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Dylan Gonzalez

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  1. I'm creating a Super 8 booklet for novice filmmakers. The idea is to explain what Super 8 is, showcase what it can do, and to cover all the basic steps, so that someone with no knowledge could come out with an understanding of how to film using Super 8. Also, since its been awhile since I've shot on Super 8, this is a way for me to get back into Super 8. Its for a college project, but I'm going to release it online as a free PDF afterwards, and hopefully it can be a help to anyone who wants to learn about Super 8. What I really need are stills and photos (of Super 8 cameras, film cartridges, etc.) for the manual, and I'm wondering if any of you would have material you wouldn't mind being used. I really want to showcase what Super 8 can do, so I want to have some stills/screenshots. Anyone who helps would get full attribution in the manual, plus a small byline or paragraph where you could plug a project, website or service. And...if you have any feedback or thoughts about this manual, I'd love to here your thoughts on it!
  2. I recently got my first reel of Super 8 footage telecined. It was shot on a Canon 514 XL-S using Ektachrome 100D Color Reversal. I just shot a bunch of random stuff handheld, as I've never used this camera or Super 8 footage in general before. I just wanted to make sure the camera was operational and figure out what I need to work on. I'm aware the footage is overexposed...and that's after being corrected. The 514 only has auto-exposure, so I believe I'm going to have to lock the camera at a lower exposure before I shoot outdoors. It's also out of focus at times. Part of that is my own fault, as I was fiddling with the focus while shooting, but I'm definitely going to have to put a bit more work into keeping everything in focus. The footage is here: https://www.youtube.com/watch?v=Sf4e7FmjCSY. I'm just wondering if anyone has any other advice or sees any other issues with it beyond exposure or focus.
  3. Thanks for the help, Will. I ended up e-mailing the facility and asking them about this. According to them, there's no big difference either way and he reccommended I go with 23.98 fps, as most people do. I submitted my order and I'll see how the footage turns out.
  4. Thanks, Chris and Will. I e-mailed Frame Discreet and I think I'm going to go with ProRes. Right now, the only thing I'm a bit iffy on is the frame rate I should have the footage transfered to. Some of the feedback has been mixed.
  5. Thanks for the help, Matt and David. I think I'm going to e-mail framediscreet directly with some questions and see what they say - I would prefer to use them if possible, as I can deliver my film in person. I believe they only use Pro Res 422 at this facility though, so I'll have to look into this.
  6. Thanks David, Zachariah and Chris for the feedback. This is a huge help for me. I was looking at this facility: http://framediscreet.com/. It was reccommended to me when I purchased film stock at a local university film club. My only concern with the Pro Res codecs is that I edit on Adobe Premiere Pro CS5. I've had trouble using this codec before - the software doesn't export Pro Res and I believe there are bunch of hoops you have to jump through to import and work with Pro Res footage. I have one reel of color reversal (Ektachrome 100D) simply for testing/experimentation purposes and then two reels of color negative (Vision 3 200T and Vision 3 500T). I shot using a Canon 514 XL-S. Most likely, I'll just upload the film to the Internet, but I might send it out to festivals if it turns out OK. I will check out the facilities you have listed. Thanks very much for these suggestions.
  7. I have 3 rolls of super-8 film that I want to get developed now. However, being new to super-8 and film in general, I'm really lost when it comes to what I should do getting my footage telecined/transfered. I'm used to directly inputting my footage from my HD cam to the computer via USB, which is a pretty simple process in comparison. I have a few questions concerning this process: 1) What fps should I get my footage transfered to? It was shot at 24fps, but the facility I'm looking at offers 29.97 (typical SD), 23.98 (typical HD) and 24 fps. I'm a little confused as to what would offer me the best quality. 2) What should I have my stock transferred to? A harddrive? A data DVD? What is the best option? 3) Are there any other concerns I should have with this process? Anything I should look out for?
  8. I'm piggy-backing on the other recent post, but I was just wondering if I should be switching my filter to tungsten or daylight when using Vision 3 200T on my Canon 514-XLS, specifically for outdoor use. It is my understanding that the filter has to be switched to the daylight setting to make the film daylight-balanced, but I just want to be sure.
  9. Thanks, David. I'll consider it picking one up before I shoot more reversal. I think the facility that does telecine in my city has a projector and will allow me to view some footage on that too. I already went by once, as I was going to get one reel scanned - it was too cost prohibitive to get just one reel telecined (I could get 3-4 done for the same price), but the lady there mentioned they did have a projector that she could use to make sure it turned out.
  10. Wow, that's really night and day. Thanks for the information, David. Its a big help! I think I'm going to try to experiment a bit with both film stocks. Its good to know I could get the reversal feel using negative and a good facility. However, there are some scanning and processing facilities in my city, and since it will work out a lot cheaper for me to use them, I want to start with them and see their results before I ship out to a company like Pro8mm. I already have one reel of Ektachrome 100D shot and processed, so once I get it scanned, I can hopefully get a general idea of the quality of the scan (not that I know much, but as long as it looks good to my eye - I'll probably post it here for feedback too). My next couple projects I would actually want the negative feel, with more natural and muted colors. The white grain for me is a bit of a stickler though - I really dislike the look of it.
  11. Thanks, Adrian. Would you say that reversal generally has a more saturated and highly contrasted look, though?
  12. I realise there are many differences between different types of stock, but I'm wondering if generally, as a rule of thumb, reversal film has a more retro, highly-saturated look than negative, as outlined here: http://hellosuper8.com/blog/12639806/.
  13. Thanks for the tip, Miguel. I still have to look into this, but it might be the answer for me.
  14. I've been meaning to volunteer there, but I don't think they have Super-8 film anyway. I bought my previous cartridge from a UofT film society.
  15. Thanks for the help, David. That list is exactly what I was looking for. I live in Toronto, Ontario, Canada. There's actually some processing options I have here in the city, so, unless it worked out cheaper, I wouldn't have to ship it back to be processed. I'm new to super-8 and have a very basic understanding of film stocks. I don't have to shoot reversal. I started with reversal because - after reading about super-8 cameras - I thought it seemed like a good starting point. The reason I wanted to continue too was because I already shot a couple cartridges on reversal and they turned out, so I'm kind of comfortable using them. I also dislike the white grain flecks on some of the negative film stocks I used I've seen footage from, although this isn't a huge concern at the end of the day. Maybe it does make a lot more sense to switch to a negative, like Vision3 50D.
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