Justin Donoghue

Your light meter is broken it seems. It's takes it's power from the main battery. Unless you've bought the camera from someone who has just ran a roll of film though it and can prove it works correctly then it's likely your camera needs a service and is broke. You don't really need the lightmeter anyway for negative. As to the lens issue. It's a C Mount camera so any C mount should work although these cameras were calibrated with their own lens when built. You don't need the motor on the lens either but I woulnd't have bought the camera without it's original lens.

I would highly recommend the metabones speedbooster also. It turns the camera almost into a super35 camera (1.75crop) and with over an extra stop of light. Plus I find older lenses suit the camera and impart an even more cinematic image to go along with the great dynamic range of the camera. There is also an active EF speedbooster coming out soon (July) but as mentioned the usual issues with non cinema lenes occur. There is also of course the super16 lenses (some of which I have) and the slr magic 12mm is aparently very good. Image stabilization is great but I think it's noticable to be honest.

Also THX 1138, Argo, Shame, Hunger, Sergio Leone movies; all 2 perf Techniscope. That's just off the top of my head.

Beautiful transfer. I've yet to try 50D now I really must buy a few rolls.I'm always put off by the scan costs. It would be really interesting to see a scan of 50D going through the new super8 film camera being worked on when it comes out. I know unsteadiness is a quirk of super8 but if this stock went through that camera with it's proper film feed it would effectively be 16mm!

Wow love this. The inside of the Canon 1014XLS is even more wondrous.

Got this book. It's brilliant. I particularly like the chapter on home development.

I really enjoyed this. Great subject matter. How did you get the sound to sync up with the film so well?

Hi 2 music videos I did recently. It's 2 versions of the same song. Filmed on Fuji eterna with a Canon Scoopic.2nd one shot in Venice and Verona Italy. SD transfer. What does anyone think? http://vimeo.com/19330022 http://vimeo.com/19353143 Thanks

Hi, there are one or two old threads on this but it looks like the consensus is don't DIY telecine and invert in post. I would be inclined, with negative, to shoot about at least 10-15 minutes of footage and get it transferred professionally to SD as generally the more minutes you have to transfer the cheaper it works out. Shooting 1 roll of negative and transferring isn't very cost effective at all. At least with reversal you can either project or view on a viewer for free. http://www.cinematography.com/index.php?showtopic=17938&st=0&p=133297&hl=+negative%20+invert&fromsearch=1entry133297

Oh I see, thanks for the info and pics.

Does anyone know where the gel filter slot is on the scoopic...I cant find it.Does it depends on the model? I've a 16M. Also I've heard you can get filters that go over the external light meter so it will auto expose for tungsten film for example, is that the case?

I know they're probably hard to come by but I'm looking for a wooden hand grip for my ltr7. If anyone is interested in selling please let me know. justin underscore donoghue at yahoo dot ie

Thanks for the quick reply Tim. That's a pity but kind of what I'd expected having looked at the mag.

Hi I'm resurrecting this thread 'cause I'm looking to do this. I have an LTR7 and having looked at the manual I have sussed out the feed side of the magazine regarding the daylight spools (use the "knurled' screw to remove the 400' core and hold the 100' spool in place...nifty idea). However on the take up side this isnt the case. So I'm wondering is it a case of removing the 400' spool by first unscrewing the 2 top screws and then using a small spanner to remove the rest of the core (there's a nut there I see)? When that's done is it just a case of placing the daylight spool on top? How is it held in place if that's how it's done i.e. there's no 'knurled' screw in the take up side of the magazine (at least not in my one) and won't it just wobble all over the place? Thanks

Very nice footage. What camera did you use to capture the images? Does the Workprinter transfer negative also?

I have actually....and the result was under exposed time lapse. Shooting test footage is the best way to figure it all out. That way you have proof of what works and there's no speculation.

Yeah I get what you're saying. I suppose the feature works best in auto mode and in very low light conditions where you're not too bothered about how much footage you're using etc.The 1fpm is obviously to be used in seriously low light and don't forget at the time most people would be using 40T film which required plenty of light to expose so 1fpm may be reasonable. It looks like in order to get your desired result you'll have to take an external light meter reading and manually set you're f-stop based on the shutter speed e.g. 1/8 sec @6fps. If the light is consistant then it should be ok. Good luck.

