jukka sillanpaa

Andec makes them.

jukka, while your footage looks fantastic it's *not* rock steady. it's steady enough to look "dead", which is what counts i guess, but if you look at details near the edges you can see that they weave around as they always do in super 8.

 

/matt

OK, that's right, but for my eyes quality is just enough. Anyway I have just watched some old Finnish 35 mm movies (60's and 70's, Jörn Donner's one) from one Finnish TV-channel this week and they weave much more than our Super 8 material. And they put 500 x more money for their projects than we did to this one.

I don't really care much about that thing, the story is the most important for us anyway. And talking about genre (italian western stylish parody) the look is 100%:ly what we wanted and we got it. Our another short film we are just working is shot with DS8 Fomapan with more unsteady image (who said DS8 is the most steady 8 mm format in the world!) , but I don't care either, because that look just fit the movie also perfectly. I'll put examples to my server also from that project when we'll receive films back from Kent Kumpula. For us the look of filmstock is more important than the 100% steadiness, look we are shooting with old 8 mm equipment, that's a fact. If I want total steady image, I'll shoot with my Panasonic DVX100A same time losing that great feeling Super 8 footage always has with all its "negative things/problems".

I did drop by there last afternoon/night and found this pretty nice film shot with a pressure plate and a Canon. He explains he used a pressure plate. The shooter was smart and shot outdoors with the Canon and when indoors used about 4000 watts of Halogens and 500 speed film to keep his f-stop small and his images sharp -- the weak point of Canon home movie cameras being the softness you get if you don't keep the f-stop at a 4 or above.

Hi Santo, you're talking about my short film project named "Al Dente". You are right about to use more light to get sharper images, but note: we get only f2.8 indoor, not 4. The secret was we used 150 degree shutter angle, not 220 (XL) one (with it f-stop was 5.6), Canon 1014 XL-S has these both options, with 220 degree shutter angle you won't get as sharp images because of motion blur. Registration with pressure plate and Vision2 stock with my Canon 1014 XL-S is rock steady, I cannot find any differences comparing for example 16 mm cameras (also pin registerd older Arri and my Kinor 2M). Here is a 2 minute silent example (raw edited/letterboxed mpg1 file) of same project:

http://www.sorb-i-tol.com/AL_DENTE_SILENT_TEASER.MPG

I am bidding on a few rolls of Agfa Moviechrome Super  8 film. Where, if anywhere, can I get this processed in the US? Or Europe?

chris

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Yes, I have shot many old Super 8 films from Kodak and Agfa, if these agfas are white ones (white/blue-cover), just buy them (but not pay much of them), you'll get really nice art-kind of look or even almost like new film stock quality.

Reversal Lab in Holland processed them, here is Frank's web site:

http://www.super8.nl

Atte Tenkanen here in Finland have prosessed many of old Agfa raversal color stocks to negative B&W ones, here is couple examples of his works (check "A Film about developing the film") :

http://www.ag.fimug.fi/~Atte/examples.html

Get some "punaista samettia" ! :blink:

What do you say about Kinor's 10-100 mm (16 OPF 12-1) comparing Zeiss?

I have thought to buy Tobin TTL Intervalometer(time lapse motor for Bolex 1:1 version) and install it to my Kinor 16 (2M). Have any of you done it?

Here is the same intervalometer installed to Konvas 2M-model, by same way I'd use also with Kinor (it has also a 1:1 drive shaft on the side of the camera. Each one rotation of the shaft exposes one frame) after adding adapter between TTL and Kinor body.

Here is an article about same motor installed to Konvas 2M:

http://www.commiecam.com/intervolameter.html

You can do it only with a camera like Arri IIC or Konvas that has no register pin.

This film has KS (Kodak Standard) positive perfs instead of B&H negative, so you may get slippage between neg/pos film during printing. This will result in loss of definition and possibly unsteadiness.

Unless you are running a high speed camera that requires polyester stock, I wouldn't recommend polyester as original camera negative. A simple mag jam or mechanical problem will definitely do great damage to your camera.

 

IMHO, if you want to shoot 35mm b&w, better try Foma or Orwo/Filmotec.

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Ok, thanks!

Yes, I know both Foma And Orwo, I have just collected group order here in Finland to order film stocks (2x8, 2xsuper8, 16 and 35 mm)straight from Foma factory, their 35 mm negative stocks are really cheap too. About Orwo, I haven't found a good contact information for these stocks, only have shot some negative (ASA320) Orwo ones with my Canon Scoopic DS8.

In russian side, they are still making Svema and Tasma stocks, Svema only for 35 mm (one of my friend here in Finland will go to meet Olex in Ukraine during last month to find out this Svema situation), Tasma makes both 16 and 35 mm B&W negative stocks.

