to rent that i could use for capture.. Is it possible to capture onto an external hard drive at the telecine house?

It seems the standard incident meter exposure time for 24fps is 1/50th of a second. My R16 gives a 1/62nd exposure time with a guilotine shutter. the exposure time in my S-8 manuals for 150 degree shutters at 24fps state 1/58th second exposure. a difference of about 1/3rd stop if I meter at 1/60th of a second. just an observation, I'm wondering if the 1/50th is a rounded figure? there is an eqation that states this: shutter angle/360 X 24fps= exposure time

I own 3 different models of Canon Super 8, 512, 814, and 1014. all of which match that list with the exception of the lowest and highest settings.. 25-400ASA tungston and the matched daylight ratings. I can't remember which models for sure, maybe Nizo and or Beaulieu can recognize all the settings including 640ASA.

And it's not like there are productions in the making on Super 8 Kodachrome, or any Kodachrome for it to be an issue. I think a year to process home movies on one particular stock is very reasonable, Dwayne's will be processing it even longer for $9 plus free prep. right now, the die hard K-40 folks have the opportunity to stock pile all they want, with probably a few good years of processing by Dwayne's. in that time, we may see more new E-6 films added if we support it like John said. it's all quite simple.

How is this possible, the film will still be 64ASA and your camera will still only detect 40ASA, with these factors being constant, even a 50ASA notch would yeild the same results with your camera.

85B, its the same filter we used with VNF 7240. the internal 85 filter can still be used but will give a subtle cooler color temp.

Any camera with 6 pins will recognize 64T accurately. Dwayne's has always done a good job for me processing K-40 and will now offer E-6, a completely safe and clean process as opposed to the highly toxic K-14 process.

No on eis blaming Kodak here, but only pointing out the reality of the market they are dealing with.. my point is that we are lucky to be getting anything to replace K-40 right now. the situation also confirms the rediciouslessness of K-40's demise as being some sort of conspiracy. Kodak is replacing it's consumer still market with digital cameras and printers. motion picture and professional stills will be all that remains.. and I suggest that those who are quick to denounce Kodak for ending K-40 in Super 8 should appreciate that a new E-6 reversal is a step forward, a sensable and honorable decision.

With this guy in charge and his mission, it will be a miracle if any reversal films survive his term. http://www.washingtonpost.com/wp-dyn/conte...5051200204.html A little dose of reality concerning the film market.. If anyone wants to make noise, I suggest it be showing support for super 8 in general, there's no way kodachrome will survive in any format after this guys term. I just hope the 64T even makes it into production.

You can own a really nice S-8 camera for that money. film is film, like David said, it's best to iron out your mistakes on a cheaper format. you can shoot some of the same stocks now in S-8 as in 35mm. use an external meter as well. you can transfer 800ft of S-8 or 16mm color negative for $175 in some places, but keep in mind you get 40 minutes from 800ft as opposed to 20 minutes in 16mm.

I think it's a good step forward. I find K-40 to be the most limmiting of all existing stocks. when it comes to 16mm reversal, i'll shoot 100D over K-40 any day of the week, and am really excited for this new film. more labs will mean more availability, slightly lower contrast will mean slightly better transfers. K-40 was too slow in the winter, and too contrasy in the summer.. the extra speed will come in handy. Most of the bad publicity is coming from the cheap camera mailer/walmart people. I own 4 high end super 8 cameras that cost me less than a new miniDV.. they all notch for 64T, and I own a Sekonic. I work hard for my money, but would rather pay extra for good processing and prep. The updated Super 8 portfolio will seperate the men from the boys.

Your cup is half empy, have you shot the 500T in S-8, a 500ASA film in S-8 is amazing. 7217 is amazing as well. and the 64T will out perform and look better than K-40. seriously, K-40 is the muddiest of all stocks.. the only film that looked worse than K-40 was 7420.

Just the expected backlash.. If they shot anything besides K-40, they would not complain so much.. and will stop crying when they see the new stock.

The spectral-dye-density curves are the same as 100D.. the spectral-sensitivity curves are the same for yellow, but only .5 lower for the magenta and cyan layer.. tungston balanced though. Is the grain finer than 100D? if so, then goodbye K-40, hello E-6!!!!!! I've compared K-40 to 100D in 16mm, K-40 does not hold a candle.. hopefuly this holds constant for 64T.

I'm excited about the 64T.. will it be available in 16mm as well? the film schools would like that. I'll miss K-40 but not its limitations. Even if 64T is slightly grainier, it will have fewer limitations.. and make better use of its fine grains than K-40 could. IF this Super 8 64T has the same color saturation that Kodak suggests (sounding similar to 100D) people won't be missing K-40.

100ft rolls are about $36 from Kodak.. so they saved about $20.

Only the 200T & 500T are available in color neg S-8 from Kodak.

I wouldn't be shooting 16mm if it wasn't for my start in Super 8. And I would not have started shooting color negetives if I hadn't started with reversal. Super 8 is the best way to cut your teeth at a low cost. I've witnessed a lot of discouragement at film school for those who went straight to 16mm, only to make simple mistakes that could have been ironed out for a lot cheaper with Super 8. In my case, I was able to hit the ground running when I got into 16mm. your less likely to crash a Harley if you learn how to ride a bicycle first.

Cut your ratio down to 50/50. your a student, it doesn't have to be an opus.

http://www.kodak.com/US/plugins/acrobat/en...PCN040105_Q.pdf It's designed for a Kodak HD scanner. I wonder where the scanner will be and what the rates will run?

"Man on Fire" was shot on Ektrchrome 100D

Most video has about 3 stops of latatude, reversal film has 7 stops, and negetive has about 10 stops of latatude.

If your going to transfer it, always do it before you project it. you can blow a hair off your film, but not off a digital file. working with NLE has halted my splicing of films pretty much. I'm able to cut and edit with sound or music that way, a million times and a million different ways without sacrifice. editing my films this way helps keep my powder dry from cutting up films i'd regret cutting later. So from a projecting aspect, I've stocked up a years worth reels uncut.. that I have finally just recently cut or extracted segments from to build a 400ft reel of my favorite shots to project. I hope to make it to Super 8 day in Portland and show it.