Steve Wallace

Agreed, I think we are probably talking about the difference of 1/3rd of a stop now. I think most of what's in the 1 stop range (half over / half under) is very subjective. To each his/her own.

The only reason I ask is because the door in the correctly exposed frame looks under exposed to me, and the +1 stop overexposed frame looks only slightly overexposed to me. In fact from the results of this test, I am supprised you used a gray card in this shots at all. From looking at your samples, I would have guesed that you did an reflective metering off the door. If I had to guess, I would say one can overexpose 2/3rds of a stop in a situation like that to get a nice bright looking door. I'm pretty conservative when it comes to shifting exposure on reversal film.

Did you use a grey card? Or did you expose the door as 18% gray. I bring this up, because if i were in the shooting situation. If I were metering the door I would slightly overexpose, not to tighten up the grain. But because the subject is a white door and I don't want it to look like 18% gray. Let me know Santo.

My advise would be to meter externally, use a gray card, use a focus card (or similar) and rate the film as follows, 200 -> 125 500 -> 320

Was the fogging only visable on the expanded frame area? If so, that would make sense, the films I discussed above were all regular 16mm (4:3 for TV), so I wouldn't have noticed fogging on the expanded frame area. But it is was uniform on both sides, I would say something else was wrong.

What speed film are you shooting outdoors? The only shade I have used is my own body (hunched over the camera). And I have never really had any fogging issues. I've shot, 7245 (EXR 50D), Kodachorome 25 & 40 (in regular 8mm), the old Vision 200 72xx stock (not V2), and Ilford 400 all this way. Was your spool wound at the factory, or did some one wind it down themselves? This can be the cause of major fogging when loading outdoors. All that I mentioned above were wound down by Kodak, except the Ilford and that was done by the recan place we bought it from.

One of the labs in Germany do positive transfers from Super 8 negative . Kahl or Andec, I forget. There is a little blurb about it in the premier issue of Small Format. (which is at my house, not with me). Juergen, or someone else should be able to answer. If not, I will post another reply when I get home.

No, this was south of Kelso in the Imperial Sand Dunes, on the California, Arizona, Mexico borders. Between Yuma, AZ and El Centro, CA. The same location they used in Return of the Jedi.

If you want to see what K40 looks like, shot with no filter and corrected in post check out this first half of my short Tempest Fugit . You'll see, it's very diferent than the traditional kodachrome look we are all used to. BTW the rest was 7240 ektachrome, and the new Tri-X

Yeah the new Tri-X is way better than the old. And the new Plus-X, looks more like a slower version of the new Tri-X. Finer, but handles latitute in a similar way. Where as, the old Plus-X seemed courser and sharper with more contrast. And I agree the new emultions can be cut together much better. So overall, I must say I am happier with the offering as a whole

Yes that is true. If you are work in NTSC and mini-DV there is no way around. Your options are move over to PAL (where dv and dv-cam are 4:2:0), or transfer to a higher quality format like DVC-PRO 50 (or similar that records a color depth of 4:2:2)

I think there is good news and bad news. The Good: I have one of these cameras and it works pretty good. The auto iris is spot on with the exposures. The lens is fast 1.2 and it is XL, so it is good in low light. Color reproduction has adequet saturation. The Bad: No manual f-stop settings. Crappy 18fps setting with a fast motion (probably around 32 fps) that you have to hold down. Crappy lens, everything is really soft. Batteries are in the pistol grip (so you can't remove it). If you are careful you can get some nice images out of it. But Rick is right, this camera has many limitations. I shot this short below on this camera and it played festivals world wide. I would say have fun with it. Just don't expect to learn anything about cinematography from it, it is more of a point and shoot cam. http://www.wolftoob.com/killer_bunnies/

I would go into "displays" and try to match the white point of your monitor, to the color balance of your film.

I have an Eiki SL-0 that is a work horse. I used it for public exhibition once a week for about 6 months. As long as the film was in good condidition (and even sometimes when it wasn't) it worked like a champ. I bought it at a second hand store (thift store) for 20$.