Hampus Bystrom

Okay great! Well, you mean the quality of this specific lens or just the all-around universal quality problems that these type of lenses bring forth? Becuase this lens is in really good shape and I trust the guy selling it.

Hey guys! I'm about to buy a Kern Yvar C-mount lens that's actually for a 16mm camera. It should work on a Beaulieu 16mm camera. Could I attach this lens to my Beaulieu 6008S? And how would this work? It's a wide-angle lens. Cheers guys!

Cheers for the elaborate answers guys! I really appreciate it. Right now it seems sort of like a plethora of information but I think I've got it all. And as you say there's really no "standardized" rules. I've just sent two test films for scanning, the Ektachrome 64T and Vision2 200T, so I will see then how they come out. The Velvia or the Spectra are really hard to come across here in Sweden, or that is, I haven't come across them. Yeah it's a rather serious project so I'll be shooting with a grey card and a color checker.

Yeah, okay I'll go with the Vision2 I guess. Because I'm almost purely an aesthetic person when it comes to cinema. No that's not true, I'm not all that superficial. But I rate the artwork of cinema just as high as storyline.

Okay, sounds fair. I've heard some stuff that you have to fiddle with the cartridge or the film refuses the built-in orange filter?

Yeah that's what I tought, altough the Vision2 is slightly more expensive. But what the hell it's worth it. Think I'll go with the Vision2 for the whole movie. And if you add the cameras inbuilt orange 85 filter that would make the ASA drop to about 135 right?

Cheers guys! So if you set the Vision2 to exactly 200, that wouldn't be completely wrong tough? By the way, I'm going to shoot my first really serious Super8 short and I haven't really decided what type of film to use. I'll be shooting inside and outside, and in some scenes there will be kinda low light conditions where I won't be able to do anything about it (in the subway). But then there will be some outdoor scenes which will be very bright. I'm not sure if the Ektachrome 64T will be able to expose right in the subway's shady lightning. So is it recommended not to mix film types in the same movie? Will this be ugly, and noticable? Say shooting with a faster film like the Vision2 in the subway and the 64T outside in daylight? I really like the look of the Ektachrome but there's no way it'll work in the subway, I checked with a digital lightmeter and it won't work until you get at least 100 ASA with 1.4 f-stop.

Hey guys, I've got some questions about Beaulieu 6008S and Super8 in general. The thing is I've heard a lot about that what you need to get right when shooting Super8 is the ASA of the film. So say if I'm shooting with Vision2 200T this film has 200 ASA, but I've read alot of stuff about that you shouldn't set the camera precisly to 200 ASA. Why is this? I've read somewhere that for example Ektachrome 64T should be set to 40 ASA. Why is this? I just can't understand what people are raving about. So what's the deal with this? Cheers guys

Boy this forum is really a goldmine for young, inexperienced but enthused Super8-filmer. I'm quite surprised tough about hearing that you would want to use negative over reversal. everywhere I look I find people raving about how good reversal (Ektachrome 64T) looks. Well, anyway I've just shot two test-films (Ektachrome and Vision2 200T) with my Beaulieu 6008. They should probably arrive today from Germany, processed and all ready for scanning. Then I'll make my own mind up about shooting with Vision2 or Ektachrome.