Rachel Oliver

Hi; Sure but widescreen centre's flashcan 8 transfers are in my opinion as good for reversal and cheaper by far. Regards

Hi; As for UK based transfer you can use the wide screen centre for reversal, they scan on a flash scan 8 to mini DV or 10Bit uncompressed to hard drive in standard definition, very decent quality. Also Sendean cameras in soho is now offering a similar service (same gear it seems) for a very low price. If you are shooting on negative then use Todd-ao, they scan with Ursa Diamond to DigiBeta, you could then have the content transfered to hard drive by Stanly Productions on Wardour street for editing. Not so sure about scanning S8 to HD formats in the UK? Plenty in The USA like http://www.cinelicious.tv/ Regards

Hi; Yes it seems my particular ZM2 needs the claw adjusted, no problem, just glad I worked it out and that I have a temporary solution with the GK pressure plate "frame master" doing me a favor. Luckily I always use multiple cams and stocks for weddings in case of any mishaps so I'm not too worried, I sure enjoyed using the ZM2, what a great viewfinder! Rachel

Hi; Update, I finally found a true use for my GK pressure plate! It has solved the trouble, 500T and 200T neg runs smooth with it in the cart, obviously it is a claw/neg issue. I guess neg is thinner and the claw is fractionally missing the sprockets, at some point I will get it re- set but I can work with this for now, cheers everyone. Rachel

Hi; Andy, it's done. It was not just a one off cart, it's every cart of 500T I test it with, I mark a frame, shoot, camera acts fine and as expected when shooting normally, frame does not move. I will try some 200T in a while too. I feel like it's the tiny fractional difference between reversal and neg that is somehow making all the difference, either the cart, or the sprockets or the thickness. Rachel

Hi; Yup, I'm absolutely sure, weird aye! Rachel

Hi; I recently got hold of a beaulieu ZM2 and had it serviced by Bjorn, it's the 1st time I have ever used one of these lovely models but I had a nasty shock yesterday at a wedding where both rolls of 500T Kodak neg did not actually run through! The camera footage counter ran as normal and all seemed fine until I realized the film had not actually advanced at all! It ran the wittner velvia and tri X no problem so I'm really wierded out by it, thought I was going crazy for a while, anyone had similar problems with these cameras and the Kodak Neg stocks? Any ideas? Obviously I will contact Bjorn too but I'm wondering if it's a design thing. Cheers Rachel

Hi; A quick way to adjust eyepiece to your vision = zoom into very distant object and set lens to infinity by racking left fully, then adjust eyepiece until the cross hatch lines match perfectly, if they can't then you may have a problem with the eyepiece! Rachel

Hi; Hi Mathew, Sure it is audible (I have been using one lately) But I've decided a small amount of camera noise and a far more reliable camera with better optics as you say, amongst many other preferable highlights over the 6080 is my prefered choice now, especially when used in conjunction with audio cleaning software where camera noise can be further reduced if needed (although this needs to be done very subtly or voices etc can become too effected). This is simply my own findings after shooting super 8 weddings for a few years now, with many different camera combinations. It may be completely different for other shooters. Rachel

Hi; I agree about the 6080 perhaps suffering from bad quality control from Nizo during it's "end game". My own 6080 although 1st appearing flawless has a really dodgy eyepiece that vignettes at certain focal lengths (not a lens issue), it also just feels badly put together, compared to my 4080, a better choice personally for quiet camera shoots, as it has none of these problems. It's great to see this forum continuing to throw new light on some old myths like the 6080 being a "dream camera". If I could go back to the day I decided the late Nizo sound models were the best option for sound critical applications I would opt for a canon 1014XLS and a custom barney. Just my personal experience. Rachel

Hi; Emil, even though it's good practice to rely on a good external light meter, with super 8 and especially with reversal film (small margin for exposure error)! It's also a good idea to check out what the in camera light meter is reading in any given set up as as long as it's working properly as it takes into account the cameras own shutter speed and lens, I often work with both my cam and external meters to obtain well educated results. Remember with reversal check and check again, it's lovely looking but only when properly exposed... Good luck Olly

