Jim Carlile

It's not misleading-- that's what he's saying. And it's not "boring" if you can't get a hold of film.

He might be right: http://online.wsj.com/article/SB10001424052748703529004576160300649048270.html?mod=WSJ_LifeStyle_Lifestyle_6

Absolutely. And he was discovered by Kevin Brownlow, too.

Glendale. Good for newcomers. Cheaper than most parts of LA. Close to everything, especially the southern part. Avoid Burbank. No rent protections, fewer apartments and no cultural amenities. It's a drive-thru town at best. LA city is a mixed bag. The best areas are expensive+, the worst are not worth it.

In today's Wall Street Journal: http://online.wsj.com/article/SB10001424052748703775704576162664259029704.html I think this means that it's just starting to get fun. Who cares what Hollywood does?

I think San Francisco State is considered to be the best for "cinema," with Long Beach a close second for the more industry-oriented. CSUN's kind of bla, isn't it?

I'm surprised there hasn't been more discussion about this 'top-secret' Spielberg production. Apparently they are keeping the original title: http://www.aceshowbiz.com/news/view/00034931.html http://filmworkshops.net/2011/02/17/super-8-days-part-1/

Not sure about the little red thing, as this was the old-fashioned way of inserting/retracting the 85 filter. There's an easy way to tell, though. Put the cartridge in, turn the meter on and check the f/stop. Then put the little red thing in and check the meter reading again. If there is a change by a stop or so, then it's altering the reading. A notchless cartridge (that pushes in the filter pin) will always retract the internal 85 filter, no matter the position of a slide switch or filter key/red thingie. That's what it's for, to key the camera for a "daylight" film. The newest VISION stocks come in a notched cartridge, I understand, and so they will set the meter to the high ASA of the speed-indice to which they are cut. If in doubt, measure the size of the speed-notch and then check the Super 8 notch ruler to see what the ASA is. It should be close to the film's ASA, or at least as close as the super 8 system allows. These negative stocks are all non-standard ASAs for S8, so there's no auto-meter setting for them. But they're close enough. For 100D, yes, that Canon will read the film correctly and retract the internal 85 filter at the same time. You don't need to do anything else. Just to be sure, you can always look down the lens barrel and see the filter going in and out of place to see if and when it's set. For daylight film like 100D you do not want to use an 85 filter.

Interesting semi-OT note about the locale: many of the exteriors for this film are now underwater. It was gradually filling up at the time due to the Glen Canyon Dam. That's why there's so much water spread all over the place. A few years ago the level was starting to drop because of a drought, but now it's slowly gone back up.

An alert poster on the AMIA site caught this big news today: http://www.kansas.com/2010/07/14/1403115/last-kodachrome-roll-processed.html It'd be nice if they'd told someone else. It means we better get it in there by the end of November.

Gee, it would've been kind of nice if they'd told us, no? http://www.kansas.com/2010/07/14/1403115/last-kodachrome-roll-processed.html "As Kodachrome is no longer manufactured, Steinle said that on Dec. 10 Dwayne's Photo will end its processing of Kodachrome. "All this is going to be discarded," McCurry said of the processing equipment for Kodachrome, " ... so it's just a piece of history. It's nostalgic. It's kind of sad. I have about 800,000 Kodachrome images in my lab and these will be the last."

More Altman: http://blogs.suntimes.com/scanners/2006/07/opening_shots_thieves_like_us.html

P.S. Check this out on the Cine Special. They all used it: http://books.google.com/books?id=8ScDAAAAMBAJ&pg=PA77&dq=%22popular+science%22+cine+special++oil&hl=en&ei=j1q1TICxBoe0sAPGrJmxCA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CC8Q6AEwAA#v=onepage&q&f=false

The original lubricant was whale oil. For real. They were very proud of this. It was loaded into special leak-proof bearings on that camera. Anything will work, really-- unless you're going to take it to the Arctic or use it 24/7.

http://www.grannybot.org/~macjava/filmpage.html Bottom of page. Same processing chemistry.

