Anthony Schilling

I also agree that NLE is the way to go. But most people shooting S-8 don't have Work Printers, and spending the extra $$ on telecine is an occasional delicacy. Out of all the S-8 users out there, how many are getting paid for it? hardley any.. leaving it mostly for pure enjoyment and experimentation.

I think more people need to see just how amazing a 500 speed film looks in Super 8. not that the 100T wouldn't look great, and should come out in S-8 (I think it is coming) but the 500T is in my opinion, the biggest advance in film lately based on the excellent images that can be optained with compact gear and existing light. An E-6 film is more to satisfy people who project.. and yes there are more people projecting S-8 than transferring it.

I had a 2K telecine of some 16mm K-40 a few months back. I sat with the colorist, he was able to some cool unique looks with its colors and aesthetics however, there was still loss of lattatude. I projected it after the transfer and got a first hand comparison.

How were you presenting the film? My guess is digital projection based on your budget and sound sync. in that case digital projection sucks no matter what you shoot on. Besides, In this day and age with all the digital intermediary technology, theatrical screenings with prints just don't make sense for low budget films. DVD distribution on the other hand is the way to go. In that case, S-8 kicks the pants out of DV. DV only has about 3 stops of latatude, where color neg has 10 stops. Minidisc or DAT will give you better sound as well.

http://www.spectrafilmandvideo.com/Lab.html Here is a new place that has K-40 listed.. although it may go to Dwayne's still. not only that.. E-6 is listed for S-8. Good sign. The 100D will be awsome, I hope they cut the 160T reversal as well. between that and the new negs, I'd say they have been doing quite a bit in the last year for S-8.

Thats normal, just the ground glass. If you open it up and see specs, thats dirt.

Yale does the E-6. I think it's $25 for 100ft. www.yalefilmandvideo.com

Then you must be using B&W. you don't need a color correcting filter for that. they are the only carts that will un-key the filter.

Dwayne's is the only one that processes it. you may also want to look into Ekta 100D reversal. contrasty with excellent colors. Shot 400ft recently and I'm quite blown away with the look of 100D.

I did part of a shoot in 16mm K-40. for a retro look at Vegas stuff for the 100th anaverary of Vegas. Had it transferred and got the look I was going for.

How about 7285 100D? a saturated, contrasty film.

I've had zero luck getting ahold of him so far but thanks for the tip.

I arrived in Vegas today for a shoot this weeekend and after a hellacious trip of missing planes and running with my equioment i find that My Beaulieu R16 does not work upon arrival. either the shutter is lodged, or a cirquit is out of whack. get battery reading, apeture works, but won't run at all. need to find a place in Vegas that can fix it in AM on Fri.. any suggestions from someone out there. i'm screwed :o :ph34r: <_<

Yes, I have a 6 foot screen on my wall for just that.. and I think its safe to assume that there are a lot more S-8 users still projecting than telecine. I enjoy both NLE and projection for different reasons.

Just carrying the news over from another Forum.. but Widescreen is apparently going to be offering S-8 projection prints from the new negetives. http://www.widescreen-centre.co.uk/cine.php#SUPER8PRINTS

technicaly the 7218 is not as fine grain as the 74, what I was trying to get at is the 7218 that I have done in Super 8, looked better than most of the super 8 7274 footage i have seen. I think it mostly had to do with a difference in transfers. but the 18 is one fine looking film in S-8.

The grain improvement is quite noticable in S-8 between 74 and 17. the 7217 is much more suitable for S-8 in my opinion. even the 7218 looks finer grain than the 74.. based on what i've seen.

Thanks for the info guys. I did find a lense to rent here. 10mm 1.4. will do some metering when I get there. the moving shots will be the hard one.. probably will do a meter drive down the strip and take notes.

Thanks, I too lived down there for over 10 years. but didn't shoot film then. I would love to use a 1.3 wide angle.. but it doesn't seem the Optar is C-mount, unfortunalty I'm shooting reg 16. Do you know of any good places to rent lenses from in Vegas?

I'm going to be doing some night shots on the Vegas strip with 7218 16mm in 2 weeks. I have shot a lot of 500T in S-8 with a 1.4 lense. my 16mm is max 2.2.. will it be enough or should I find a faster lense? some moving shots may be 32-45 fps.

http://www.moviestuff.tv/16mm_telecine.html I'd get one of these 16mm WP's eventually too IF the future of reversal becomes more stable. When running negetives through the WP, It is best to white balance on the orange mask of a blank piece of film before capture.

Here's a Work Printer frame of K-40. there is no flicker in WP transfers. Now transferring Negs via the same method can be kept fairly clean.. if you keep your unit clean and get the films prepped, but like I said above, inverting and color correcting require some practice. with reversal, I currently have the ability to transfer, edit, and perform tight sound sync in my apartment.

Many beginning film makers start off projecting, as well as many like me who enjoy projecting reguardless of experience. For telecine, I realize it cost the same to transfer a reversal or a negetive.. however, DIY telecine with the Work Printer and other various home methods are really blooming right now. Reversals provide great results on home telecine. It is also very possible as i have transferred Negetives myself with OK results.. but it takes alot of practice with color correction in NLE, and is a whole different game when compared to reversal home transfer. for now I send my Negs out for transfer, pay the rate.. but am able to get very acceptable results transferring the reversals myself.

100D is 25 ASA when filtered for tungston. however the extra speed in daylight will be very useful for me where i live. I've shot 100 ft of 100D in 16mm last week, still have 300ft to shoot and process before i get a first hand look at it. The ektachrome 160T E6 would be an interesting S-8 reversal.

If Kodak is dependant on Labs to take on E-6 processing for a new line of E-6 films.. I'd think someone would jump on the opportunity. what does new eqipment cost?? good small business opportunity ;)