Steve Wallace

That would be very interesting. Like those dolly shots Spike Lee does, with the character riding the dolly through the scene. Only now the background can change, and the yet the foreground object will stay rock steady. For that to work you might need some elaborate rigging, but in a set it should be doable.

White powder of some sort? That could get expensive David. :huh:

I liked it too. I also thought it was good for what it was and grew up in the 80's with movies starring Sho Kasugi on a good day and Michael Dutikoff on a bad. I thought the story line got into Taboo (from Oshima) territory with the guy and the girl... Although in Taboo it was two guys :blink: , and the ending reminded me of Sword of Doom. Don't get me wrong, I'm not trying to compare Ninja Assassin to these other, albeit better movies. But I think if you put aside reservations, you can go to it and have a really fun time. After all, it was the cheesy 80's ninja movies, and 70's kung-fu movies that introduced me to Asian Cinema. From there I went to John Woo, and then to Wong Kar-wai. Now I have a huge appreciation for countless directors from the region. Hey, you gotta start somewhere...right?

note: I am NOT a Lawyer, but I have signed a distribution deal before. So my advice lies somewhere between a hobo in the gutter and a quasi reputable source. The following is not meant as legal council. Always consult with an entertainment attorney before making any business decisions based on legal matters. If you are seeking a traditional distribution deal, it is most likely considered a for-profit piece. Some exceptions are using a 501©(3) fiscal sponsor (ifp.org, documentary.org etc...), and going under their umbrella of non-profit, for your project. Also, if you are looking for a distribution deal, you are going to need both Errors and Omissions Insurance (E&O), and a chain of title document. You most likely will not be able to obtain in E&O without consent from "said company" , and if you are using other's clips you will need permission laid out for your chain of title document.

Footage looks great. Especially that shot early in the morning with the light shining in through some fog or mist or whatever is was at about 2:30. Great looking.

RAID 1 (mirroring) and LTO offsite is a reasonably fool proof system. Double system redundancy with a failure rate well under .25%.

Yes, I have seen Chinese Ghost Story 1 -3 and enjoyed them all. It was a fairly big franchise in Hong Kong, it also spawned a cartoon and a TV series (neither of which I have seen)

Bride with White Hair is great. As are the Chinese Ghost Story series, and Dragon Inn and the Swordsman part 2. These movies all have something to do with Tsui Hark in his hayday (IMHO), and the wire work is amazing. But as far as visually stunning, I don't think they compare to Hero, or House of Flying Daggers.

I think he's brilliant, one of my favorites. I first heard about him in the Danish dogme95 movies, but shooting Last King of Scotland, Dear Wendy (another danish film), Julien Donkey Boy, and 28 days later really solidified my love for his work.

If you are a member of http://shootingpeople.org, please send a kind vote to an old super 8 short I uploaded to their film upload of the month contest. http://shootingpeople.org/watch/film.php?film_id=9360 The top 3 films get a review by a high profile patron. Good way to promote super8 as a format. best,

I credit Kodak and Telecine almost every time. Check out my website, you'll see a couple of examples on my more recent films.

Generally 160/100 40/25 cameras do not read the new Plus-X correctly. I have a Nautica and that is the case. Your experience may very though. You didn't mention what camera you are going to use. If there is a manual setting, use that and you'll be fine. So if you are shooting indoors, you are probably going to want to use Tri-X instead of Plus-X. It always better to have more light and close the aperture, than to have a dim light and open it up. If you can, stay around the mid f-stops f 4 - f 8, that is generally where your lens is the sharpest on super 8 cams. Also shoot more in close-up if the story calls for it. The soft image tends to be flattering.

Ha! I liked it a lot. Very entertaining... :)

Final Cut has a little used video filter that muddies up the image called bad TV under effects > stylize > bad TV. Not sure if that's what you are going for, but give it a shot if you have access.

http://twitter.com/teadub I guess I should update my signature to include this too

Freya is correct. This pitch is different. But you can run double 8 though 16mm equipment. I had it telecined as 16 for this short http://www.wolftoob.com/birds

I have not heard of anyone cross processing plus-x in this way. I guess it would be a matter of figuring out the speed, and the development times. Also, look online and see if its been done with still before, and work from there.

I'm not sure about that camera, but according to the super 8 wiki it looks like it will read 200 fine (maybe as 160), not sure about the 500 though? http://super8wiki.com/index.php/Nikon_8x_Super_Zoom i found that link at http://www.onsuper8.org

Spectra is great, and I have used Yale with good results. If you want to cross process or do anything experimental try Niagara Custom Lab .

Yes, I would say so. As long as you don't mind the coarseness and large grain. Although, if you develop as reversal and push two stops it also gets grainier, but less contrasty. I like the normal processing too. Unless you are going for unusual color shifts mentioned earlier in this thread. If you want the color shifts to be more extreme you can push this as well, but after 2 stops it kinda seems to turn to mush.

Correct. Also, I should add when you push TRI-X two stops it tends to get washed out from my experience. I think the choice to process as negative helped keep our contrast in check, despite the extremely low light.

Cross-processing as negative increases the overall latitude and by my estimation allows for 2 stops push processing better, at the expense of larger and courser grain structure. In film tests, x-proc pushed 2 stops revealed more of an image than processing as normal reversal in the same lighting scenario.

Click here to view my latest directorial effort, a music video for the Automatic Erasers' song - England Flies - shot entirely on Super 8. The film is Tri-X (7278) cross processed as negative, and the live performance footage was pushed 2 stops. The film was shot on location with all practical lighting, no movie lights were used. Cameras Eumig Nautica (24fps mod) Canon 301XL (1.0 lens) Post Lab: Niagara Custom Lab, Toronto, ON Canada Telecine : Cinelicious in Hollywood, CA USA Method: Direct to Drive, ProRes 422, Final Cut Pro SCREENINGS Salford Film Festival - Super 8 in a Digital World - Official Selection - Salford, United Kingdom - November 22, 2008 Cinesubsonica - Official Selection - Montpellier, France - TBD, 2009 If you would like this video to play at your festival or event, please contact me directly for more info. Also, if you use Digg, please digg the post, help spread the word that small gauge filmmaking is alive in 2009 Thanks to Justin at Frame Discreet, for his original blog on cross processing Tri-X, Sebastjan at NCL and Paul at Cinelicious.

Agreed. Fred is no amateur. He posts at filmshooting.com regularly, and I would consider him a subject matter expert. regards, (teadub)

Congratulations Chas!