Art Leal

Hi Michael: I would notch hack the cartridge so that it reads it at 100 ASA and just shoot. I tried this method last summer with my 310XL and it gave me the following results. I also kept the filter set to tungsten (bulb). http://vimeo.com/1813167

Hi Kris: This happened to me as well but with the 814 Auto Zoom Electronic. I thought it might have been the actual switch sticking electrically, but it wasn't. It turned out to be some mechanical lever and linkage which was connected to the trigger. I managed to open the 814 just enough to get some WD40 on it. It worked well, but then I got ahead of myself and blindly sprayed more into the cameras cavity (duh) as overkill. The switch continued to work, but now the inside optics were contaminated with oil everywhere, so my efforts caused me to trash it, since getting it serviced for my blunder would have cost me much more.

Really quick turnaround time, and they prep the film at no extra charge.

Here's some footage of your old stomping grounds I just got back. I've been to Austin St in Forest Hills but never down this street. It was like a neighborhood out of time and place in NYC. Winding and serene. We managed to stop at Dani's for some Italian food then Homestead for strudels. http://vimeo.com/3115446 The porn theater is now a small theater that runs indie-ish films. You won't find the usual fare playing there. I saw "House of Sand and Fog" there back in 2003. This link is to there website: http://www.kewgardenstheatre.com/ The Nizo S560 I used gave me some underexposed footage, hence the lack of quality on some shots. I tried to make up for it in post. Don't know if it was the auto exposure and the cold weather, or of it was that I was shooting after 4pm where the sun was very low on the horizon with a lot of shadows on the buildings. I might just try it again some time, but with some 200T.

Here's some footage of your old stomping grounds I just got back. I've been to Austin St in Forest Hills but never down this street. It was like a neighborhood out of time and place in NYC. Winding and serene. We managed to stop at Dani's for some Italian food then Homestead for strudels. http://vimeo.com/3115446 The porn theater is now a small theater that runs indie-ish films. You won't find the usual fare playing there. I saw "House of Sand and Fog" there back in 2003. This link is to there website: http://www.kewgardenstheatre.com/ The Nizo S560 I used gave me some underexposed footage, hence the lack of quality on some shots. I tried to make up for it in postl. Don't know if it was the auto exposure and the cold weather, or of it was that I was shooting after 4pm where the sun was very low on the horizon with a lot of shadows on the buildings. I might just try it again some time, but with some 200T.

Wish I had seen this thread before taking my Canon 1014 outside in 20 degree weather with a wind chill of 9. The camera ran, but I noticed the auto exposure would lag for about a full 2 seconds before it would settle to a steady exposure. It would start slightly overexposed, then settle to a properly exposed image. Another interesting thing I noticed was that during this interval the image would be out of focus, then sharpen as it reached it's correct exposure. If I were to guess I would probably say the circuitry in the auto exposure or the batteries response to the weather. Live and learn...now I'll have to re-shoot...when it gets above freezing.

Thanks, and enjoy! http://vimeo.com/2889769

That's correct, none were hacked. I only hack them if I use them for outdoor daylight, but I just shot a few rolls in outdoor daylight I'm getting back this week which were not hacked, and no daylight filter. I'm curious to see how they correct in post. You're right about the 18fps limitation. Didn't think of it since I don't do much 24fps shooting, which I probably should.

I would keep the 310XL. It's let in more light for me whenever I've used it under low lighting conditions.. See the samples listed. Although the images are visible using the 814, they showed up brighter and less grainy when I used the 310XL. My best guess is the 220 degree shutter advantage. Never had an issue focusing with the 310, other than a few misfires when I've tried the macro setting. I just estimate the distance to the subject, set it on the lens ring, and shoot. http://www.flickr.com/photos/30330913@N08/3205727998/ http://www.flickr.com/photos/30330913@N08/3205727962/ http://www.flickr.com/photos/30330913@N08/3205727922/ http://www.flickr.com/photos/30330913@N08/3204881319/ http://www.flickr.com/photos/30330913@N08/3205727828/ http://www.flickr.com/photos/30330913@N08/3205727784/

Thanks Ryan: Don't have a user manual the only thing available from Craig's Cameras was the service manual. There are no illustrations other than schematics and exploded parts views, but from what I can see they're listed as single frame, remote control and battery recharger receptacles.

Hi Rick: Looks identical to a GAF ST1000 I have: http://s466.photobucket.com/albums/rr22/le...current=GAF.png Additional images and some copies of the service manual can be found here as well: http://s466.photobucket.com/albums/rr22/le...urrent=GAF3.png Here is a thread from last August, along with some test footage: http://www.cinematography.com/forum2004/in...2691&hl=gaf ...and some recent footage which was less than stellar here, but serves me right for using 500 ASA on a bright sunny day. The daylight filter on mine seems to degrade the images, the 500 ASA switch swings the filter into place as well. It also scratches the film whenever I use it, so it's probably in a dilapidated state. http://vimeo.com/2374715

Thanks Ira. I lived for a number of years in Astoria, but spent quite a bit of time in Kew Gardens and at a relatives home in Rego Park. Next time I'm there I'll take some footage around Austin Street and the neighborhood. Any place you'd like me to visit and shoot?

Thank you Damien. I only had a short portion I tested, but did some more with 200T that's in the lab right now. Will post shortly. Have a great year!!

