steve hyde

Are you sure Eric charges double for 16mm? That is looney if he does... I am under the impression switching from super 8 to 16mm is relatively hassel-free when the Shadow is configured with the proper gates for each gauge... Am I wrong about this? David - are you familiar with Thompson Shadow telecine systems? I'll ask Eric at FSFT tomorrow and report back.. Steve

yes, in the States it's cheaper. Super 8 is *about* 1/3 cheaper for stock and processing combined. How? the raw film stock is 50% cheaper. Processing is about 14% cheaper than 16mm. Transfer costs the same if not more depending on how you do it.. For me it is about 1/3 cheaper here in Seattle. Steve

It's a great camera... If not the best all-around super 8 camera ever made. It is very easy to use... I paid 250.00 for mine. The value of your camera will surely go up from $15.00. It's probably worth between 400.00 and $600.00... I wouldn't sell mine for $600.00 Steve

RE: blow ups Bill Brand suggested color lab for interpositive printing. http://www.colorlab.com/filmsvcs2.html below is the email from him: Dear Stephen, I print to negative but not FROM negative. If you want to use super8 negative to get to a 16mm or 35mm negative you will have to make an interpositive blow-up and then an internegative. The same is true if you want to do optical effects from 16mm negatives. All the work I do is from reversal or positive original or master materials. However, if you want to pursue this, contact Colorlab http://www.colorlab.com. They are equipped to deal with super8 negative. Good luck. Bill

..Interesting. I found Bill Brand's website: http://www.bboptics.com/bboptics/ Doug, did you blow your 8mm up to 16mm? I'd love to hear more about your experience doing this. Did you blow up color negative? Steve At AlphaCineLabs processing : 100ft of 16mm : $15.00 50ft Super 8 : $ 13.00 http://www.alphacine.com/ transfer costs the same (maybe more for super 8 if colorist works on it more) the raw stock costs significantly more as you show above. So for a project shooting 3200 ft 16mm: stock, process, transfer will be about one third more than a project shot on 1600 ft of super 8....both with a running time of about 1:20 at 24fps..

....This link may help too: http://www.alphacine.com/tape2film/tapefaq.php

One of the cinematographers I work with told me the Ang 17 -68 definitely covers S16 and this is one reason I bought the lens. I also have a Filmo DR and the lens is useful on that non-reflex cam. The Ang 17 -68 stops open to 2.2. I have not throughly tested the lens at all iris stops, but my guess that it will yeild soft results when opened wider than F4.. For low-light shooting I'll turn to primes. Duall in NYC offers a reflex conversion: source: http://www.duallcamera.com/store/index.shtml ....but based on the looks of things and the price for the conversion, I think finding a zoom with a dogleg finder is the way to go with the a - cam, although I have yet to hear from anyone who has actually tried it. Steve

Tom, How do you plan to compose your shots? Is your a-cam converted to reflex? I have a c-mount 17 -68 Angeniuex lens with a reflex view tube that I have been wanting to test on an a-cam. Steve

Thanks Doug. I think I'll track down these "texts"... Steve

Doug, I haven't read Brakhage. What makes the book unique? Steve

Blue Demon, From looking at your previous posts, I see that you are a high school student. Most high school students I know were born in the late 1980s and 1990s. ... How did someone bring you a book in "1984 or 1985". Is it time to take the GED? Steve

RE: "Santo" He is clearly an historian of super 8 cameras, thus he had many valuable insights on the subject. I have no idea if he is actually a filmmaker.... One characteristic of a good forum is one that encourages open, uncensored dialogue and if someone wants to be controversial and contrary, that should be encouraged if it is productive. However, it is clear that Santo was being contrary to be contrary and that isn't really all that productive. Sure it is true that c - mount Beaulieu's and Leica's are better cameras than many of the automatic Japanese makes. It's a non-argument. Why champion a non-argument? I also think he was using an authoritative tone to spread some bad information about telecine technologies that he really knows nothing about. That is definitely counterproductive. On filmshooting.com Santo was invited to leave and he returned several times under a different alias. He mostly played games with members by starting threads and posing questions that he knew would start conflict among members. In other words he was "trolling." In this case he was basically entertaining himself at the expense of the forum members.... very tiresome, disruptive and unproductive.. Steve

best thing to do is call Kodak since prices change all the time. They don't post prices. 1800621FILM Cinelab in Boston is a onestop super 8/transfer house. I think Spectra in CA is too... http://www.spectrafilmandvideo.com/ http://www.cinelab.com/ For highest quality Super 8 transfers I use www.fsft.com

