Art Leal

I had substantial registration problems with this recent roll I shot. It was very jittery, and using Deshaker and SteadyMovePro with a number of different settings kept the jitter low, but the image suffered. I believe I shot a roll about three years ago and don't remember having this issue, so am wondering if using that camera would help. I liked the look and grain. I agree its not as fine as K-40 but it appears finer than 64T. I wouldn't use Velvia as an all around stock, but it would be nice to keep it in the arsenal for when the need arises. Anyone have any success stories? Would love to give them a try. Thanks http://www.youtube.com/watch?v=QUE7E6gGuY4&fmt=6

Great work Kyle. Not corny at all, great song, nice to see the variety of stocks used. I particularly liked the shots of "Magnolia" in the barn and in the photo studio...the lighting on her looks soft, yet focused. Good to see it's possible with Super 8. I would love to see a Vimeo version or a High Quality version on Youtube. My compliments to you.

So it would seem that overexposed works better. With the "switch on" shots, the darks were nice but they had bigger speckles of bright grain that were greatly minimized when the switch was off (can't really see it on the Youtube version). So my assumption would be that rating a negative at it's exact ASA seems to render it a bit dark. All along I've been told that overexposing negatives is the way to go, but not what what would happen if exposed at it's exact rating. I did the night shots with the switch off, figured I would need all the light I could get.

Here are some samples obtained from shooting with this camera. Overall the outdoor footage was good with not too much grain. The indoor shots had more noticeable grain in the shadows and darker areas when the 500 ASA switch was set to "on". The difference was almost negligible for outdoors, except for a bit more overexposed. Thanks for the help! http://www.youtube.com/watch?v=rwBvVf2JaNM&fmt=18

Mr. Ross: Many thanks for the compliments. It has been a lot more satisfying "revisiting" Super 8 since my early teens. The selection of stocks today and the options afforded to us in post has elevated Super 8 to a level I never thought possible. Having this forum as a resource has been monumental in the gathering of information, ideas, and advice. Thanks again, Art

I have a few rolls of the Pro 8 160 Negative I've yet to shoot, but here is one from the 500T Eterna: http://www.youtube.com/watch?v=4l8vcvT97Zs

This is correct. On the following photo, you will see the 200T, Ektachrome 160A, and Pro8mm's Pro8/43's 160T Negative all speed notched the same way. The 200T is the only one without a daylight notch. http://s466.photobucket.com/albums/rr22/le...rrent=Films.jpg I've also included the insert that was in the Ektachrome's box. I found it pretty informative, though it's nothing I haven't read about on this great forum. Funny, years ago I wouldn't bother reading this stuff but now I do. http://s466.photobucket.com/albums/rr22/le...rrent=Kodak.png This may be a bit off topic, but along similar lines. The 160T Negative is being touted as being able to be exposed under the same conditions the Ektachrome 160T was. I spoke to someone at Pro8mm and they told me it can be considered an exact replacement. Though this may be true since it's speed notched as the Ektachrome 160, my question is will it expose the same way? One first assistant cameraman I spoke to said whenever he exposed a negative at it's rated ASA, it would come back underexposed, and since then he has always overexposed negative stock with good results. I will try it by shooting the same scene at the rated ASA and another with a stop's difference. In the interim, I was wondering if anyone would care to advise. Many thanks!

Try this thread: http://www.cinematography.com/forum2004/in...showtopic=31149

Hope this helps. http://www.youtube.com/watch?v=lrREjEDVPC0&fmt=6

The same happens with mine. If you look at the file size of an uncompressed AVI it should be huge, so your system's media player may be having a hard time playing it in real time. My system is not the newest, and my data drives are IDE 7K RPM. When I move the file to my SCSI at 15K RPM, they play in real time with not latency or stutters. As a test try importing the rendered AVI into a new Vegas session, then run a ram preview on a section to see if it plays the same way. Not saying this is your issue, but you may want to take a look.

Here are a few clips with two different cameras, same subject, using the Zinc Air then the Wein cells. Thanks for the help. http://www.youtube.com/watch?v=X2-W39iF1kw&fmt=18

Jacob: Thanks for the info. Glad to hear you move to 16mm has been worth it. I'm very excited to get started. Looks like I'll be getting a Krasnogorsk K-3 as well. From what I've read, the Bolex H16 with my serial number have a 190 degree shutter opening.

Hi: I know this post is old, but I am new to 16mm. A friend of mine handed me a Paillard Bolex H-16 that was his grandfather's. He has no idea ow to use it so I inherited it. My question is seems this camera is fully manual, and I'll have to use an exposure meter with it. Is there a limitation or range of working ASA's with these models? In other words, did the manufacturer make it to work with only films within a certain range or ranges of asa? Or is it simply a matter of setting ISO/fps on an external meter. Any help would be greatly appreciated. This is my first turn at 16mm, and having had done most of my work with Super 8, I'm quite intimidated by this film gauge.

