S8 Booster

another useless "reference" post by you. not even identical exposure. using an imaginary lightmeter again?

if it is the xls model (possibly also the E) it will set the 500 to 400 in auto mode, if you use the exposure compensation dial on the xls and set i to -1/3 it will set the film speed to 500. however some overexposure will give less grain so the default 400 setting is just perfect. shoot

if you use fresh film (months) the canon lenses are thack sharp way below f1.4 and do not have any of the vignetting problems all schneider/angeneux lenses have - dark corners at wide apertures. actuallly those lenses ar every bad and the canons has a way superior performance. the schneiders are also vey unsharp at the edges. no such problems with the canons. wanna blow ur footage up to 35mm? then you get the real truth. i have made a 200mb full formst "film for dummies" shot with k40 from about f4 and way below f1.4 proving that the 1014 it thack sharp way down but it is on the filmshooting server which is not yet avilable. unlike santo i prove my stuff under foolpoof conditions. s/hoot

you have to find the correct address for the image you want to post and the locate the "button" above the "post" window when you post. click on IMG, paste the image address and you should be OK s/hoot

some info in german: http://www.wittner-kinotechnik.de/neu/news.php#1200 Download PDF spec doc in English: http://www.wittner-kinotechnik.de/katalog/...load/en_k40.pdf s/hoot

its reality whatever you call it. s/hoot

well, never denied the si8 superiorty over su8 - its just the availability of film and its price here that kept me from going there. it is quite many years ago that i considered selling most of my s8 gear to buy a zc1000. however, i recently got a mint z850 for free which are currently doing fine as a testbed. in europe there was nothing to touch k40 with its reasonsable allthough still expensive price includung a faboulous logistic system for processing in swizz. no one cound touch that. now that kodak liquidated the k40 the switch is simple n easy. they even took the 125t away from me. btw do i see a slight contradiction here? why would i need the best 8mm option available for my family home movies while the "pros" are more than satisfied with a second rate trouble mared 8mm system? s/hoot

im on my way to fuji anyway for many of the same reasons you mention above. ive been dealing with some of japans best engineers for more than 20 years so i know their superior engineering capacity over a wide range of high end technologies - many related to advanced high end cam techology. i will do some si8 testing in the near future and if the results over su8 are substantial ill definately go there. kodak has now admitted that su8 homemovie makers / prjoectonists (red those shooting reversal) are not part of kodaks su8 business equation anymore so the switch to si8 is quite simple to me. also the si8 prices overe here are pretty low at the moment so that is no probl either. last but not least: poststriping of soundtracks on the film done along with processing is a huge advantage for us who projects our films. s/hoot

unfortunately this darn message board wont allow poper editio to i have to add this correction: the cam will set automatically anything from ISO 10 or 16 to 640 and up to 1920 and anything in betweeen in auto mode by using the compensation dial. s

the cam will set automatically anything from ISO 10 or 16 to 640. however, 500T carts from both PRO8 and Kodak (as far as i know - check with the ruler) seem to be notched for ISO 640 so you will need to compensate for that. take a look at this to find out more about how the auto film speed notching will work with your camera: http://super8wiki.com/index.php/Super_8_Ca...dge_Notch_Ruler the cam has a plain 85 filter built in which will do 5500K->3400K conversion. you will need the Nikon filter key to remove it for tungsten shooting. true daylight carts will flip out this filter automatically and set the film speed accordingly. if you want to use external filters you will need to disengage the built in filter as well. s

with some reservation for doing the right (hasty) comparisations - right fim material and right references - the k40 is "sharper" on some conditions. however, it requires more light so on equal terms n conditions the 64t may be as sharp or sharper. 64t left - k40 right s

