alan doyle

my nizos are failing a lot more than my other cameras. the exposure is a camera iris problem but my guess is unsteady image is random film cartridge issues. but unless you really love that camera get rid and get a nikon r8 or r10 or canon 814xls or 1014xls.

Alan, the cinematography in your alonso ad is amazing! But I gotta say something.... That's not his voice! I can't see it without laughing! he arrived in a private jet and a helicopter,was on set for 50 minutes and was in a very bad mood. this was when lewis hamilton was getting all the attention. i felt a little sorry for alonso a lot of pressure but he could not read the autocue or he did not want to. the director would say 2 or 3 words and he would repeat,but it was bad. the whole clip is strange but the man they got to dub was terrible. by the way great work on your super 8 sync sound dubs.. you might want to look out for a company with BTS QUADRA Telecine machines these are old pre spirit machine but great s8 pictures. this is an old sync clip from this machine..s8 cartridge quality was better in the old days this is pretty stable. http://www.youtube.com/watch?v=0o2FGm_FyXs

[quote name='James Millward' date='Mar 24 2009, 08:28 AM' post='279215' Should i throw it away nad re-order (costly mistake!), or will it be ok?? james you must be rich! i like using 5 or 10 year out of date film,clearly not good for a drama when you need to match shots,but always interesting. i did a music video years ago i baked the cartridge in the oven,microwaved another and buried another in the garden for 3 weeks. that pesky film is tough even the fungus growing on it did not degrade the image enough. dumping raw film in the trash is like burning books,do not ever do it...worse case put it on ebay.

What do yiu think about it? Anny reccomendations for the future? it is good to see sync sound super 8,really nice work. seems to be the usual unsteady cartridges on some shots. did you use a beaulieu and was this a pro 8 film or kodak? .i think you should have played with the grading more. and maybe ultrasonic clean of the film. i wish we could get kodachrome back,dirt on reversal film looks so much nicer than negative. here is my alonso job it was shot on arri d20 and i shot with 3 different super 8s with sections of fogged film. this is a weird and long edit,i do not like it but check it out http://www.youtube.com/watch?v=qxDKcZYgFKs

speaking of super 8 ads, i saw one with sarah jessica parkers stinking perfume on tv today. that sarah j parker stinky commercial and in the uk swift cover insurance with iggy pop both have some really rotten looking super 8. not sure what is going wrong. it would be easy to blame bush and cheney,but maybe it is obama's fault. or maybe the productions are just letting directors shoot now. :blink:

go for the bolex 8 a fantastic steady picture,in fact all it needs is someone to do a few interesting well shot projects on standard 8 to show this formats strengths. i gave up super 8 for a long time because of a jittery cartridge syndrome,i have 30 super 8 cameras and stuff i shot years ago bests anything i do now. it is a fact kodak outsourced components for the s8 cartridge,that caused so many problems 4 years ago. super 8 survives on it's reputation for imperfection which is great for the people making money from it,the standards can stay low. fuji velvia in a 1950s bolex looks very special with a stability and a grain structure that a super 8 user can only dream of.

i have a tiny crystal sync unit..for a nizo 6080.it is hot wired onto the camera 25fps sync. the camera has developed a fault but i know the crystal is perfect. the box is a little bigger than a dice and has a flickering led on it.

[quote I'll take your opinion about the services offered by my company ("others mentioned") with a very large pinch of salt. What is pretty much a given is that any company that has invested 200K in new plant is going to have to recoup that fairly pronto, the only way they can do this is to charge big money. well they will be using a slower dual s8, 16mm machine..i am sure they will have a very good price..and they have a spirit telecine machine. no i have not used blue services,so cannot comment on your quality. but in my humble opinion apart from a proper new or old telecine,the only great work i have seen is from video fred. and yes i am not a fan of the widescreen centre. the advantage super 8 has over other formats is wriggle room for poor quality control if it looks good great. when bad it becomes the unique super 8 look. like this video which i think looks terrible. http://www.youtube.com/watch?v=kS1CW_kiXUI when pro's are doing work this bad it is not a surprising labs and middlemen,do not have to try to hard.

As far as I am concerned Pro8mm helped save and pushed the format to what it is right now, and for that Pro8mm earned my greatest gratitude and respect. quote.. and what is the super 8 format right now a very expensive unstable dirty film format,that has lost it's best film kodachrome. more often than not the new stocks look worse than the old.. pro 8 make money that is why they still exist,somebody is using them. i assume they charge what they think the market will tolerate. super 8 is surviving just,there is know renaissance wide gate mods on a 30 year old consumer camera,seems silly to me.. buy a normal camera off ebay or buy 4 with the money you will save.

do? Both Widescreen/Blue CineTech do it through Andec, are you saying their processing is worse??? it is about equipment and user base...i-labs new machine will cost a couple of hundred thousand pounds.. with that sort of investment now,the quality will have to be as good if not better than soho film lab. i use to find todd ao's 16mm fantastic,but s8 sometimes could be rough. andec is very good and offer a wide selection of film Processes. soho lab and i-lab will be just super 8 neg,with 2 companies fighting for business so close to each other i think the quality should be very good. i do not think the flash scan is a proper telecine an expensive posh projector. i hope to god people are not using the flash scan then dumping original footage,cos i believe even a 12 year old cintel or bosch/bts machine will do a better job.

do? Both Widescreen/Blue CineTech do it through Andec, are you saying their processing is worse??? it is about equipment and user base...i-labs new machine will cost a couple of hundred thousand pounds.. with that sort of investment now,the quality will have to be as good if not better than soho film lab. i use to find todd ao's 16mm fantastic,but s8 sometimes could be rough. andec is very good and offer a wide selection of film Processes. soho lab and i-lab will be just super 8 neg,with 2 companies fighting for business so close to each other i think the quality should be very good. i do not think the flash scan is a proper telecine an expensive posh projector. i hope to god people are not using the flash scan then dumping original footage,cos i believe even a 12 year old cintel or bosch/bts machine will do a better job.

i have seen a bit of freds work and it is amazing.. the best kodachrome transfer i have seen. remember that the cameramen on freds clips are fantastic really talented amateurs,who shoot better 8mm than a lot of pros. so you have 3 things going on the beauty of kodachrome,talented camera guys and fred the transfer king.

widescreen and others mentioned will give you a result,that is a little cheaper than a pro lab.. which is fine if you like the grungy home movie look. soho film lab will be ok.. my money will be on i-lab on poland st...they will be doing super 8 soon... so in soho you will have two decent labs,with real telecine machines.. good times..