Have any of you shot with (your 35 mm movie camera) this B&W stock?

http://www.lumiere-shop.de/advanced_search...=2a&language=en

90 m for price 20,5 euro!

Very interesting! Congrats to the innovators on a good development. Perhaps  there will be a method for syncing up the sound to a Super 8 projector - thus doing away with the "bring back the magstripe" demands. I know that my Elmo S8 projector has a pulse output.

 

Btw, what video camera did you use with the workprinter? I noticed a dark frame every now and then, any reason why?

 

- G.

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Sorry about that old-kind of USSR-stylish effect in image :D , I forgot put "auto shutter"-mode on in my video camera during transfering (hadn't time to restransfer it). So I found out how to make this kind of effect during transfer by mistake at the same time! ;)

Pedro makes also crystal sync box for Elmo, Bauer and Braun Super 8 projectors, you can use with this pulse-sync box recording to striped Super 8 film your sync sound.

I know I should probably keep my big mouth shut, but what would happen if you took a double 8mm camera, filed out the edge of the gate to make it see all the way across the film (in other words, "both sides"), recentered the lens mount and put standard 16mm lenses on it? 16mm techniscope?  :o

 

- G.

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The aspect ratio would be 2.72:1, (9.56 x 3.51 mm) so very wiiiide!

I shot two Super 8 sound sync tests couple month ago.

In the first test I used Canon 1014 XL-S with Pedro's R 1008 MD pulse sync-box (1 KHz pulse) and Syncsound-software by Mattias Sandstrom (both of them are writing in filmshooting forum). This combination really works!

It keeps the sync all the way without any problem. It was very easy to sync, after I used Syncsound-software. Just put sound and image in the right place. Film stock was K40 and I transfered material digital with my Workprinter. Sound track I recorded with my DAT.

Here is the link for R 1008 MD box (price 60 euro). You need Super 8 camera with flash-socket. Note: you can you that box in both digital and traditional-projects. And you can use it even with Leicina Super/Super RT and Special-cameras (without their ST-1 box) buying also Leicina adapter from Pedro.

The product page:

http://www.super8sync.com/English/R1008MD.html

The main page:

http://www.super8sync.com/English/home_e.html

The Soudsync-software is in beta-way, you can get it for test contacting Mattias Sandstrom:

http://www.filmshooting.com/scripts/forum/...iewprofile&u=73

Conclusion:

You don't need any crystal sync-camera, if you want to make sound synced movie shooting with Super 8. Only camera with flash-socket. Just watch my mpg-file.

The second test I shot with same camera in wild-sync way. You can notice after 10 second it will lose the sync. If you shoot only 5-7 second takes, it's ok, but with longer ones there will be serious problems and more hassle etc.

http://www.sorb-i-tol.com/SUPER8_SYNC_SOUND_TEST.MPG

(Don't bother my Finnish language, just watch the lip sync)

I bought couple weeks ago from local flea market Pathe 16 BTL duolight (electric) camera at price 20 euros!

Here is one picture of it:

http://www.filmshooting.com/scripts/gallery/16mm/PA310027

Do you anybody have manual for that camera and could you advice where I'd find a new battery for it or how to recell the old one? The camera seems to be in good shape, I have only 50 Som Berthiot lens for it, so I have to start searching the suitable c-mount ones from ebay. It has many great features like single frame, 8-18 (stepless), 25, 32, 48, 64 and 80 fps, variable shutter, b-mode for time exposure, pilot tone, automatic exposure, 30,5 m and 122 m film capacity etc. and I'd like to get that one serviced very soon.

Have anybody else the same camera?

According to Jurgen Lossau's camera book Pathe manufactured them years between 1974 and 1981.

_________________

Best Regards

Jukka Sillanpaa

I own 310 XL with wide angle Canon lens (C8 43 mm), still haven't shoot anything with it. about Canons, I own also 1014 XL-S (have shot many short films and it rocks) and Canon Scoopic DS8, both are really great cameras.

Here are couple examples of image quality of Canon Super 8 cameras:

Our lastest short film shot with Canon 1014 XL-S and Kodachrome 40, transfered by myself to digital with my Workprinter:

http://www.sorb-i-tol.com/THE_MYSTERY_OF_MISSING_SINK.MPG

Some test footage shot with Canon DS8, film stock Fomapan R100, transfered by myself to digital with my Workprinter:

http://www.sorb-i-tol.com/FOMAPAN_R_100_CANON_DS8.MPG

Part of this next one is shot with Canon DS8, part with Quarz DS8-M:

http://www.sorb-i-tol.com/foma_ds8_canon_quarz.MPG