I don't quite understand the question. If the camera has a single frame setting, then it will be single frame no matter what speed the camera was set on-- because now it's set on single frame. So it's one frame per however many times you pull the trigger. As to the shutter speed, with that camera it will be approximately 1/60th of second at the single frame setting. This camera will be fine for stop-motion-- just make sure you compensate for the parallax difference bwteen lens and viewfinder.

I think one of the big differences too is the reliance these days upon extreme wide-angle lenses. By that I mean anything under about 35mm-- even that's too much for most pre-1970 movies. And use fewer closeups, to give you a greater sense of place. Try to let the scenes play out in front of the camera instead of having people just yell at each other with the camera whipping back and forth. A nice example of the early 60s look, BTW, is Conrad Hall's work on The Outer Limits. Lots of static shots, masters, little camera movement and no zooms. It's all in the lighting and the editing. For color, use reversal film like 100D-- it's much more old-fashioned looking than today's negative stocks. BTW, anyone else notice lately what a fantastically shot show Highway Patrol is, with Broderick Crawford? Totally location and low budget, which makes it even more impressive.

Fred's the greatest. A real DIYer who does it well. He's also very big on public domain software.

I think by general agreement, the best place in the U.S. for Nizos is DuAll in NYC.

That's true of VISION 2, but I think V3 is cartridged completely differently now. Kodak changed their philosophy. V2 was supplied in a filter-notchless cartridge, which did two things: it automatically disabled the camera's internal 85 filter, and it set the exposure meter to the lower of the two ASA speeds that are indentified with that particular speed-indice. So, you pop in the V200 cartridge. It's speed-notched for ASA 160 and it's also filter notchless, so it disables the 85 and at the same time sets the meter to ASA 100-- which, being 2/3 stop under ASA 160, is the lower 'daylight' ASA of that speed indice by design. In the Nizo you can ignore this, and toggle back up to 'bulb' to set the meter to the higher ASA 160 if you want to. In V2, Kodak prefers ASA 100 because they like a one-stop overexposure for this film, which is the difference between ASA 200 and ASA 100. They also prefer using an external 85 filter over the lens instead of the camera's internal. But they've changed their philosophy with VISION 3. Now they supply the film just like their regular, old-fashioned 'tungsten' S8 stocks, in a standard filter-notched cartridge, but still speed-notched at ASA 160 (there is no ASA 200 speed-indice in the S8 system). So now you have a choice. Sliding the filter switch to 'daylight' places the 85 filter into the light path for the daylight correction necessary with tungsten film. Sliding it to 'bulb' takes the filter out. In both cases the meter is set to ASA 160. But with the filter in the way, you lose 2/3 stop, so the film now acts as if it were an ASA 100 film in terms of light sensitivity. It's an effective ASA of 100, not actual. So with a 'notched' V3 cartridge, the Nizo doesn't do that same 'daylight' film-speed toggle thing. When you toggle to bulb, there's no filter. When you toggle to daylight, there's the correction filter in place. Any "ASA 100" only concerns the tungsten film with the 2/3 stop filter factor of the 85 in the way. Your meter isn't actually being set now to ASA 100, as it would be with true 'daylight film' supplied in a notchless daylight cartridge-- like V2 was.

