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David Cunningham

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Everything posted by David Cunningham

  1. I hope E100D comes back at least as good as it was at the end... almost as good as Kodakchrome... almost... And hopefully Provia 100F will become available more regularly than a few test batches of Super 8 from Pro8mm/Retro8.
  2. Agreed... and at that rating with a good flat scan you should be able to adjust for your "look" you want in post without fear of loosing information except MAYBE in the brightest of bright white areas. But, even then you will probably be good.
  3. All of the indoor scenes of this film were shot with 500T in a camera that exposes at 400T. No grain reduction or sharpening was preformed...
  4. Believe it or not just a cheap old 25mm Switar non RX lens... remarkably good lens for a cheap, old, not exactly high-end lens.
  5. My concern would be grain more than sharpness... all those flat colors like blue sky and yellow desert sand will lend itself to making the grain more obvious and intrusive.
  6. I cannot seem to find an adapter. Is it possible, are there adapters?
  7. You should contact LaserGraphics directly and ask them if there is anywhere you can send your Super 8 Kodachrome project for an HDR Director Transfer. They'll tell you if it's out there anywhere yet.
  8. I'm. It sure about with audio, but Fotokem does fantastic 16 and Super16 contact prints.
  9. Heh. Good point. Brain lapse there. LOL. But like you said... you get my point.
  10. True. But you'll have a hard time getting that if your skies are heavily blue due to the wrong color balance.
  11. Yipes. Well back to the original subject... I personally advise using an 85 filter when shooting 500T outdoors. Yes, you can correct in post, but you will have a significantly over exposed blue layer. So, if you then further over expose you may indeed blow out those blue sky highlights. Use an 85 filter to cut the blue light getting to the film and make your post correction easier. But if possible shoot 50D. LOL
  12. Have any of you seen the 8K scanned wizzard of oz? The 1080p Blu Ray looks like it could have been shot yesterday. Thanks to modern technology, the three BW negatives could be combined post scan with absolute precision like was never possible in the 30s. We can see the wizzard or oz today better than anyone saw it back then.... and I bet a 4K presentation would be that much better.
  13. I defy anyone to convince me that the 5K sampled Super8 that I finish at 1080p is not sharper than an actual 1080p scan. The difference is night and day for me. I'm ready for 10k LaserGraphics Director Super16! Bring it on! I might finally have a Super16 image that looks as crisp as my Super16 timed prints. Projected Super16 by far exceeds and 1080p image I've ever seen. Even with 50D there is considerable grain, but it's actually quite pleasing. I wish I had the money to shoot 65mm and make and project 70mm prints. Maybe after I hit the lottery. :)
  14. Thanks Steve! Great to hear you are still in the game too! I personally never do 16x9 with Super 8... just personal preference. To do it properly you really DO need a 4K scan OR a pre-cropped 16x9 scan at a lower resolution (but that really ties your hands on how the framing is done and makes it harder to post stabilize). If I were to do it I would scan at 4x3 4K. Then, during my grading process, I would crop scene-to-scene and export to my final resolution, likely 1920x1080. (You will loose a lot of top and bottom image, so it's good to be able to choose how much of the top vs how much of the bottom on a scene-by-scene basis.) The problem is Super 8 is already so small that it really looks terrible, in my opinion. There are Max8 wide-gate cameras out there, or you can modify yours... but I just don't feel like it's worth it for the medium. In 16mm on the other hand, Super16 and Ultra16 wide formats are fantastic!... Super 8 is meant to be amateur and look like home movies. I definitely get off base and try to push the medium from time-to-time... but it usually just leads to frustration. I've learned to embrace the 4x3 and the grain. I CANNOT deal with the jitter, however. I just cannot bring myself to embrace that. So, I DO post stabilize everything. I know it's sometimes obvious. But, the occasional weird motion or warping is 100 times more acceptable and less distracting to me than that constant jumping, bobbing and weaving of the Super 8 frame. It makes me angry. LOL So, my advice, if you want 16x9 on film... shoot Super 16 or Ultra 16. And... even still.... overscan the frame at 4k+ so you can post stabilize and/or crop to your desire framing. Don't bake in your frame decision at scan time. If you really want it on Super 8, be sure to scan at a very high res so you can avoid up-resing to frame things correctly. That REALLY make the image soft quickly.
  15. Yes.... but remember that the Walking Dead is purposely trying to get a soft "comic book like" image. They don't want it to be as sharp and fine grained as possible. They even shoot 500T outdoors because they want that chunky grain. :) I love The Walking Dead (except how much it's slowed down these last 2 seasons), but it looks God awful on streaming media due to compression chunking up the already chunky grain. I try to watch online for the story line and ignore the cinematic aspect, then watch the Blu-Rays a few months after the end of the season.
  16. Every day outdoors is a 50D day for me! :) Unless it's so dark from such a severe storm that you wouldn't be standing outdoors anyhow. In fact, shot a roll of Kodakchrome 64 35mm from the freezer yesterday for a test run with a new color processing solution. The photographer doing it may even have a Super 8 and 16mm solution for all those rolls of Kodachrome 40 in the freezer that have been waiting for that home chemist to take on the challenge. I love slow speed color films!
  17. True on all that Rob. I suggested Neat video as it's the best I know for short money. Also, I have an aversion to the Spirit that is primarily due to super 8 or poorly registered 16mm. The line sensor system causes a morphing and warping if the frame is not perfectly solid... a serious problem for Super 8 which is never solidly registered. Clearly a good 35mm camera should not be plagued by this issue. (note that this issue is inherent in all line sensor scanners/telecines I've ever used/seen... not just the Spirit.
  18. The direct from Kodak, process cinelab, scan Gamma Ray digital is my go to workflow for my wedding films. It's the perfect balance of cost and quality.
  19. Even in 35mm anything you shoot is going to have "grain" unless you shoot digital. I highly recommend the Director at MetroPost but any of them will provide excellent results from a properly exposed negative. (I'd avoid the Spirit... old school telecine). I agree with Perry, that YouTube footage is so low quality and bit rate (and likely denoised) that you will be unlikely to get (or my opinion want) a result like that. The best thing you can do is get a good 4k scan and then use something like Neat Video to reduce the noise and grain. But, if you shoot 5203, 5207 or 5213 properly the grain structure should look quite pleasing and cinematic. 5219 always looks chunky to me, even in 35mm... just my opinion. If you plan to denoise/degrain in post I even more highly recommend the highest resolution scan from a full RGB scanner like the Director, Xena or Northlight as properly resolving the grain will be that much more important if you want to remove or smooth it out later. This footage has no noise or grain reduction. Its Super16, not 35mm, but you'll get an idea. This is from the Director at MetroPost. Https://vimeo.com/203549863?ref=em-share This is an extreme example of noise reduction using neat video on some 7203 super 8. I know not quite 35mm, but you get the idea. Note that although I do t have a post to share I redid this super 8 footage and test using a log scan from the scanstation at Gamma Ray digital and achieved a FAR better result. Good scans make the results even better.
  20. I would be very interested in if you also had a 2c to go with them. :) Dave
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