Don't forget you have to have the orange variable shutter lever pulled back and locked into place also. This leaves the shutter open all the time in between frames which means the shutter interval will change when you rotate the 1fpm - 6fps dial. When you pull back the lever and look into the film compartment you will see the shutter fully open.

you mean that no matter where on the dial you are the shutter speed remains the same? It sounds like the function is not working correctly on your camera. I checked my camera and when I move the dial towards the 6fps the shutter speed speeds up as I can both hear the shutter and see it when I open the film door and look in. My aperture reading doesn't change however. When I switch from 18fps to 25fps and 54fps it does change. It looks to me like you have to 1. use the auto B function or 2. set the frame speed yourself and use the manual aperture control dial? It's not clear in the manual whether the 1fpm to 6fps dial also includes automatic aperture control is it.

Well as it happens I incorporated the footage into a music video I just completed (my first attempt at a music video so go easy on me). All the night time footage is the Nizo Pro with 64T which was literally a test run which I think turned out well, the rest is a Beaulieu ZM2 with a mixture of 100D and repackaged K40.Feedback/constructive criticism is welcome!

No problem. Yeah you will get more film for your money if you film @18fps and your time lapse footage will look a little slower but to be honest I doubt anyone would notice the difference. You obviously would have to film your realtime footage @18fps and transfer @18fps otherwise it would look sped up when played back @24fps. It will still be a 24fps file but it will be bulked out from the 18fps so your footage will still look fine. Yes that's correct if you use the Autom B function i.e. auto exposure. You could always try and slow it down in your editing software though. That way you would have correctly exposed film in different lighting situations but all running at the same speed.I think that might be a trial and error situation. Yes although I've never tried this you can manually set your own intervals by using a cable release. You would have to calculate how long you want the film exposed for and then manually move the film forward with the cable release. A lot of work involved I would have thought and I'm not sure of the benefit unless you want to get an over exposed look or introduce a kind of exposure flicker with the film. All the settings are the same except you point the dial at the square dot immediately to the right of the Autom B dot. Nizo Pro manual is here if you haven't already got it: http://super8exchange.com/camera_instructions.php

I have a Nizo Pro and it will read Kodaks new 100D fine. That will allow you some extra leverage indoors in daylight as it doesn't need as much light as 64T. Reversal film (100D, 64T) requires very accurate exposure otherwise it will look either under or over exposed quite quickly compared to negative film which is much more tolerant of this. You should always check your meter reading before you start shooting otherwise it's a wasted roll and if you're a beginner it's best to just rely on the auto light meter for a while so you get comfortable and more confident with the camera. I know it can be quite annoying when you send off film, wait in anticipation for it to come back and then get an anti climax of under exposed film! The Nizo Pro will read Kodaks Vision 200T negative film fine also but obviously you can't project this film. The Nizo Pro is one of the better Super8 cameras and has some great features including a variable shutter which is relatively rare on a super8 camera. The 8mm forum here is a great resource also for all things 8mm.

For me this is one of the best features of this camera. It allows you to film with very low ASA type film at night with time lapse. Recently I used a roll of Kodak 64T with this function and the results were really great. In my experience the process is all totally automatic i.e. depending on lighting conditions and film type etc the camera will expose each frame for as long as required using the sensor on the front of the camera. I used a tripod and was getting approx. 1 fps while filming a city square at night lit up with people walking through it. The static objects always appear sharp but the people walking, cycling etc. will appear like a ghosting effect. Another example which I have not done yet is filming road traffic at night in a city. I'm looking forward to getting that shot even if it is a cliche! My advice would be to use a tripod or put the camera on something that will not move otherwise your footage will look like a ghosty mess due to the shutter being open for too long.This applies particularly in low light conditions. Have a good percentage of static objects in the shot so that the moving objects will act as a stand out from the static objects. A good test to make sure you're actually in the correct mode on the camera is to start filming without film and put your hand over the sensor above the lens, you will hear the shutter slowing down and once you move your hand away you will hear it speed up. Alternatively you can walk through from a low light room to a bright room and vice versa to test your in the correct mode. In my experience it doesn't always go into Autom B mode first time so this is a good way to prove it, at least not with my Nizo Pro anyway. Hope that helped.

Yes you're right sorry if I confused the OP and everyone else. I tried to correct myself in the next post but posted the 2 stop figure again instead of 1 1/3. For some reason I used the 40 - 160 difference instead of 40 - 100! Anyway I think an important thing here is to shoot a test roll of film and see how it turns out and adjust accordingly. Shooting a test roll usually reveals all including letting you know whether your camera actually works!

I meant: If the camera sees it as 160T you need to increase light through the lens by 2/3 stop and if it reads it as 40T you need to reduce light through the lens by 2 stops