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Jamie Noakes

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About Jamie Noakes

  • Birthday 04/29/1973

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  • Location
    Östersund, Sweden
  • Specialties
    Super 8 Art, Languages, History

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  1. I am very pleased with the way this turned out - lovely colours! Please have a look and tell me what you think! Thanks! Jamie
  2. ..and here is the test I did with some Vision2 200T super 8 shot on a cable car trip up a mountain. I shot this with a Canon 1014XL-S which I had recently purchased - there are some handeling erros - such as focus and a bit of wobbly movement - I had to get used to holding this beast of a camera! The images are a little soft wider open - I did not notice this when shooting other stocks with the same camera. Have a look and let me know what you think! http://www.vimeo.com/5272068
  3. Hi folks, Though I would invite you to have a look at a little bit of Plus-X Super 8 I've shot - First up a steamboat trip out on lake Storsjön, Sweden - I like the feel the Plus-X gives me here- http://www.vimeo.com/5272243 Second is a little bit of lighthearted fun with my wife and a moped - http://www.vimeo.com/5272601 enjoy. Jamie
  4. Yes Karl, All of them. That's fine if that is your opinion - but we'll have to agree to disagree. The beauty of the cartridge format is that is is quick and simple - this can be an advantage in many shooting situations. There is no reason to say that if you use a cartridge that you can't grasp the concept of loading film. You are still using good cinematography practice and theory - why should it matter how the film is loaded if the way that you use it is same - expose it to light. You said, and I quote "Super 8 is too much like video for me.." please explain the correct reading of your statement! If you don't want people to misread or indeed try 'reading your mind over the internet' then you need to be clear with your statements when posting. I wasn't attempting to read your mind - simply respondiong to the absurd statement that super 8 is too much like video - wether you meant it asthetic, physical or otherwise. Again - I have to disagree with your here - not all cartridges have issues - and there are some very rugged super 8 cameras out there that offer manual override. Like I said before - you use the format and the cameras within their limitations - it's not hard to be creative and just think a little more if you have a more automatic camera. Your recommendations are valid for the format as they are based on knowledge and good sense - however your non recommendation from the Super 8 format would appear to be neither. I'm not having a personal poke at you Karl - or your standing behind regular 8mm as a format and its benefits. Nor am I taking the opposite side - I believe that ALL formats can happily co-exsit and each have there own merits. You make the choice for what you want to achieve and if Super 8 is what you want then you should be allowed to use it. No buy me a beer and explain what you meant about Super 8 being like video! :)
  5. I'm glad someone with a clear, sensible, succinct and above all encouraging approach was able to respond here! Thank you!
  6. Forget Super-8? Why? Just because you think it is made like sausages and has too much condiment added? So it has an unstable film path in a cheap plastic throw away cartridge? Why didn't it die back in 1965 then - and why is it still in use today some 30 years after most manufacturers stopped making cameras? Well it is because people WANT to shoot Super 8 and KNOW it is a flawed format! It is far from ugly - quite the opposite. The world would be a boring place if everything was perfect and regimented. 35, 16, Reg 8 and Super 8 all co exist because there IS a choice. If you don't like - that's just fine - nobody is forcing you - but it is there for use by the open minded.
  7. So - Super 8 doesn't let you learn about the art of thinking creatively about filmspeed, colours and reaction to light? The single act of loading and threading the film rather than inserting a cartridge is the line in the sand between a pro and an amateur? I think we need to establish that the word professional comes from profession - meaning you earn your living this way - let us not forget that it is the person holding the camera that creates - not the camera or format. Super 8 has never been and never will be like video - EVER. This statement is just wrong. I'll agree with you that the format is not perfect - but that is the nature of the beast and what draws some people to the format. It is limited - but if you can harness the limitations of the format and get the most out of the benefits - than you will have a rewarding experience. Not if you want to shoot Super 8.
