Matt Kemp

Hi, I just shot a short on Kodak 200T stock, similar to the Fuji 500 You used. My film also came out pretty bad, not at all like I expected with the saturated colours and rich contrast typical to Super 8. I had all my processing and telecine done at ToddAo on a Rank machine, transferred to Digibeta, so I think the processing was as good and professional as it could possibly be. On researching further the reason for the thin, washed out colours and excessive grain on my films, I have basically come to the conclusion that using high speed, negative stock in Super 8 is a complete waste of time and money. If anyone would like to correct me on this, I would be very happy to get more information about what I might have done wrong, but the prevailing response to my questions seems to be 'USE REVERSAL FILM..' I shot on a Nizo Professional, over-exposed and pull-processed half a stop to reduce grain, then got a best-light transfer to Digibeta on a Cintel machine. If that can't make a film look good, I don't know what can. I personally will never use 200, 500 or indeed any negative Super 8 stock again. I recommend you reshoot with reversal film. If you use a Nizo, you can also use the 'AutomB' function to ensure you always expose properly, even in limited light.

Hi, I have already posted this in the Telecine forum, but I wanted to repost in the Super 8 section in case anyone here had experienced similar problems. I have just had three rolls of Vision 200T Super8 stock wetgate scanned at 1k resolution. However, when I try to open these (.avi) files at home, quicktime just shows a blank screen (although is playing something). Importing the files into Final Cut and then trying to preview them gives me a 'General Error, Out of Memory' error message, even though I have 100Gb free on my hard drive, and dropping them into the timeline shows again, a black image which apparently needs rendering but does not register when I try to render it. Any advice or suggestions very gratefully received Matt

Hi, Thanks for your replies. As you suggest, the files open with no problem with VLC. I'll do what you say and try to export the files out of After Effects into another format. (I tried this already with Quicktime Pro, but it just say's 'export failed') Thanks again Matt

Hi, I have just had three rolls of Vision 200T Super8 stock wetgate scanned at 1k resolution. However, when I try to open these (.avi) files at home, quicktime just shows a blank screen (although is playing something). Importing the files into Final Cut and then trying to preview them gives me a 'General Error, Out of Memory' error message, even though I have 100Gb free on my hard drive, and dropping them into the timeline shows again, a black image which apparently needs rendering but does not register when I try to render it. Any advice or suggestions very gratefully received Matt

I think you're right, it seemd a bit low-tech for a crystal sync conversion (shame). I'll try out the footage counter reset idea, see if it works. That in itself would actually be pretty useful too. Thanks Alessandro. Matt

That's kind of what I was hoping it was.. Either that or every time I flick it, there's a light going on and off in an old lady's house in Munchen.. Here's a better picture. Thanks

I'm still on the search for solutions to this problem, I'll post anything I find. I might even get brave and dismantle the camera, to be honest I can't really use it as it is anyway.. Cheers

I just bought an old Nizo 561, and on the side, right next to the footage counter is a silver knob with two settings. I'ts obviously a bit of a bodged after-market modification, but does anyone know what it might be or seen this before? The camera makes a slight pitch change if you turn the knob while running it, but other than that I can't tell any difference. There's also a new little LED been put in at the back above the cartridge loading compartment, but that doesn't light up or anything. If attached a picture, apologies for the quality. Any ideas welcome, this is the kind of thing that will drive me nuts until I know what it's for..

Jean-Louis, Thanks very much for your reply, very interesting. I've decided to take your advice in not risking dismantling the camera, I guess for now I'll just stick with an external meter and hope it frees itself up over time with more usage. I think what I'll also do is start buying broken Nizos and investigate taking them apart. I've got four of these cameras now, and it would be nice to have even a basic idea of how difficult it is to work on certain problems myself. Although having said that, I can see myself in the future sometime sending my camera to Canada in pieces for a proper technician to put back together for me.. Thanks again. Matt

Jean-Louis, Thanks very much for your reply. I wonder if you know how difficult it is to get the lightmeter assembly out of the camera? I have an old Nizo with a working lightmeter I could cannibalise if you think it's something fixable by a non-professional. Also, I read on some stills camera forums that using lighter fuel to clean the aperture blades can be a good way to free up sticky shutters, would you agree with that? Thanks again, Matt

Hi All, I recently bought a Nizo 561 Macro, and although the camera seems to be in very good condition in terms of the quality of the lens and the smoothness of motor transport, there is a problem with the internal TTL metering whereby the gauge needle 'sticks' at certain points. For example pointing around a room, the needle will move according to light and dark areas, but then sticks at, say, f2.8. If you then point at a window, it seems to dislodge and jumps to f11. Basically it's sticky, possibly through dirt or lack of use throughout the years. Does anyone know how I might fix this? Also, does anyone know if it's possible that only the needle is sticking, and in fact the aperture adjustment is accurate, or are the two things locked together? Any help much appreciated. Matt

I have fifteen, brand new, unopened rolls of Vision 200T which I would like to swap for 64t if anyone has any available. I'm based in London, but in theory could pay the postage fees. Thanks

Not a Macro sadly..

