Zac Fettig

They come up from time to time on ebay. Or try Visual Products.

The main reason I never use the built-in filter (on any super-8 camera) is because it's about 40 years old, and made of gelatine (instead of optical glass). They do not age well; It'll be heavily degraded, and will mess up anything taken with it. I'd use screw on or drop in filters only. To disable the filter, you take the red plastic screw from the bottom, and screw it into the top. It's that easy. I'd say just leave it there. The screw presses the pin down, and disables the filter. An 85 filter will convert daylight balanced light to tungsten balanced light. They come in three grades (A,B,C) depending on how much color shift you want. 85B is standard. So you use it for shooting tungsten balanced film in daylight. Buy a screw in filter. It'll be about $25. It's worth every penny. The 80A is used for shooting Daylight balanced film in tungsten light. If you forget, they can also compensate for color when they do a telecine, if you tell the lab. If you're shooting on auto, you can use the built in meter. As long as the needle is somewhere in the middle, you'll be fine. If you have the budget, a real lightmeter is your best friend.

Miguel pretty much has it covered. On my 814 AZE, the built in filter is ALWAYS disabled. I screwed in the adapter and left it there. If I need to correct, I just use a screw in filter, in front of the lens. Even if your manual meter works, it can drift. Manual metering is mechanically seperate from auto metering on this camera. Auto metering on the camera isn't too bad. It's a lot better than some cameras. It can do bad things if the lighting changes quickly though. I think you mean Ektachrome 100D. No one develops Kodachrome any more (and I don't think they made a 100D). If you have some Kodachrome, use it for decoration or throw it out. If a sunny window is your only light source, the 200T and 500T will be way more useful. Also, if you're using negative stocks for a project, you might want to consider using ALL negative stock. And switch out the 100D for Vision3 50D (for outdoor shooting). Adding a few lights to the room would also be a good idea, to minimize lighting changes if the sun goes behind a cloud. China balls are cheap and effective for what you want to do. The flash and remote control are both rare items now. They were optional when the camera was new, and mostly used for doing animation/stop motion work. A regular x-sync flash should work if you want to do that kind of stuff. But again, completely optional. Using the shoe for a tungsten balanced LED light would probably be a better use of the shoe.

Good deal!

But will it handle negative?

You've got 2 choices. 1. Shoot on a blimped or self-blimped camera with a sync motor. Record sync sound. 2. Shoot MOS, and ADR it afterwards.

I'd look for a regionally accredited school (non-profit) vs. a nationally accredited (for-profit) school. Most people I know who were successful after going to a for-profit school would have been just as successful without it. If you can handle the academics, get a Bachelor's in something from a state school, and then a Master's in Film from somewhere good (AFI, NYU, UCLA, etc.). Starting at community college isn't a bad way to go. Keep your grades up (really high up, good film schools are harder to get into than good medical schools) and shoot as much as you can on the side. Connections made at a top grad school (like UCLA) will be WAY more useful than connections made at a program like Full Sail.

I had a horrible experience with Dwaynes for Kodachrome. The lab completely screwed up, and then stuck me with the bill along with a snippy note trying to claim that film they obviously opened outside a darkroom was never exposed. So, yeah, they can be butts. To be honest, I've never had THAT bad an experience with Pro-8.

No. You can't use 2-perf for Super-16. The image will be into the second set of perfs.

I'd say rewind b-wind and shoot a test reel. Like 100' of tri-x reversal. Look and see how much scratching it causes. If it looks fine, then shoot with it.

Found a video: http://www.youtube.com/watch?v=E_P6sXtJsFw It looks like your film is upside down. Flip it over and feed through the rollers as shown.

No you won't need to re-wind. But most A-wind stocks are lab stocks. Are you sure the supply reel is supposed to be in the back? On most cameras, it's in the front. I don't know about the Kinor, but you may have loaded it backwards.

That's a b-wind. (Kodak SP number 457, 16mm 1-edge T core, b-wind) I'd forgotten that the A-Minima is emulsion out. A-wind doesn't have to be, but the stock Kodak is supplying is. 200' Aaton loads will be emulsion out. Darn.

It looks like b-wind to me. You can get A-wind, but usually only in 200' loads for the Aaton A-Minima.

Not for Tri-X. Film from B&H and developing at Cinelab will set you back about $28.50/cartridge. It's $35 at Pro8. It adds up fast.

Really like it, but wish the thing weren't so muted. The brightness and colors need to be bumped up a little.

Let us know what they quote for a price. I'm curious. Knowing Arri, it's probably not cheap. I'm wondering if it's cheaper than getting one 3d printed.

Magic Lantern. What Travis said. There is a Cinemascope framing guide included (2.35:1). Plus all sorts of other goodies for video work. I have used it, and can't imagine using the 60D for video without it.

Yup. That's their business. And they made a good run doing it. I think they were the first to repackage for Super8 (before Wittner/Cinevia/Spectra). And did a lot to keep S8 alive, back in the late 80s early 90s. They provided the stock/lab for Paula Abdul's "Straight Up" video WAY back. They did offer Ektachrome 100D before Kodak, although I believe Kodak offered Ektachrome 64D and Kodachrome 40 at the time. Pro8 has a deservedly mixed reputation. Every time they screw over a customer, they lose business; often for life. Matt, yours is not the first horror story I've heard. Which is why I avoid Pro8, certainly for anything critical. I won't use Dwaynes no matter what (luckily with Kodachrome gone now, why would I have to?) There are no other manufacturers. Kodak, Fuji, Lucky. That's it for color film. Everyone else quit the business years ago (AGFA, GAF, etc.). There are a couple of b&w companies, but not enough demand to keep them in Super8. Oddly, interest in S8 seems to be growing, even though there are no new cameras. Pro8's biggest problem is that there are better alternatives. I can buy factory stock from Kodak, either directly or through B&H. No hassles. Cartridges work. Then I can get it developed at a good lab. I can get a TK done by someone who'll do the job right. And it doesn't cost any more. Often, it costs less. I shot a short on Pro8 film (sticker-ed over Tri-X) and pointed out to the director that it would have been cheaper/faster/better to shoot on stock from Kodak, and develop at Cinelab. But by that point he'd already bought the stock and pre-paid developing.

Since Fuji is out of the motion picture game, and it looks like Kodak is making most of their negative stocks available in S8, I imagine they're already up a creek. Their business has always been about repackaging. It looks like their solution is to sell vastly overpriced super 8 camera rebuilds at Urban Outfitters. Meanwhile, I have to get this Vision3 in the mail and off to Cinelab.

Ektachrome was it.

Grainy. It'll look grainy. I thought 5424 was a IR B&W film. Kodak Infrared Aerographic, on a polyester base. Do you mean 5247?

I've used one of these in my day job, and I can tell you, it was a breeze to use! Stepper and controller in one. Real quiet. Price however... not so great. They start at about $1200. Great for lab work. Also, a little too big for a Super 8 camera. Probably better for a B&H Filmo/Eymo or something. If you're looking for cheap steppers, check out the surplus houses: http://herbach.com/ http://www.sciplus.com/ http://www.allelectronics.com/

For what it's worth, ML 2.3/1.1.1 is running fine (as far as I can tell) on my 60D.

They occasionally come up on ebay. That's where I got mine. When I bought my camera, the ports were covered with electrical tape. It's really just a rubber plug. But off hand, the 16S is getting to be an orphaned item. Arri might have them. No harm in asking them.