Happy holiday's to everyone and a BIG thanks for all the help this year with Super 8. Here's hoping 2009 will be an even bigger year for this film gauge and its use. My Super 8 "year in review" http://vimeo.com/2622794

This was shot with the auto exposure on.

Here's a quick test I did last summer using the same stock and camera. It was grainier than what appears, but the compression lessened it some. http://vimeo.com/1450862

I can attest to this as well (http://www.super8camera-shop.com/shop/). This crook's name is Uhmeyer. I got stuck with a bad Nizo S560, then had to file a claim with Paypal to get back money from a Canon 1014 I never received. He's great at answering emails only when you file a claim and telling you that all the camera needs is a "little petrol". Order from him and you will get played.

Hi Marc: I have found the same with some of my transfers, and only when I've shot in manual mode. The exposure flutters, and is visible more on negative than reversal. The same has occurred in manual mode using different cameras. I do my own transfers with my home brew method, and at first thought it might have been my bulb perhaps not being screwed in tight enough or the motor speed not set correctly for flicker. Upon further inspection, I found that on reels where I shot scenes with auto exposure and manual, only the manually set scenes showed this behavior. The auto exposure was steady, barring anything entering or changing within the scene (in which case the exposure level varied smoothly, as expected, but not jumpy). I then remembered how sometimes I would turn on an old radio, and when I would adjust the volume dial, the sound would crackle, and sometimes vary, or even deteriorate until I would turn it from one end to another a bunch of times, then it would improve a bit, at least to hold a steady volume. I was told that this happens with old "pots" due to the age and accumulation of dust within the contacts, in which case "swiping" them by turning them quickly can help. Could the same occur with these camera's? In setting it to manual, exposure is controlled by the position of the circular contact within the exposure knob, whereas in auto, I'm assuming the internal electronics take over the metering, and therefore not subject to the condition of the "pots". I wonder sometimes if it can be fluttering due to its deteriorated condition and/or the vibrations of the motor when transmitted to them while shooting. All guesswork and theory on my part, I'm sure a camera tech would have a better answer.

Hey Marc thanks. I'll probably post a few more as I go in. Hoping to finish this project by early March the latest. I also took some footage of a subject getting out of bed, with a desk lamp on the night table and two red halogen lamps set up to light the wall where the beds backboard is. The exposure came out better than I expected. I don't think I should rely on exsiting light alone to light every scene, but using this stock has given me more flexibilty with getting on film how the scene was imagined or desired to be.

Thank you Lisa. Would love to see your results!

Here is a link to a roll of V3 500T I recently shot. I like the way this stock handles the blacks more than the Vision 2 series. http://vimeo.com/2492724

Thanks Matt: In my setup I go from the camcorder to a video capture card. The capture card has some basic levels controls such as brightness, contrast, hue and saturation. By manipulating the brightness/contrast on the negative image, I find I'm able to vary the black levels (I actually adjust what looks "white" since this is what will be "black" when I put the inversion filter on). So in a sense I guess I'm crushing them a bit, but I tweak it more in post. Using the capture card adjustment I get a less grainy image to adjust once I import it into my NLE. Controlling the blue-ish tones or sometimes red-ish helps by setting the black point on the color control wheel. I also have had a lot of frustration with the negative stocks and grain, especially if the footage is underdeveloped. Sometimes I see footage I've captured with K-40 and 100D, even 64T at times, and compare it to the negative stocks and wonder why I bother. Yet there are times when I see a beauty in the negatives I can never attain with the reversals. The reason I continue to dabble with negatives is that I can get away with much more adjustments in levels without getting them blown out than I would with the reversals.

Hello Kara: I also think it may be the transfer. What type of lighting did you use? What type of camera and how were you exposing? Manual or auto? When you hold up the film by hand to the light can you see the general details of your project? I recently re-transferred the same Fuji stock that I shot last winter, and was pleased with the results. I used a Bauer C700XL with the aperture wide open. Bear in mind I used a TON of de-graining on this sample, but that's because my method of compression causes a lot of artifacting when I upload. I don't mind the grain, just haven't found the best way to convert it to avoid it looking "lossy". http://vimeo.com/2331330

I've read that Freddy uses a TIS (The Imaging Source) DFK31F03 ccd unit with a 45mm Sony macro lens focused on the projector gate. Along with that he has a wet method to minimize scratches and several AVISynth scripts. He also does degraining. Apart from the cost and time of setting up this type of sytem, I imagine that having this setup it might be more viable economically to go with Super 8 vs 16mm, especially with the savings on telecine and transfers and such. Also, owning and using such a device would give one more control over how your transfer looks and would allow further manipulation to your liking. Tough question to answer... many variables to consider. If all things were equal, meaning I found a transfer house that did Super 8 and 16mm transfers both to my liking, and did them consistently, then for me it would be easier to consider the cost of S8 vs 16mm. I'd also consider which "look" I would want more for a given project.

In all fairness, I forgot to include this from them: First Prize: 12 Roll HD Movie Trailer Package Second Prize: 8 Roll HD Movie Film Package Third Prize: 4 Roll HD Movie Film Package Honorable Mention: Several Gift Certificates for HD scanning But considering it's Pro8, it's no wonder "fairness" slipped my mind.