...This is great. Someone should write a book on shooting techniques for loud MOS cameras. Steve

Great discussion. I am trying to maintain a *sporting* attitude as I plan a short subject that will be shot on a late model Bell and Howell Filmo DR - a camera with serious limitations to be sure, but also a camera that can produce excellent images when used with good lenses. My strategy is minimal dialogue and when I do have dialogue, I will stage and block in a way that places visual emphasis away from lips... Another excellent film made on MOS camera's is "Sleep Always" - a really remarkable accomplishment since the film is shot on Super 8 at 18fps and dialogue heavy. It is certainly a rough dub, but I think it turned out cool.. Steve

Good to hear Justin. Did you xfer on your system or send it out? I'm about to take my first Filmo rolls to xfer and am looking forward to seeing the results. I've been shooting 7201 and am eager to see what the stock looks like as well.. I also plan to make a project of doing some post-sync sound on a few scenes.. Which lenses did you use? Steve

...I agree that many of the older books are great. The older books on editing - like Edward Dmytryk's "On Film Editing", 1984 is even better than many of the contemporary books on editing that read like software manuals. An all purpose book on filmmaking that serves as a good starting point is Bordwell and Thompson's "Film Art."

I have been told that the Beaulieu 9008 was still being manufactured in the 1990s - the production ended as late as 2002... http://www.beaulieu.fr/ Having now worked with a Beaulieu 4008 (not 9008), I have to say that they are amazing little cameras. I have mine outfited with a light weight Angeniuex 5.9mm fixed focus lens, which makes it an aperature-and-shoot camera that is great for car interiors and other kinds of closed-quarters shooting...Good for filming in crowded places too. I think the Beaulieu 9008 is currently more expensive than the Ikonoskop A-cam which seems to me to be a better small gauge option in many ways since super 16 is something like 6 times the gauge of super 8...

...I recomend "Film Technologies in Post Production" by Dominic Case. The second ed can be found easily. The book is printed by Focal Press... Although keep in mind this book is not specific to Super 8. In fact I don't think super 8 is even mentioned in it, but the workflows are the same for all film gauges. (more or less) For learning about DIY telecine and other creative techniques try the online source: filmshooting.com Also in case you haven't found it here: http://www.cinematography.com/forum2004/in...hp?showforum=43 Steve

Thanks David. This makes sense. In the end I imagine I will stick with the Vision 2 Kodak stocks just because I know what to expect from them.. I've not tried it, but I imagine the Kodak 7205 pushed one stop would be fine too... Steve

Thanks for sharing your experience. Yeah - to my eyes it looks like you got an uncorrected 'one light' transfer from one place and a corrected transfer at the other. It makes a HUGE difference as we can see in your examples... I'm curious to know what type of telecine equipment was used in each instance. I have had a few cheap super 8 transfers here in the States that were made on RAnk Turbo machines that look pretty gritty and blue like the images you are showing here. Steve

...interesting. How might the Reala 500D compare? I love the Kodak 7218, but I'm currently considering Fuji Relia 500D for use in the Amazon rainforest. (lots of contrasty conditions under canopy and dark) I'm thinking Relia 500D rated at EI 250 might be the stock of choice and I'm planning to shoot some test rolls in the near future. I'm curious to see examples and hear about experiences with Fuji Reala 500D (8692) So in this shooting situation (Amazon rainforest) what would be the pros and cons of choosing Fuji 500 or Kodak 500? Steve

here is a quicktime that contains both 7217 and 7218. The bird shots are 7218 pushed one stop in processing. The 7217 was shot at EI 100 under tungsten illumination. http://www.steve-hyde.com/colorneg_results.mov I have not used Pro 8mm film stocks. The best super 8 telecine I have found is www.fsft.com This is the place the transfered the footage shown here... hope this helps, Steve

The film is great - the soundtrack is cool - and I also really like the sound in general for this film - it adds to the surreal atmosphere ...I have always thought sync sound is over rated. ... Steve

Dominic Case's book is the best reference I have found from Focal Press: source