Dylan Moss

If I'm using Kodak Vision 3 in a camera with an 85a filter indoors, during the daytime with no lights on, should the filter be on or off? Thanks!

Cinelab seems to be decently priced, it's too bad I'm on the west coast. I asked if about the Cinelicious price and they said they would do 500/hr for unsupervised standby, which still seems a bit expensive to me.

Thanks! So I think I'm close to being ready now, the only thing I'm still unsure of is how I'm going to get the Film onto my computer for editing/what the best editing route is for low-budget shorts. I emailed Cinelicious and they charge 600/hr for HD telecine with small formats, with an hour minimum. Is there a less expensive way to get a high quality digital conversion from the film to edit? Are there other editing options I don't know about? I promise these are my final questions! ha ha

I'm using a Sankyo Xl-400, there is a button on the side that looks like a circle with short lines coming out from it, could that be the back-light button? I regards to sound, could a laptop with Sonar or another similar program work?

I just looked and luckily it seems like Vision 3 does have a notch. I realize there's no 40 and 160 ISO film, I was just under the (possibly false) impression that shooting film with an ISO apart from these two values would require some kind of f/stop adjustment, or is this only really the case with reversal film? I like the lower cost of reversal but maybe it isn't as fitting for a beginner. I wonder, would that syncing device work with a laptop as the recorder?

This helps me a lot, thank you. My only other question revolves around ISO. When I shoot using Kodak Vision 3 200T, how do I adjust for the difference in exposure? When using a native 40/160 ISO tungsten film, you already have to correct the automatic exposure reading when using the daylight filter right? So how does using 200 ISO film complicate things? I'd like to know how both of these factors influence f/stop settings.

I'd like to preface by saying I've looked tirelessly for existing answers to what follows on these boards. - I read a post by Pav Deep in which he/she said "All you need is a good camera, some Vision 2 stock, a directional microphone and a professional telecine" in reference to making a Super 8 film with substantial dialogue. This is the thread: http://www.cinematography.com/index.php?showtopic=41159&st=0www.cinematography.com/index.php?showforum=31 *My question is: He/She must be talking about using magnetically recorded sound on the film strip right? If so, where does one acquire sound film now that it doesn't exist? Is converting the magnetic sound strip to digital audio part of the telecine process in this case along with the film conversion? If he/she was talking about using a different means of audio recording, I'd love to know what it was. Thank You, Dylan Moss