But if you're putting an external 85 over the lens, and then you slide the filter switch to 'daylight,' aren't you then putting another 85 in the light path, internally? That makes two 85s, right? (this is for tungsten film as set to daylight. 100D in most cameras will have disabled the internal filter.} In most S8 cameras, the 'daylight' setting is only for using tungsten film with the internal 85 correction filter. 'Bulb' means no internal filter is in place. Also, in the regular notched cartridge for tungsten film, when you slide the filter switch to daylight, the camera is still metering it at ASA 160. All that's happening is that the internal 85 filter goes into place with a 2/3-stop factor, which means the film then has an effective sensitivity of 100. You're not really metering it at 100, so you're not going to get that 1-stop overexposure problem-- so you don't need an ND to correct for it. It will only be 1/3 stop-- ASA 200 minus ASA 160 is about a 1/3 stop difference. On 100D, you don't need the 85 filter, which the film cartridge has already disabled anyway. In fact, you never need it-- it will ruin the shot. Here's my general understanding of these films-- as applied to the silver Nizos only. ---100D will be automatically read at ASA 100 if the filter switch is set to 'daylight' and not bulb. The 85 filter is automatically disengaged either way. 200T-- the new V3 cartridge-- is notched, so it is read as ASA 160 when the filter switch is set to bulb. If set to 'daylight', the internal 85 is slid into place and the meter automatically corrects for the 2/3 stop filter factor, which gives an effective ASA usage of 100. It's 1/3 stop overexposed. 500T- the new V3 cartridge-- is notched also, so it is metered at ASA 160 on those Nizos as well, because they will not read above ASA 160. This means that without manual override the higher speed 500T VISION stock will be way too overexposed. The older V2 films are notchless-- and so have a one-stop overexposure built right into them (according to the SMPTE method), along with a disabled internal 85 filter. Daylight correction must be supplied by an external 85. The Nizos can override this by sliding the filter switch to 'bulb,' where the meter will then be set to ASA 160 but without the internal filter, which has been disengaged by the notchless cartridge. But you still need an external 85 if you want daylight correction. Correct? On most other cameras, you have no choice in the matter when using daylight 'notchless' cartridges. They will either not be noticed at all (as in the newer 'G' cameras that were designed to ignore the SMPTE method), or they will stick to the lower ASA setting of the daylight speed indice. You can't toggle back and forth to the higher one. On the silver Nizos you apparently can, but a notchless cartridge will still disable the internal 85 filter, even if it doesn't lock in the lower 'daylight' ASA.

Good point, and true, too. What will be much more interesting in the future will be the artifact of film in the hand, so much so that today's digital movies won't even exist for them in any real fashion. It's down-the-drain technology. Plus, because the quality difference alone between 20th and 21st Century films is so obviously overwhelming, that's another strike against digital. There will be nothing more "obsolete" than today's technology, and less worthy for people to try to figure out, K-I-S-S wise. So those pictures on a ribbon will be where it's at, intellectually. Historically this has always been the case. The simple gizmos are the ones that last, and whose products are the most valuable and worthy of study. Just watch and wait. It's inevitable what's going to happen.

The Tri-X cartridge is speed-notched for ASA 250, but it's supplied in a notchless cartridge that will kick it down to ASA 160 in most cameras, which also means that the internal 85 filter is disabled. This is the SMPTE standard for super 8. The silver Nizos can only read up to ASA 160. But supposedly, they provide an override on the kickdown that allows you to toggle back and forth between the ASA 100 and ASA 160 settings. The way to check for this is when you first install your cartridge. Toggle the filter switch back and forth, and see if there is a slight 2/3 stop difference on the meter readout. If so then you're OK. Not sure what the specifc filter-switch setting will be for ASA 160, but it will be the smaller aperture between the two on the readout (that is, the larger number.) What I would do-- just to make sure-- is cut a filter notch in those cartridges. That way the SMPTE kickdown won't occur, and the meter will be automatically set to ASA 160, and where you can also use the internal 85 filter to cut down the light by 2/3 stop in lieu of an external ND.

Historically, when Kodak announces a major product discontinuation, it means that they have already stopped production and scrapped the equipment for good-- sometimes two years ahead of time. So Lord knows when they last coated Kodachrome-- but by the time they announced the end it had stopped long before. So even if they wanted to make a new roll for someone they couldn't. BTW, when Kodak announced the end of sound film they had already scrapped their striping machines, and had even told a few select people in the industry, who were tipped off about it ahead of everyone else. Same with their 200' S8 cartridges.

Kodak on Santa Monica Blvd in Hollywood. Cheapest. But depends on where you are. Spectra, Super 8 Sound, Yale and Freestyle carry it too. Freestyle's open on weekends.