Niall Conroy

I've been doing this a couple years now whenever a project comes up that works well with it - if you process it with Caffenol the results are pretty decent a music video I made with some K40 + caffenol (blue is the natural colour when inverted from it's negative form): an older experiement:

You could try connect the Alexa into a CRT TV and hook up a VCR recorder and record the Alexa footage to tape - only problem then is to re-digitise it. Funnily enough I am also in pre-production on a music-video where we too wish to create a VHS asthetic, however we are going to actaully shoot on an old Panasonic (M7) - now we're just trying to figure the best way of digitising the footage and upscaling it to HD. Have come across Black Magic's Video Recorder which encodes toH.264 - anyone aware of any other alternatives or ideas?

Thanks for all the replies, guys! I think i'm just going to have it running the night of the opening - then for any other day, i'll just have a note beside the projector with a little' illustrated instruction of how to turn it on and off. The splice is just a piece of cello-tape! having said that, i punctured the sprocket holes and smoothed it out to a decent degree - so hopefully it wont fall apart on me. And yes, the loop is very short, as in - it's length is exactly that of the film going over the front spool, through the projector and then by-passing the back spool and connecting directly back to the front spool. Oh, and the actual film is a combo of 2 old 'blue movies' (nothing saucy, unfortunately) one of which is quite faded already - but hey even if they do progressively wear out, as Dom Jaeger said above, that's art!

Hey guys! Quick question (which i'm sure won't have any concrete answer).... I've edited together a short super-8 loop which i'll be projecting at an Art exhibition. The exhibition will be running from Wednesday till Saturday. So the projector will technically have to be running for at least, on average, 4 hours a day, non-stop. The projector itself is a Eumig Mark 502D. Does this sound possible? What sort of issues would one predict I might encounter? Bulb blowing? Film getting too hot and melting? I DIY telecined the loop - so I do have a digital back up which I could project if all fails. But it would be nice to have the real thing projecting. Thoughts?

good point - guess i'll just have to deal with it as politely as possible and let them see it from our side. hmmm, there's about 260 gigs worth of footage that would have to be re-rendered to have the watermark, feels like its not really worth the hassle. my friend was telling me a quote the other day on the issue - think it was Jack Warner...something along the lines of: "The only positive thing in you can have in film making, is having the negative" the negative is power.

Many thanks for all the replies, guys I'm actually based in Ireland. I guess i'll just have to politely talk to the manager about the situation and see what their plans are for the rushes - if they don't intend on using the footage in the future, then why would they want them? Fishy. If they want them for future reference (i.e. possibility of using the footage further down the line) - surely we should be credited or financially taken care of?

Hey guys, Just wondering what your thoughts on this... Quick background - the past few months I've been on-and-off shooting some promotional material for a band and editing short videos together for them - cash in hand sort of deals. Just got a call today from their manager asking to hand over a hard drive of all the rushes ever shot of the band so that the record company can archive them for future reference. Now, we didn't go into it on the phone, but once the call had ended I started to wonder about the legality, or rather ownership, of the situation - where do I stand here? I was operating under a production company myself and a college work under - obviously we are the owners of this material, but does it change once we're shooting a group which is signed to a label? what should one do in this situation? How can one protect themselves from a record label using their footage in the future and not get any credit or payment for it? Thoughts?

Many thanks, lads.

Hey guys, hopefully this wont be treated like spam, just thought some of you might be interested to see beautiful telecine job by Jose at Ochoypico (not to mention Frank at super8.nl) the videos mixed with some GH3 footage also, but predominately super-8 - 100D https://www.youtube.com/watch?v=td-m-UW_bFA

Congrats on the great camera - i've been using one for a while now, never any problems and great results. Personally i find the filter switch fiasco quite confusing - I actually made a post last year inquiring about it (got great feedback and help) basically you have to remember that this camera was built with Tungsten style film in mind - therefore the camera will be expecting Tungsten type cartridges - so with that in mind, my guess would be that it disables the internal filter (when you press the notch switch) ...but then again, thats just a guess. In terms of your test roll - what film stock are you using - you could select one that is notched to either disable or enable the filter switch - that way when you shoot it - you'll probably have a better idea as to what the filter is doing once pressed but overall - like all cameras - you have to shoot a test roll ANYWAY - just to see if its even working - so use this opportunity to shoot various lighting scenarios inside and out and hopefully with the footage you'll be able to work out the conundrum Make sure to choose a colour stock for the test shoot then again...you could just contact the ebayer you bought it from and ask about the switch? best'a luck anyway

just in case you super-8 heads didn't catch my post in the 'film stocks and processing' sub-forum - i've successfully developed the Kodachrome 40 stock with the caffenol home process technique ((which when developed turns the film (or rather any film) into a negative)). I then DIY telecined the footage and colour corrected it. still a work in progress - will need to invest in a proper developing tank, but the potential seems promising!

Many thanks for all the info above, finally got around to trying this out - still a work in progress, but heres the first test I did with the Kodachrome 40:

haha yes, every time I see it I get a slight panic attack thinking that I exported incorrectly. It seems the 'square' nature only really pops when its framed or bordered. When its just sitting plain in a 16:9 screen it seems to look taller than it actually is. Peculiar.

if people are interested - I went and shot for 1:1 - here's the teaser trailer i put together <iframe src="http://player.vimeo.com/video/43490693" width="500" height="281" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe>

so i'm guessing this soaking process with the borax would be after the fixer - so I wouldn't have to do it inside a darkroom?