Rachel Oliver

Hi; Hell yes B) Olly

Hi; How do you know what he's looking for? IF Seth is looking for a true film aesthetic (which is what he seems to be after) then whether he transfers it via low end or high end technology it will still retain it's film look. In regards to Low end telecine I've seen some killer films transfered via customized projector/scanner method and some seriously terrible ones transfered via Spirit. Seth if you could get use of a really decent video camera with 700+ lines of resolve and align it perfectly and are really on it with your grading you will achieve a very decent frame by frame scan of your film with the workprinter, maybe not close to the top end but I doubt it would be the making or breaking of your film. Good luck. Olly

Hi; But none of this good advice matters if you did not use a crystal sync camera in the 1st place.... :ph34r: Olly

Hi; Have you looked at www.moviestuff.tv Yes more expensive but widely regarded as the best personal film transfer units around. Olly

Hi; I just got back 5 rolls from telecine and it's as solid in terms of registration and image quality as I'd expect from Kodak fresh stock. It seems their quality control is very good, I'm sold, just ordered some more. Olly

Hi; Yup, you got it, this is what makes shooting S-8 so very very handy! Just remember though that your footage counter will be reset to zero.... Olly

Hi; Do the post stabilizing options reduce resolution? I have a Leicina and a GK pressure plate, I have never used it with my Leicina as something makes me think that would counteract it's own "special" gate design, plus it's never really had any jitter. I have tested the GK plate on my Nizo and it seemed to make a slight difference but I use that camera for weddings and events and messing about with the plate under time pressure just stops me from using it. On another note I have found that even if you have a stable camera gate S-8 tends to move around more in telecine compared to 16. However my personal theory is if the performance of a well serviced top of the line S-8 camera like the Special in combination with the latest Kodak stocks and professional telecine is still not giving the required results then 16mm is just one step up the money ladder and if a project deems it neccesary then taking more time to collect the pennies for 16mm would be better than trying to push S-8 into places that 16mm already covers, don't get me wrong I like S-8 to look as good as it possibly can but not into the realms of false economy. Olly

Hi; I also have come to S-8 via the 16 and S-16 route, I'm using a Leicina Special which works compleately manualy but also has a reliable internal needle meter, not to mention it seems to have the best registration and stability I've seen in S-8 and also among the best glass, this combined with Pro transfers and use of the new stocks puts me close to the standard 16mm I was shooting in college 8 years ago, not the same but as "good" (whatever that means ;)). I can't stop raving about it.... Olly

Hi; Something else to remember is that the cameras image controls happen before tape compression where as in post it's all, well post compression. I also agree with others here that the XL2 will not be the catalyst of a "bad" film.... It's far more likely to be the humans opperating it. Olly

Hi; They could have used S-8 for the "Darma orientation films", whatever they did those with looks pretty rediculous to me, like HD with a post film scratch/dust filter... Someone will probably reply saying it was 35mm :rolleyes: But it just looks so fake, (maybe on purpose :ph34r: ) Olly

Hi; http://super8wiki.com/index.php/Leicina_Special:_Repair I don't know of any "official" Leicina service agents, there is a guy by the name of Sparky (I think he posts here)? who is quite a Leicina expert and has been known to take in cameras when he has time, I keep hearing that www.duallcamera.com have a very good super 8 repair service.... Good luck and please post your findings, I have a 2nd Leicina body that sounds like it needs a service that I picked up in a good deal on ebay due to spare part fear ;) Olly

Hi; I agree that well shot and transfered S8 can sometimes bare resemblance to the 16mm of decades past, but this is different to some one feeling they simply can't shoot modern 16mm and have to slavishly try to make S8 "live up to it," it wont, it can't! But it can still look like an amazing and professional gauge with perhaps more of an origional and powerful effect on the viewer, especially as modern 16mm gets more and more grainless and sharp, almost "electronic". I'm not trying to be subversive to what you and others are saying, infact I think we all agree at least that S8mm has more potential than ever right now, just that perhaps the constant comparisons to the larger gauges actually does the small format a bit of an injustice. Anyhow I think I've said enough aye, better get back to viewing my Tri-X rushes :) Regards; Olly

Hi; I totally agree, I've been using S16 and S8 for some years now and I choose the medium that best suits the emotion of a moment. I think folks who desperately try to convince us (themselves) that S8 is some how equal to 16 are totally missing the point. I now shoot much of my S8 as Santo does, with a Leicina and good glass and the same telecine work flow I use for S16, but I do this to insure that the inherent charm and personality of S8 is fully realized, not to make it look just like 16, infact I'd hate that. Well shot and transfered S8 holds a place all of it's own, fully formed and emotive. Olly

Hi; Well at least they seem to have a good rep with customer service, please let us know what happens (I'm soon sending in a 4080 to them). Hope you get something sorted.... I had a barney made from custom upholstery products which has really cut down on the already quiet camera, maybe something along these lines could temporarily help with the clicking. Good luck. Olly

Hi; Matthew are you saying the origional poster Levi's mod was performed by the film group or just stating that this company performs crystal mods.....? Olly

Hi; Out of interest who did the crystal sync mod? I assume this was not happening before the mod? Olly

Hi; That's something I've been wondering too, it has not caught on here it seems.... Olly

Hi; Well I never did any scientific tests but they seem sharp from edge to edge apart from the 10mm, my 75mm is the all black MC version, the others are the silver/black generation before but all seem very consistent with each other. I don't bother cropping the 10mm in telecine as most viewing systems crop out the corners anyway. Hope that helps. Olly

Hi; I have Switar pre-sets in 10mm, 26mm, 50mm and 75mm which I use for super16, no aspheron though. The 26mm, 50mm and 75mm cover perfectly and are very sharp, the 10mm just about covers with a little corner darkening that falls out side most overscans, it is very sharp in the centre but softens up towards the edges but is certainly very usable. Olly

Hi; I have Switar pre-sets in 10mm, 26mm, 50mm and 75mm which I use for super16, no aspheron though. The 26mm, 50mm and 75mm cover perfectly and are very sharp, the 10mm just about covers with a little corner darkening that falls out side most overscans, it is very sharp in the centre but softens up towards the edges but is certainly very usable. Olly

Hi; Maybe in the States but not in the UK. Olly

Hi; Yup, super 8 neg in the UK is probably more expensive than 16. I, like Andy, also only really use it for reversal, I shoot S16mm for neg. S8 reversal has a whole "semi/pro" type web of services around it from various places, like the WideScreen-Centre, with lab and telecine connections. Reversal tends to work very well on the cheaper transfer machines like the Flashscan 8 and sniper, unlike neg. My philosophy is I'd rather shoot S8 reversal than DV for small projects and with an informed aproach it can look really good too. Olly