I feel your pain/anger Jonathan: At the sake of repeating myself, I am copying what I posted on another thread where the topic concerned a member who bought a Nizo from a "reputable" German dealer. I wrote about my experience and with this topic I hope to make others aware. I'm also sending Uhmeyer this link (he does in fact read his emails..he justs seems very selective in who/how he answers). I hope I'm not breaking any "cross posting" rules if they exist. ------------------------------------- I bought the same model from Super 8 Camera in Germany, It never really worked. The drive mechanism would sputter and stop, with 5 different cartridges I tested. The same cartridges worked fine in 5 other cameras I have The black button at the auto/manual knob was missing. When I wrote Uhmeyer he told me it just needed "petrol", and that I may do it by opening the camera. I had ordered a 1014 Canon at the same time which got hung up at customs in JFK in NY. The tracking site said it was out of customs, but I never received it. I wrote him again and again and got no response, not until I opened a dispute claim with Paypal and decided in my favor, mostly due to the fact that he didn't respond to Paypal. When he did write he said he opened a tracking report with the German post, and it may take up to 90 days for the "investigations" report. After all this, I wrote him about replacing or refunding the S560, he wrote back: What is with the Canon 1014 - did you received it? You can send it to repair - please ONLY the camera. Best regards Uhmeyer Seems he was more concerned with the 1014 than the state of the S560. Along with this I'll mention that the entire camera and case reeked of cigarette smoke, and still does. I took the money I got back from him and bought the 1014 at Du-All Camera in NYC. I know this may seem like I'm flaming the guy, but I don't care. Had I not taken measures I would have been out $560 for the 1014. As it is now I'm out $250 for the S560. Yes he did say I may return it, but at this point what's to stop him from keeping it and not repairing (since he already took a hit for the 1014). My advice is don't bother fixing, adjusting, troubleshooting anything..send it back. The deal when he sold it was that it was working...it's not. Doesn't matter if it was from the same place I bought mine from. Selling crappy equipment to people when and advertising it as "working" is not cool. Just as a follow up, I purchased the same model from Ebay from someone who is familiar with Super 8 cameras. Received it just as he said...clean lens, free from corrosion, everything functional. Cosmetically in great shape. It was a pleasure to hold and test it. My point is I hope this experience doesn't put you off from pursuing the Super 8 experience any further. Good Luck Art

This is correct on the Canon. I noticed a 16 and 24 fps but no 18. Thanks Will

I lost my marbles a short time ago as well. I picked up two regular 8mm cameras solely because I thought there was still an abundance of Kodachrome regular 8 out there. Dwayne's has them listed on their order form...so after I ordered it, they emailed me telling me that it's been discontinued and "filled" my order with standard 8 Cine Chrome 100D, without bothering to ask me first. Not a problem, I already have the cameras so I'll try it. As far as the cameras, the first I purchased was a Kodak Zoom 8. I loaded some old Kodachrome film I had and took some test shots. After winding the crank it would give me about 30 seconds of run time before I needed to recrank. The more curious of the two is the Canon Reflex 8-3 model. Strange design but kinda retro looking. More on this model can be found here: http://www.canon.com/camera-museum/camera/...;page=1956-1970 I haven't tested this one since I'm waiting for the manual from Craigs Camera to get to me first. This one uses two PX13 cells. When I opened the compartment, there were two old mercury PX13's in there, and guess what...I tested them with my voltmeter and they still had life! It was interesting hand loading the film then flipping the spools over. Always wondered what that was like. I will be getting them developed soon so I'm just as curious as to what they'll look like. My dad had a Regular 8 back until 1969, then once he got a Super 8, that was the last we ever saw or heard from the Regular 8 stuff. The cost for each camera was about $25 each. With all of this I can now safely say I've gone mad...I took the plunge and did something I've always feared...delve into 16mm...so I'm getting an Arri 16S. I figured if I'm going to hand load film, why stop at regular 8? Wish me luck! I still think I'm in over my head!

Jim many thanks for the input! One curveball...I noticed that whether or not the notch filter is cut, once the "GAF 500" switch is pushed in, the 85 filter goes out of position. I confirmed this by looking in the gate while running the camera. So, if its set to "read" 500 ASA, I'm worried it will affect the pictures look for daylight shot, being the 85 filter is moved out of the way. I took two rolls which I'm sending out to Spectra tomorrow. I took two shots of each scene, one with the 500 switch in place and the identical scene without. I will post as soon as I get them returned.

