Matt Stevens

Just let me say that Cinelab rocks.

I think it's entirely likely that the Logmar pushed Kodak to go for this release. We wanted to use one on my shoot in Sept/Oct. but were unable to find one to rent. Instead we shot with a Nikon R10 (which performed beautfully) a Leicina Special (courtesy of a member here) and Duall's crystal synced Beaulieu Mini 8 (the crystal sync worked, but a number of shots had huge amount of shake that will have to be corrected digitally). Super8 is perfectly viable for short films, music videos and the right kind of TV or theatrical scenes if you plan it out right. I am more than pleased with how the footage we shot came out, how it feels, the mood it created and what it delivered. Unfortunately I also feel that Super8 is will always be limited with how it can used due to the short capture time. Just over 2 minutes is an incredibly brief amount of time to capture images. In fact, a lot of each roll will be wasted when shooting sync sound and in the end 16mm makes more sense. Super8 is a niche. I love it. But you have to find the right way to use it. Kodak really should have created a camera that uses 100 foot carts. By the way, I'm still waiting for somebody to use the Logmar to shoot a short film. I couldn't give two sh*ts about seeing more test footage. :rolleyes: This is the 5 minute version of our project make specifically for Kodak's Audience Awards contest. The final short will run around 20 minutes. http://theaudienceawards.com/films/revelations52236 Their server sux hard so if you want to see it without stuttering, use the password vimeo and go here: https://vimeo.com/149476818

I have used Duall for reversal, but for negative you need to be very very careful. Know what you are doing. You will have to invert the scan and grade yourself. And their capture method is oooooold.

Considering Kodak will develop and scan your negative film at 4k I can see why the loss of color reversal isn't a big deal for this product launch. The question is... How will the 4k scan be delivered? Completely flat? i would assume so and that means people have to learn how to color correct ion their own.

Well! Now that THAT is over, lol! ... I appreciate all comments. I had little to no time to finish this so the sound design was limited to dialog and a music score. And i believe it works well. The FINAL longer film will be far more complex and feature a robust sound design with a 5.1 mix.

I have played it without music. It doesn't feel right. The longer version will have numerous stretches without music.

I appreciate your comments, but do not agree. A film without music is going to fall completely flat. The final version will have an original score.

50ft carts are soooo limited. The first and last ten or so seconds are always a mess so you basically have two minutes. And it's tough to do anything with sync sound that way. One take and your done. So I hope and pray they do 100 footers. If they do I am in. Guaranteed. The other issue is for sound you need a quiet camera. The Logmar is LOUD. As loud as my Nikon R10, if not louder. The Canon 1014 XLS is certainly quieter. The camera needs some really good sound suppression. Perhaps they sell a $999 model that is properly blimped and takes 100 foot carts. Pros would eat it up. No matter what this step takes balls. Kodak is trying to stay alive and no doubt they can develop a nice niche market with this. If the product is well made maybe even more. I absolutely love Super8 and shot a big-ass production with it in September. I am editing now and will end up with a 20 minute proof-of-concept (we hope to make a feature version). I created a 5 minute version for Kodak's audienceawards contest (which i knew was rigged, but it was an experiment I was glad to engage in). If you want to see how 8mm can be used in a modern production, here ya go: http://theaudienceawards.com/films/revelations52236 Their servers are sh!t so if that won't load use the password vimeo on vimeo: ;) https://vimeo.com/149476818 Scanned at Cinelab in 2K. I had ever even attempted grading before so imagine what the 8mm footage will look like once someone who knows what they are doing gets his or her mitts on it!

The issue with Super8 cameras is.... There is no one out there who can fix or service them.

Likely because the server at audienceawars are so so SO bad.

Carl, thanks for the insightful comments and thoughts. You certainly paid attention and are on the right track for where the final production will go artistically. The final version of WRATH will run around 20 minutes and have a full on 5.1 sound mix. At the end of the day we want to use this Proof-of-concept to raise money for a feature version. The script is written. I could wax philosophical on the subject for a long long time, but I have to go out. it's New Years Eve, daggonit!!

Thanks for the replies. Uh... $10,000? That's my entire budget. And we already spent it all so money is tight. Note i said "cheap or free", not just free. Hey we will pay a small fee for some good footage, but anything even close to a thousand dollars would be impossible. I can recall there being a site with tons and tons of government films from the 50's and 60's, but what that site was, I've no clue. That was ten_+ years ago and their fees were basically $1 a second. I'll have my editing partner back in NYC check out Prelinger. I was able to connect with Getty but the site is fabulously confusing. Video? where? No clue.

The photography in The Assassination of Jesse James by the Coward Robert Ford was so mind blowing I thought for sure it would win when I saw it on da big screen in NYC. And then the film was seen by no one and lost a boatload of cash so I knew it had no chance. Deakins is a gift to cinema. He will be rewarded one day. We hope.

Hey gang, I am behind the Great China Firewall so I am in hell. The internet here is near useless and in this city every single English language search engine is blocked or throttled to the point where they are useless. I need some stock footage, cheap or free, for a short film. Drugs, Airports, Airplanes, security cameras, bus and train stations, preferably shot on film from the 50's, 60's and 70's Government educational stuff is superb. Anyone know where I can get this stuff? There are dozens and dozens of stock footage sites, but I am unable to search them. I need to know a specific site so I ca head to a net cafe and get up via a VPN and try to find what I need. Any help would be greatly appreciated.

This film really needs to be widely seen. It's terrific and shows just how amazing 8mm can be.

