David Cunningham

Preferably the ones you cut and tape all in one swipe with just a roll of tape. Looking Super8 as well. Dave

On the 814 the proper way to focus the diopter is the look at something bright but out of focus and adjust the diopter until the center grid is perfectly focused. Now you are perfectly focused on the ground glass. Then, focus on infinity in something far away. If the focus is off. Something else is off.

Are you having this problem with both your Pro814 and your Canon 814 AE? If so, when you do your initial focus, are you doing so zoomed as far in as possible and then pulling back? This is the best way to pull focus on those cameras. If it's only happening on one camera and not the other, it can definitely be a lens collimation issue on one of them. If the results are equal with both, I would guess you are focusing wide and then zooming and not noticing the slight increase in softness due to more shallow depth of field. If it's just happening with the Pro814, I would send it back to Pro8mm for a checkup. It's good to do that once a year or so anyhow to check the take-up torque, etc. I've never been disappointed with the performance of my referred 814 from Pro8mm or their services for it.

My experience with 50D in shade is actually very good. The detail it picks up in the darkest shadows while still producing a clear image in the brightest highlights, is amazing. I'm talking about 16mm and 8mm though where grain pattern and size is more important than 35mm. The grain is so fine in 200T and 250D in 35mm that it's not really a major advantage to use 50D in 35mm except in very bright sun when you want a larger appeture to keep your depth of field shallow.

I tend to doubt an appreciation. There are just so many 16 and 35mm cameras out there right now because of rental houses unloading them and all kinds of other sources. Also, despite things like film Ferrania, there is still a timidity about investing in film cameras as no one can say for sure that there will even be film to shoot 3 years from now. Kodak WILL stop eventually. Now it's just a matter of when and if they will sell it off to someone else who will downsize it to meet modern demand. If they don't, high quality film will go away and you will be left with lower end and more boutique films like Ferrania and far lower demand for cameras and film.

Grrr. All the more reason I need to find a cheap 35mm camera!

Your 500T will be significantly more grainy than your 250 which won't matter much in 35mm but more so in 16mm and significantly in Super 8. Otherwise, it's pretty much a wash. You don't really gain anything with 500T in that situation unless you are going to take that same camera into tungsten lighting without a film change just a filter change. With the filter you'll basically have a 320 speed film with 500T so no major speed advantage over 250D. So. If the entire roll will be shot in that same light I go 250D for sure. Keep in mind that as you get closer to sunset you basically get tungsten lighting.

Hey justin. Glad to hear you went with the ScanStation. It's a great machine that just cannot be beat in the super 8 format. Sorry we never hooked up by phone as we had planned but it looks like you went with what I would have suggested anyhow. Great to see.

I am one of those people that likes grain, but in super 8 you cannot have too fine a grain. The format is just too small. Even 16mm only comes close to sometimes being too low grain. I find that really only applies to 35 mm and larger films.

Tried GoFunMe, KickStarter, etc?

Like many of above... nothing to offer for suggestions... but very excited to follow the progress! Good luck!

With the history of new film companies like the Impossible Project I'll be happy if the first run is tolerable and just a bit better than AGFA 200D. I can dream that some many years down the road they might come close to Velvia, Provia or E100D. But, I doubt it.

I'm still waiting for a good opportunity to do that in 16mm before all the stock is gone.

One of our own here on the forums, Will, did tests with the 35mm version that are amazing!

Just in Super 8, in which format it was my favorite stock. In order: 1.) Velvia 50D 2.) E100D 3.) Provia 100F 4.) Vision3 50D 7203 Dave

Awesome!!!

I still wish I could find an IMAX 70mm showing of that movie... sadly, I don't think it will ever come my way. :(

Definitely agree! I would never deny its beauty.

Possible. But I bet they would have done film tests and found it was too contrasty to work with, especially in the modern DI world.

Remember that you will also have a vast difference due to reversal vs negative. The color of the grain and the contrast will be completely different... far beyond just the grain and color saturation differences.

Looks like these guys will do it in the UK: http://www.oldfilmprocessing.com/Movie-film-processing-transfering-dvd.asp

As you pointed out, Film Rescue will process it as B&W negative. I believe Pro8mm, Plattsburgh Photographic, Spectra Film and Video... and I believe others... I bet at least someone in the UK will do it.

A lot of this is the film stock used, Vision3 50D 7203. It's an amazing film stock with very tight grain and amazing latitude (somewhere between 12 and 14 stops). You could never get this same look and texture with color reversal (traditional super 8).

This footage is Vision3 50D 7203 for outdoors and Vision3 7219 for indoors (you can see the drastic increase in grain). I do not use any sharpening or Neat Video grain reduction in my wedding films as I don't want to take away from the look. If I wanted less grain, I'd shoot 16mm (which I do offer). Very bright lighting is also a major advantage as you can set your F stop in the "sweet spot" range of your lens (usually around in the f4 to f8 range) and then use an ND filter if you need to cut more light... although over exposure of any Vision3 stock is usually VERY forgiving and sometimes advantageous. Although you can get lenses that are very sharp when wide open, pretty much no Super 8 camera ever was. My Canon 814 AZ is about as close as I've seen to "sharp" at wide open. My Canon 814 XL-S and 1014 XL-S are my sharpest cameras at f8 but HORRIBLY soft wide open (f1.4).

Yes, shooting skill is also a major advantage... as well as primarily using a Beaulieu with fantastic Angeniuex optics. Also, he is using a pressure plate in his carts: http://www.andecfilm.de/en/e_s8_pressureplate.htm This keeps the film sliding smoothly through the cart and the film right up against the gate. Without it, the film in a Super 8 cart actually moves freely and can move back and forth away from the gate. That contributes to softness in most other people's experience with Super 8.