Thought I'd add this piece of info as well regarding the B&W GAF film from Martin Baumgarten's site GAFBW500 (rated ASA 400 Daylight) (rated ASA 400 Tungsten w/o filter [cartridge removes filter]) Note: This also applies to Anscochrome 500 Color Daylight High Speed Film

I have a GAF ST/1000 from 1971. The unit works well and films come off surprisingly sharp. It has a feature that was geared for the 500 ASA GAF Black & White Super 8 film which was made at the time. The camera has a switch on its right side which when activated is supposed to properly expose the 500 ASA film, but only if the cartridge is speed notched for 250 (or as GAF calls it: the "speed feeler". This camera's exposure ratings are 25-250T/16-160D I immediately thought of what this would mean for the 500T Negative. Anyone care to speculate? Do the negatives work well when "properly" exposed, and not overexposed as Kodak recommends? I can't say since I've never had a cam that reads 500. Does this not apply since it's a color stock and not B&W? I will test a roll today. My testing will include a bright sunny day (which today is), and some indoor shots (If I were to guess on the indoors I'd say I'd need adequate lighting). I have included two images from the camera's service manual. Thanks

Funny, I just got this back from Dwayne's photo yesterday. I wanted to see how Ektachrome looked indoors with adequate lighting. In this case I think it's a bit too adequate, or maybe I need to learn to light better. Sort of looks like the blaring add on lights used in the 70's with the home movie set, the type that would cause people to squint when you pointed it at them. Well I set out not to do anything sophisticated, just very general. I used two lights, a 750w Tungsten with barndoors and a tungsten 300W floodlamp you I bought at a CVS store. Next time I might try a bit less, or more strategically placed. Hopefully it will give you some idea. What model camera do you plan on using? http://vimeo.com/1450862

Here's a short clip using 200T with the 814 AZE shutte control set to "2". I left the exposure slider at "." since setting that to "2" would open the lens up to compensate for the faster shutter speed. In other words, I just wanted the shutter speed higher to allow less light in to see the effect of not overexposing this stock. I also left the indoor filter in place (no notch hack). The results were ok I guess, although it cleaned it up from the conversion to Flash, the original is much grainier than appears here. I was using two halogen 150 watt lamps to light. The one thing I have noticed about using the higher shutter speeds on this cam is that it seems to vignette when using in these modes. I noticed it with the reversals under daylight shooting conditions where I set it to "2" on both the dial and slider controls. In this case the vignetting creates more grain in the less exposed areas around the image, which shows up as white grain around the edges, whereas on reversal its a dark circle. Hope I'm making sense. If I were to do it again, I think I would just leave the controls at their default settings and correct overexposure in post. I remember using my dad's Ektachrome 160 on his Kodak XL-55 and getting clearer results with existing lights. I'll try to dig up some of those and post at some point. http://www.youtube.com/watch?v=fKg0kxfwy6g

I bought the same model from Super 8 Camera in Germany, It never really worked. The drive mechanism would sputter and stop, with 5 different cartridges I tested. The same cartridges worked fine in 5 other cameras I have The black button at the auto/manual knob was missing. When I wrote Uhmeyer he told me it just needed "petrol", and that I may do it by opening the camera. I had ordered a 1014 Canon at the same time which got hung up at customs in JFK in NY. The tracking site said it was out of customs, but I never received it. I wrote him again and again and got no response, not until I opened a dispute claim with Paypal and decided in my favor, mostly due to the fact that he didn't respond to Paypal. When he did write he said he opened a tracking report with the German post, and it may take up to 90 days for the "investigations" report. After all this, I wrote him about replacing or refunding the S560, he wrote back: What is with the Canon 1014 - did you received it? You can send it to repair - please ONLY the camera. Best regards Uhmeyer Seems he was more concerned with the 1014 than the state of the S560. Along with this I'll mention that the entire camera and case reeked of cigarette smoke, and still does. I took the money I got back from him and bought the 1014 at Du-All Camera in NYC. I know this may seem like I'm flaming the guy, but I don't care. Had I not taken measures I would have been out $560 for the 1014. As it is now I'm out $250 for the S560. Yes he did say I may return it, but at this point what's to stop him from keeping it and not repairing (since he already took a hit for the 1014). My advice is don't bother fixing, adjusting, troubleshooting anything..send it back. The deal when he sold it was that it was working...it's not. Doesn't matter if it was from the same place I bought mine from. Selling crappy equipment to people when and advertising it as "working" is not cool. Just as a follow up, I purchased the same model from Ebay from someone who is familiar with Super 8 cameras. Received it just as he said...clean lens, free from corrosion, everything functional. Cosmetically in great shape. It was a pleasure to hold and test it. My point is I hope this experience doesn't put you off from pursuing the Super 8 experience any further. Good Luck Art

Here are a few from Pro8mm Fuji 500T and the Fuji 500D

I would definitely recommend Dwayne's as well I used to hand deliver/pickup my Ektachrome 64T at PAC Labs here in NYC but have started using Dwayne's myself. Quick turnaround and they prep the film for telecine for free. I sent them two rolls for development and they returned them on a 200 ft roll. The color was an improvement as well (warmer) since I usually see a blueish overall hue when I went with PAC lab, which I hear has to do with the development process used.

Any video samples?