Hi, I've just bought a Nizo 801 (my third Nizo but first of this type), which seemed to be in pretty good working order. However I now realise that at the long end of the zoom, it will not focus, despite hitting the infinity mark on the focus ring. Closer inspection also reveals that when the focus ring is at it's closest distance (a stated 1.5m), the tiny retaining screw which stops the lens passing either end of its focusing limit is slightly visible under the lens collar. This would suggest to me that somehow the focusing part of the lens has 'moved up' by a thread or two, going too far back when focusing close, and not coming forward quite enough to hit it's genuine infinity mark. Does that sound plausible? Has anyone else had similar problems? If so, any advice would be greatly appreciated. Thanks in advance

That definitely helps! Thanks very much

Can anyone tell me the default shutter angle for a Nizo 561? Every info page I've found simply states the shutter angle as 'variable'. Not that useful. This page is the closest I've found: http://www.film.project-consultant.net/htm...aun_-_nizo.html which states the range at between 150° and 75°, but I just wanted to see if anyone out there could confirm that to be true. Thanks

Rafael, Thanks for your reply. I have bought the Expression carts as part of a stock/process/telecine package from ToddAO in London, and have decided to go the telecine to digibeta route rather than the 10-bit DI (basically because ToddAO at present don't offer scanning for S8). They do have a great deal for students though which means I can get a supervised best-light for the price of a one-light. As for the anamorphic, it's funny it never occurred to me in five or so years of shooting in this format. I've bought a Kowa Prominar 16-S anamorphic lens (£15 on Ebay) and a 49mm to 43mm step-down ring to fit it to my Nizo. Although this will cut down the minimum focal length quite severely, I'm hoping it won't be too much of a problem, and well worth it to have the film in widescreen ratio. I'll post a few frames when the grade is done for you to have a look at. Cheers

Mike, Thanks for that, you were exactly right. I did of course try doing that first of all, and gave it a good old twist but with no luck. I guess it's that funny thing where you can't get something to work until someone tells you it definitely does work, and then.. It works. Thanks again

I have a Nizo 561, and want to be able to use filters to fit the 49mm thread. I machined a tool to let me unscrew the lens hood (a metal bar which fits into two small indentations in the inner collar of the hood), and I thought it would easily unscrew. However after doing three or four revolutions, and feeling like it's getting looser, it stiffens up and stops. I have applied some pressure to it, but it feels like it's somehow tightened again, and I don't want to force it. I can't see a locking screw in the collar or anything like that. Am I missing something, or has it just got jammed ny a piece of dirt or grit? I've searched the web for any ideas, but I can't find anything. In fact in the five or so years I've been using a Nizo, I've never heard or seen anything about tools or techniques needed to get the hood off. If anyone has successfully unscrewed a Nizo lens hood to allow use of the filter thread, any tips would be very helpful. Cheers

Thanks for that. Actually I found out this morning that my lab, ToddAO in London, as yet don't do 10-Bit scanning for S8, so that sort of decided it for me anyway. Cheers

Forgive my ignorance on this, but can someone explain to me the difference between having a telecine and getting the film scanned (a D.I.)? Is there a difference? I'm shooting a budget short on super8, and am looking for the most cost effective way to get my film digitised. I'm wondering (again, forgive my ignorance), if the only real difference between these two options is the final format, either 10-bit uncompressed on a hard drive, or on a Digibeta/BetaSP tape.. As I mentioned, I'm working on a budget, but at the same time I want the transfer done as well as possible, any advice or suggestions on techniques or post houses (ideally in London) very much appreciated. Thanks

I'm shooting a ten minute short on Kodak Expression 200T Super8 stock, and I wondered if anyone had any experience shooting with anamorphic lenses, to be re-converted in telecine. Also, I have heard that I would be much better off paying extra for a best-light telecine grade than by opting for a one-light and grading in post. Is this true? Thanks Matt