Art Leal

My two cents, using a combination of Sony Vegas and After Effects with a lot of trial and error and a filter named Shadow & Highlights in AE. Would love to see this film at some point!

Thanks!

Jim: Received the following from Krystal at Dwaynes's: Art Leal, Thank You for your question. The last day is December 30. Please let me know if you require additional assistance. Sincerely, Krystal Dwayne's Photo PO Box 274 / 415 S. 32nd St. Parsons, KS 67357 800-522-3940

Hi David: I used a Bell & Howell Filmo and got the following from shooting a computer LCD screen with a 60Hz refresh rate. The sample runs from 00:58 to 01:04. There's an even shorter sample using a Super 8 camera with very expired film and an LED TV (0:55 to 0:59). http://vimeo.com/12574842 Both were set to 24 fps. Does it work? Not sure (given the samples are so short in time and I used aged films), but I thought I'd pass them along.

Here's a roll of Kodachrome 40 Sound film I shot over the Memorial Day weekend using an Elmo FS-20XL sound camera and an external Rode microphone I plugged into it. It was more work than I cared for when transferring and doesn't sound as good as the method Alessandro used. In retrospect using an external audio device would be easier since I would not have had to get the sound projector involved in the process. It was a lot more fun just seeing/hearing it projected. Don't think I'd be inclined to do this again unless I'd get some newer K40 sound film. Would have loved to have seen better colors on this.

That worked well. Very good sync. Loved the clip...LOL! The State of Fruits (and the Economy).

Thanks Anthony....so the camera should read it as 100 ASA if it kicks out the daylight filter via the internal pin, but if the camera lacks an internal filter pin (like my Bauer), manually moving the daylight filter out of position via the switch on the side of the camera would also rate it at 100ASA, correct?

Really good to know, thanks Jim. I have a Bauer C700XLM 40/160 camera that also has no filter pin inside the camera. Always wondered how it would read (or misread) the carts.

This is a 40/160 and 25/100 ASA rated camera. The ASA notch on the 100D (towards the top of the cartridge) is cut the same way a 160T cart is cut, except for the fact that it has no notch cut near the bottom for the daylight filter. What this means is that your camera should see this as a 160 ASA film, then with the daylight filter pin "pushed" in from the same cartridge, it will kick it down to 100ASA. Now I don't know if your camera's daylight switch (on the camera's body) will override this, many don't. But just to be on the safe side I would keep it on the bulb setting. Your camera should work fine with 100D. Here are a few pictures showing how a roll of E-100D is notched alongside a roll of E-160T (Type A). They are identical except for the daylight filter notch. Hope this makes sense. I have the feeling others may explain it a bit clearer than I did. Jim Carlisle (of this forum) has an excellent grasp of this and explains it in a straightforward, easy to understand manner (which I always need, since I tend to confuse myself..lol). http://www.flickr.com/photos/30330913@N08/4666439050/ http://www.flickr.com/photos/30330913@N08/4666438946/

Yes, I went to the NYC event last week. It opened with a rep from Kodak on a podium with a cart of 200T, 500T, Tri-X and 100D and telling us this is what Kodak has along the lines of Super 8. When asked why no more Plus-X/Ektachrome 64, we were told that in all honesty, Kodak is a business and they just were not making enough sales. They then showed a 1 minute clip from a parade of 100D scanned by Pro8. After we were told Jem Cohen would be joining us and showcasing some of his Super 8 works, but we had to wait for him to get to us by cab since he was at a Q&A at MOMA for his new film named "Chain". In the interim we had ourselves a Q&A and one of the questions regarding 200T was whether or not it should be overexposed by 2/3rds to one stop. The person asking the question was interrupted by the female rep when she asked "why are you overexposing 200T, you should be shooting it at 200 ASA"...ok, then why is the cartridge notched as 160, and is notchless at that making it 100 ASA? I was under the inpression that Kodak notched it this way to intentionally overexpose by a full stop. Jem arrived and showed us a Super 8 short/documentary made using Plus-X and Tri-X and with Patti Smith as the subject. It looked very good and I enjoyed the presentation. He He also spoke to us and said the short was mainly shot using auto exposure. We had a short Q&A with him as well. He works with both video and film, but still uses Super 8 at least once a week. His current film "Chain" BTW, was made in regular 16mm with a 4:3 aspect ratio. Next up was this fellow Teague from FlickerNY. He showcased 19 minutes of footage which included a lot of international entries and three of his own works. Flicker is geared for local filmmakers so I was hoping to see less "international" stuff and I could have done with seeing a bit less of his own entries. In the front row were some of the folks from labs such as DuArt and PAC Lab. They were introduced as well. After we were given thanks for stopping in, and were handed a roll of 100D as a gift. I enjoyed Jem's films and his manner the most. David Teague came off as a bit self-promoting to me. They did a good job with the refreshments...plenty of chips, nachos, veggies, dips, beers and soda's.

Hi Nicholas: Dwayne's has been doing it for me for $3 a roll...just had a second roll shipped. Send Krystal an email just to confirm.

Hi Andy! The worst of it were that some sections (sidewalk on :27, the streets at 1:23, pavement at 1:51, man's shoulder at 2:06) were just on the verge of appearing blown out when projected, but just barely. Also the darker-shadowed areas appeared much brighter, less contrasty. I might also mention that the saturation was richer off the wall, I needed to crank them down a bit after the transfer to avoid chroma noise/bleeding. I'm sure a reputable telecine facility has much more flexibility. PS Don't mind you linking to it at all. I made it public by posting it so I that I can get feedback from others, good or bad. I'm with you on the negativity part...I ordered some more yesterday. But I don't view it as negativity, but a discussion...which is what makes this forum and everyone's opinions and experiences great to learn from.

You chose a bad example to make your case..my footage. I admit its contrasty, but the blown highlights were mostly due to my homebrew telecine and clipping from the video camera I used. Although some of the area's are hot, when projected the detail is there. Perhaps a clip from a pro telecine may serve as a better example.

I believe Framsdiscreet.com in Toronto also handles Max8, Super-Duper 8 transfers. From their website: SUPER DUPER 8MM/ MAX-8 WIDESCREEN "We can accommodate Super duper 8mm (aka. Wide 8mm or Max 8 Widescreen) for those who have modified super 8 cameras with wider gates. This modification allows you to shoot in an aspect ratio closer to 16:9 and in turn, allows you to shrink your grain providing an even sharper image".

Here are the results of a second roll I tested with a Nizo S560 on automatic exposure. Colors are closer to what I expected. Never thought I'd say this, but I'm going to miss E-64T! http://www.youtube.com/watch?v=tqe4Ho6_YiY