Hey gang, some of you who follow this forum know I shot a pretty big production (for me) in September in NYC before I left the USA for China. It was by far the largest production I have ever attempted when using 8mm film (we also shot digitally). And it was all paid for by yours truly. The rough assembly came in around 25 minutes and I figured it will be 15 minutes when finished. But a little over a week ago i found out about this: They have a 5 minute limit so I decided to work like a madman and see if I could deliver a 5 minute version of my story. Well, it's not exactly the same story, but it has the same feeling and mood so here it is... http://theaudienceawards.com/films/revelations52236 If it won't load you can ask me for the vimeo link and password. The 8mm film was scanned at 2k by Cinelab. I finished my edit Saturday morning and quite literally learned how to do a very very basic color correct / grade during that same day. So the 8mm footage can and will look even better than what you see. No doubt. 5 minutes is so short. i basically concentrated on one scene and expanded the emotions based upon it. Let me know what you think. Oh yes, the sound mix is of course not final and the temp music has to be replaced. I just wish i could find some music that is similar in tone and feel. So far no-go. The full length version will have an original score. Here is a film frame given a quick color correct by one of our fellow forum members...

I moved to China and have t wait a month to see it (the film doesn't open here until mid-January). I will have ZERO chances to see a film print. It will be digital, period. But likely 4k since the theaters here in Kunming are top drawer and brand new. They do have an Imax screen, though I have yet to check it out. I really want to see it in 2D, but they don't do 2D here for any film that is shown 3D. EVERY screen will be 3D, which does piss off the locals, but that doesn't matter. I hate 3D with a passion and can only accept it when it's seamless and central to the story. ANT-MAN in 3D worked because of how the character's powers worked. The micro-photography was superb. I wonder how I will feel about Star Wars in 3D. Nxt month I will find out. By the way, I was 5 years old when SW 1977 came out. It was my first film in a theater and I will never ever forget it. We waited in line all day to see it.

Nikon R10. I used three cameras on my film shoot in September and not only did it deliver images every bit as good as the Leicina Special (which I also used), but it was 100% reliable (unlike the Mini8 I rented from Duall in NYC). I have never had trouble with the R10. It's just perfect. It delivers every time. Period. I am selling mine because I have moved to China and cannot possibly shoot Super8 over here. It would be too difficult. Here is a quickly color corrected (not by me) frame from the shoot.

The Sony camera records the files in pieces. As you can see at pic below. So it is inherent in the format. When contents are copied to the hard drive complete (the entire folder structure) Premiere can understand this and treats the split up files as one. But for some reason that is not happening with my 2k footage, which was recorded to an external recorded and not the Sony FS700 camera card. This screen-grab shows the contents of the camera card (which Premiere Pro understands and presents as one file, not many).

Thanks Jay. I am actually having a hell of a time getting started because of the DIGITAL footage we shot. The last two days of shooting were for an interview style scene that is the backbone of the story. We used the Sony FS700 but unfortunately the assets for one of those two days are not being read properly by Premiere Pro or Prelude. What this means is takes longer than 2.75 minutes (most of what we shot) are split up into pieces and Premiere (and Prelude) sees them as separate clips/takes. This makes it impossible to edit and sync sound. The second day's footage is being read and imported properly. They copied the contents of the entire camera card so Premiere sees and understands it all and I have full clips. Below is a snap of my system. See those four video files? Those are NOT four takes. That is one take split up into four pieces because the assets were not provided to me correctly. You can see the folder structure on the left. The XML files for each clip is in each folder so the data is still there. i just need to find a way to put it all back together. From what I understand the 2K data was recorded with the odyssey-recorder. That´s an external device you can attach to the FS700 an record directly into ProRes or DNxHd Codec. We recorded ProRes. But how I wish I knew how to import the data!

I was completely unaware of that feature. i just tried it and it works so thank you.

Gents and ladies, this is my first 8mm project with sync sound and I have four 20 minute ProRes files of my footage. In each 20 minute stretch of footage I will have mutiple scenes and take and each one needs sound synced up. But the only way I know how to do this in Premiere Pro is to select each scene, drag that individual scene into my timeline and then sync. But that would be insane as I would have all of those sequences in my timeline and have to move them around like a jigsaw puzzle (there are 7 takes of the scene featured in the pic below). The sound will ONLY be linked to the clip in the timeline. I would like to sync the sound files to each section so that when I put the video in my SOURCE window, the sound is there as well. The sound synced up for each individual clip. Is this making sense? Now there must be a way to do this, either in Premiere or maybe Prelude, but I have had absolutely no help over at the Adobe forums. Seems if you are not popular or a full time poster you get ignored. I am on a Windows 7 based PC with Adobe CC (latest) so I have Premiere Pro, Prelude, etc. I have never used Prelude as I have just upgraded from CS5. Thanks in advance.

Gents, I bought the R10 from Super8arena for this project and it performed exactly as I had hoped and prayed. What a brilliant camera. But I did go over budget. And it hurt. So I am going to sell it. It includes the original R10 case, which is in superb condition (no mold smell, smoke smell, etc). There are four filters, the wired remote control and I'll throw in a roll of Kodak Vision3 200T. We shot some test rolls prior to the shoot and all came out as expected. The light meter is damn good and like many R10's you need to go over a stop to have it right (we shot two full stops over for the entire shoot). Motor is butter smooth, as is the zoom. So PM me if interested. I leave for China in nine days so I want to unload it now. I paid $625 for the camera and $50 for the case. I'm looking to get close to that. This is absolutely reasonable. I sold my Canon 1014 XL-S for much much more than that earlier this year and in my view the Canon is a vastly inferior camera. I've shot the R10 in near insanely dark conditions and STILL had a decent image. The optics are insane.

I did. All is well.

Okay, this at least sounds reasonable. I completely freaked out when I read the delivery message. Never mind that I sent it restricted delivery. I'll have the hard drive and one last roll mailed Monday morning.