well, tests + a colour meter will do - i also use stabilized powersupplies for the/any lamps to keep the colour temperature 100% right if that is best for the film when shooting under artificial light conditions. if the bulbs are a bit off the powersupply voltage can be adjusted to exactly give the precise colour temperature for the film whatever it is. anyway, just look at the various e64t results posted on shooting8mm whereas it turns awfully blue shot in avr daylight using the 85 5500K->3400K filter balcanced for K40 while it shows up a totally different and nice boquet of colours with the 85B filter 5500K->3200K. for reversals a deviation of 200k creates wonders or disaters so just do not try to tell me that a film balanced for 3400k in the first place will do fine with a 3100k filter whatever the books says. also, for redtops over here bulbs for both 3400k and 3200k are available and the improvement for the k40 is awesome when it gets the "right" artificial light balance which it is designed for. both bulbs can be interchanged for teh carious filoms wheter it is 3200 or 3400k. no fuse blow at 800w per top. s

well, just simply try a 85 (5500K->3400K) and a true 85A (5500K->3100K) with any reversal balanced for 3400K and particulary the K40 and you will see what the simple reality is. huge difference. also there may be of lesser importance if not none with neg film transferred to digital and even with still photography which your references most likly focus on. nevertheless, no book or written material beats a real test. also the K40 looks very bad shot in tungsten 3200K (without correction filter) compared to movielight 3400K. this minor difference in light temp makes a huge difference in image quality. just try this for youiself and you will see. you and your references may well mix the 85A and 85 designations as much as you want but if you do not keep order on the 5500K->3400K(85) and 5500K->3100K(85A) conversions shooting reversal and espacially K40 you are in big trouble. s

Apparently a misprint by Tiffen and the writers of your refrence books seemed to have been confused. 85 filteres are often confusingly being referred as 85As and vice versa but they are not the same. This is correct: Cokin Orange Filters It is also interesting to se how the k40 responds very differently on colour temperatures of 3400K/ISO40 (movielight) and 3200K/ISO32 (tungsten) From the Kodak K40 WEB site: Kodak: Technical Data 7268 / 7270 s

the filter for K40 is not a 85A it is a plain 85. From Filmshooting comRe: Reg8, K40 and the 85a filter Not showing the 85A but for general reference: S

why so allergic to grain? film is grain and beauty. e64 seems to yield great sharpness at the price of some grain and for those of you that work with digital finals only.- the 64 seems much easier to tweak in post than k40 - this far. s

check: http://www.pcmag.com/article2/0,1759,1620686,00.asp s

there are some sample clips posted on shooting 8mm: ftp://ftp.filmshooting.com/upload/video/mpg/V2-500T.mpg 10mb ftp://ftp.filmshooting.com/upload/video/mpg/V2500T.mpg 18mb no idea who posted them but one of the clips looks much like the frame posted above. t

One option with the canon: zoom in on a hand or head. take take the reading and lock the aperture. this is what the pros did in the past if they did not have a light meter at hand. the canon 8/1014 XLS lens is totally linear over the zoom range so a reading at full tele is valid for the entire zoom range. depends somewhat on the motif. composed image reading and lock may work fine to due to the AE-1 built in light metering system. t

see if you can something out of this: t

also check: http://www.wittner-kinotechnik.de/ also K40 seems to be avail in DS8 soon again according to this site. sold out for the moment. R

Nikon R10 has an aditional stop pin to stabilize the image and it can do wonders with improving registration. I believe the weaving you saw is at least partly a transfer issue. I got this too with my PRO8 evaluation material. Never had this problem with my projected films/same cam. Also there is avery special Mekel engineered cam with a stop pin but this is designed for special high speed purposes and it is rarely avialable. Made in small numbers. R

The lever was/is intended to auto disable the 85 filter when a true daylight balanced film like K25 cart was/is inserted. Possibly BW carts as well - should be. Thus the different cart notching. Also check: http://lavender.fortunecity.com/lavender/5...mmcartspec.html R

http://www.cinematography.com/forum2004/in...?showtopic=4345 R

For posting images you need to upload them to a server you have access to and link them to this site. Example: http://www.filmshooting.com/scripts/galler...079_0005?full=1 R