Hi; I'd suggest all euro shooters email Wittner in Germany (they speak perfect English) and ask them about stocking this from Pro8 like they do with many other Pro8 films. They sell it minus processing and shipping is reasonable, I've ordered 15 carts of pro8-01 from them and all has been fine, it's a good source. Olly

Hi; Sorry, been away having babies and stuff! Yes to the firewire question, I had this transfered to mini dv. 10 bit digibeta or uncompressed was out of the budget level. I will be making a short this summer on the same stock and am having this transfered to digibeta so that will be v interesting. regards Olly

Hi; Would that apply to their 16mm daylight spool loads too? I DP'd a short for someone using their Pro16 stocks 3a few years ago and found the rolls consistently around 10 feet short! Regards Olly

Hi; Well it all depends on your expectations really, what I meant was my expectations were met regarding that stock. The final results were as perfect as I would expect from fresh Kodak stock and I know what that performs like, apart from the slightly less than advertised amount as I stated. I will give credit when it's due but I am only using Pro8 when there is absolutely NO alternative, I have been extremely unhappy with their stock and processing in the past. Olly

Hi; Well I shot 5 rolls of the Pro8/01 that Wittner stocks for Europe and it was perfect (apart from the usual few feet less than advertised, another little Pro8 trick) I was really worried about it before shooting as I once shot some 16mm from Pro8 and it had serious Xray fog in places and almost ruined a film! But I took a chance on the 8mm and would do it again, I also trusted Wittner not to knowingly sell on bad film. I guess it's a bit of a lottery with Pro8.... Good luck Anthony! Olly

Hi; That company uses a customised sniper for transfer (made by these guys www.moviestuff.tv) from reading about them they seem to be getting very decent results but are i'd say at the lower end of "pro telecine" hence the price! If you want to get the best then you will have to pay more to have a transfer made on a Rank or Ursa Diamond for the best SD results, or go back to your origional company and explain how you feel, they are still prooving themselves so may well want to keep you happy.... Olly Hi; Ha! OOOPS, sorry for the out of context reply, I got the wrong thread! Olly

Hi; Check out the top of the line Nizos like the 4080 or 6080 or the non sound models and also the fantastic Leicina Special.... Here is a good ref www.super8wiki.com and here is a decent online source www.super8camera-shop.com Good luck Olly

Hi; Leicina Special (technically the finest images I ever get from the format) Nizo 4080 (crystal sync cam for quiet documentation @ sound critical events) Nizo macro 561 (my most used cam, always handy, small and full of amazing features- Autom.b being the best allowing for low to almost no light filming! And a decent little lens too.... The cam I keep coming back to) Olly

Hi; Matt, it was a straight best lights test, actually the footage is much more dynamic than these stills show. npcoombs, Yup it's certainly a great stock for lovers of "good grain" if you get my drift, it's there but it's smooth and tiny. Olly

Hi; Gosh! Thanks Michael, my emails are really screwy at the mo, it's kind of you to do that. It was the 6-66 schneider zoom shot run n' gun docco style so the focus could be better, also as usual these stills really don't do this stock justice, when I first checked the rushes I believe I let out an audible gasp :D I was rather blown away by it. Based purely on real world viewing from a decent SD monitor it stood easily up to the medium speed 16mm I was shooting 10 years ago at college, it's grain is tiny and it's sharpness and contrast handeling is like nothing I've ever seen in S8. For me it really takes this gauge somewhere it's never quite been, sure K40 was fine and sharp and even 100D but you are very much in "reversal land" (no bad thing). This stock just screams "proffesional" for want of a better word, I would seriously consider this as a worthy broadcast format given the right circumstances. It also seems the wittner batch of Pro8 at least is of consistent high quality.... Olly

Hi; Sorry for the delay but just having probs with uploading them, another forum member has kindly offered to host them so hopefully they will be up soon... Olly

Sorry! Having trouble uploading pics. Will keep trying. Olly

Hi; Just got some rushes back from a recent shoot with the Pro8/01 from Wittner, transfered to DVCAM via Ursa diamond @ Todd-AO London, figured I'd stick a few quick stills up for any one curious about this stock on S-8. Shot with a Leicina Special and 6-66 zoom. Olly