  8. has the indoor/outdoor filter selector come loose? - this is a real weak point of these cameras ... try fiddling with the fade button - I had a camera with the same issue - I just kept fiddling with it and it came free - you could also unscrew the metal plate on that side of the camera and see if the 'lip' of the fade button is trapped under the edge of the whole for it in the metal plate.
  9. I wouldn't suggest getting a crappy old super 8 camera from someones basement - as ther ecould be all sorts of problems with it. Another way to acheive the effect would be to unload and reload the cart before/after/during the scene you want the effect in- this will expose a few frames to 'white out' and bleed into the adjacent frames - depends on what you want - you could do it once and then use that 'white out' several times during editing.
  10. Hi Jim, Please do check - I know you've extensively researched this - You may by right about the TRi-X - however exposing 200T as 100ASA will be the 1 stop overexposure as recommended by Kodak and still no compensation necessary. Both 64T and 100D are read as K40. I await your checks Jim! Jamie
  11. Hi! For 64T you need to close down 2/3 stop as the camera thinks it's 40asa and needs 2/3 stop more light Plus-X can be shot without adjustment Tri-X will be read as 160asa and overexposed by 2/3 stop so compensate for this. 200T will be read as 160asa - so again overexposed by 2/3 stop - but no adjustment necessary - overexposure by up to 1 stop recommended by kodak! Velvia 50D will be fine without adjustment. 100D I think ill be read as either 40 or 160 - load a cart and compare to 64t and tri-x etc. You'll only need to either open up by 2/3 of a stop or close down by 2/3 of a stop. Hope this helps. If anyone can add to this please do! Jamie
  12. Hi Jim, did you see my recommendation above? I got my Nizo 801 Macro repaired by GK film in Germany via Frank Bruinsma at the Super 8 Reversal Lab in Holland. Excellent service - recommended! Jamie
  13. Hi - When I lived in the UK, I had my Nizo 801 Macro serviced and modified at GK Film in Germany. I had this done via Frank Bruinsma at the Super 8 Reversal Lab in Holland www.super8.nl. They can service most of the well known top brands of camera - GK Film are well experienced with super 8 repairs and service as they have been doing so since the old days. As far as I know, you get everything checked and adjusted to as it should be which includes light meter and running speeds etc. My Nizo had a faulty light meter - I had this fixed and had the light meter power source modified to run from the main battery power pack thus no need for those cell batteries. The camera was also cleaned and lubed. All this, including priority shipping back from Germany cost me £145. (2 years ago) I was very pleased with the service - and it came with a 3 month g'tee also. Why not drop Frank a line with the make and model of the camera and get a quote? I think the Canon 1014xl-s and 814xl-s might cost a bit more to service as they are very tricky to work on - so I've heard. Jamie
  14. YES is the simple answer. I've shot at 54fps with a Nizo and had it telecined at 24fps and the result very smooth and beautiful!
  15. Bloody hell - how did they make the paperwork look good? - I would have loved to see the final budget breakdown after that shoot! I can only see it looking like this - 50 pence for the Crappy Super 8 camera picked up from a charity shop. A few quid for the couple of rolls of film stock. Then I find it hard to find reason for any of the following:- I'm guessing it was a one day shoot - and the term 'cameraman' must be used in loose terms surely? £800 a day I would definitely suggest checking with the 'Trade Descriptions Act'. What Director? Would be my next question. What crew were necessary - did the camera man need an assistant to 'load' or take care of the fresh/exposed filmstock? Surely his or her pockets would have sufficed? No need for Grip – (accept the loose one on the camera!) No sound. Lighting? Continuity? Make up perhaps? Catering for the minimal crew and Alison? Some money perhaps spent in post - but it looks like a home telecine job and no need for a pro telecine tech or colourist that I can find evidence for! Where did the money go? Some people will argue that they were going for the 'lo-fi' look as if some half-cut donkey had filmed it etc... That is all fine - but why the need for a 10K budget? There are so many creative and talented people out there having a rough ride finding even the most minimal of funding or any at all. As you say Alan, anyone on this forum could shoot better – I would even go as for as to say just ‘Anyone’ could do better.
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