Anthony Schilling

If all goes well, there could be a new color reversal for all we know. Maybe something better than 100D, it was a little too soft. Or maybe they will offer prints of S8 negative as an alternate to telecine? Everytime Kodak posts something about film, people start calling for 100D. They hear it, so we'll see what they do.

Yep that's it, $1800

I checked my emails, he actually quoted me $1800 for a 4 spindle setup, not a machine. i have a pick but can't get it to post on here.

I noticed the 2 different styles. One is more square, which I believe resembles the top model. The other has the oval shape body, which looks really cool but must be the cheaper version. Based on the specs they posted so far, some things missing that i'd like to have is single frame/intervalometer, variable shutter/open shutter, and pin registration. But i'll be perfectly content with crystal sync, on board audio, and max 8 frame.

I talked to that guy a few months ago, he quoted me around $1200 for a setup, can't remember is it included the assembly.

Ha I knew that.. My head must have been spinning over the new camera. I've been trying to put together a sticky roller setup, but the assembly is no longer available and the rollers are $80 apiece with a order min of 6. But i'm guessing this rig is not cheap, but a smaller one would still be welcome.

I can only imagine! Did they give you any info on what features will be on different models?

Will there be a small one just for Super 8, to go with the new camera? How cool would that be? I could shoot, process, scan and edit without even leaving the house!

I'll take 2!!!! http://www.theverge.com/2016/1/5/10719012/kodaks-new-gadget-is-a-super-8-film-camera-and-it-kind-of-warms-my

Yes Ultrapan 8.. I knew i'd seen it here before but couldn't recall the details. You are currently using a modified Bolex? I would assume the frame width would be almost as drastic as 2 perf S8? It would solve the real-estate issue because doubling the run time of a 16mm spool is cheaper than cutting the run time in half on an S8 spool. Since your scan looks very nice, I assume scanning Ultrapan is not an issue where 2 perf S8 is not yet very feasible. And on the camera end, probably a lot less R&D involved... just a 16mm camera with a modified shutter.

No time to read all the posts here, but why not just for for 16mm film running vertically, expose a frame the entire width but only 8mm high giving you twice the about of frames from 16mm? Or would you need specially perfed film?

Good Riddance

Super 8 has really grown professionally over the last few years and 35mm has shrunk. Not that the balance shift is of any significance, but Super 8 has been serving as the poster child of the film image in the digital age. Kind of like a side kick spokesman for larger formats. I think they will keep churning it out as long as they are making film, even if it ends up costing $50 a roll.

Wow, Did you ever find them?

Did you set the diaperture to your eyesight on the viewfinder? If you wear glasses or don't have 20/20 vision? And make good use of the split image focus.. It's good to zoom in on the subject and focus using the split image, then zoom out to your chosen field of view.

The sound sync was perfect, and it was great seeing such a film look with quality sync audio. Now someone make a movie with this thing!

I would take a good reading of your subject matter on the ground, then close down just 1 stop from there and leave it locked because you don't want any exposure pulsing. You will still be over exposing by 2/3rds, but that will just add a little more density and pop as well as tighten the grain a little. If your shot wanders into the overhead lights, it will only look cool. Nothing else can handle bright light flashing like 500T. I've always had good results using my internal meters because they factor in exactly how much light the beam splitter is taking away. The problem with external meters is that they don't compensate for the beam splitter, which varies from one model to the next between maybe 1/3rd to over 1 stop?. I have yet to find or hear an exact amount of light loss from any splitter, and no one really seems to know for sure on any one model.

When it comes to 500T, I would just stick to using it where other stocks (200T/TriX) are too slow to get a decent enough exposure or reading. If your meter isn't moving the needle at the rated 160ASA, the extra 1&2/3rds you're actually getting out if the stock most likely won't lead to an over exposure. I assume you can't manually adjust or lock the exposure on those cameras?

Thank You!!

Who's doing your color work again? It looks soooo good!

It was for the band, and a fun one to work with too. They suggested the content, recruited the people and costumes. I came up with concepts and directed scenes. I scanned and edited all my Super 8. Also sent 200ft of 16mm 500T to Frame Discreet which contain most of the dance scenes.

Here's a video i just finished. It was a challenge getting it all to work together and squeezing out images on shots that didn't come out as well as i liked. Some of it came out better than i hoped. The outcome was pretty unpredictable at the start so i'm happy with the end results. Feel free to share comments or critiques!

Yes you can do S16 with Moviestuff units. The new Retro16 does Reg/S16 or the Retro Universal units can do multiple formats. They are super easy and very cheap compared to high end machines, not to mention the quality is excellent. They scan at 10-15fps frame by frame and output image sequence files. The next step up from Moviestuff would be the new Blackmagic Cintel that runs around $30,000.

Negative film is designed to be graded as to how you want it to look .A raw inverted scan is very flat, but full of information to be manipulated. The same would be true for a RAW digital image. You have a lot of room to tweak the levels and contrast to your liking. Reversal on the other hand comes out as is, rich contrast and colors that cannot be manipulated much at all.

That was great! Thanks for sharing!