Joerg Polzfusz

Funny idea, great realization. I like it. And if you wouldn’t have mentioned the LEDs, I would not have noticed.

When your camera has an electrical remote release for single frames like a Super8-camera, then you can use the CineAssist: http://cineassist.filmcurl.com

So: Who’s the real manufacturer of the film? China Lucky Film (but it isn’t located in Shanghai) or maybe https://shop.shjcfilm.com/products/shenguang-400-135-color-negative-film (at least this company is based in Shanghai - even though it is rumored that it has closed in 2019)?

There have been at least two versions of the 106: The first generation needed a separate battery for the lightmeter. The last generation didn’t need a separate battery anymore. Here, the compartment for the coin cell still exists, but is „sealed“. Also, in the manual for this generation, there’s a „no more separate battery needed“-sticker on all pages that still referenced the coin cell. (At least this was the case in the German manuals.) These two versions can be easily found „in the wild“. There has been some debate whether there really was a „generation in between“ that was having a rechargeable coin cell (that was charged from the AA-batteries). This might have also been a „translation error“ in some manuals.

Hi! Simply use this ruler: http://www.peaceman.de/blog/index.php/super-8-notch-ruler-new-and-improved (BTW: The Vision3 50D is notched as 40D and the 200T as 160T. The difference is very, very small and negative filmstocks don’t mind a little over-exposure. And the Ektachrome 100D is notched as 100D. So, there’s nothing to worry about when using the camera’s autoexposure with these three filmstocks - as long as you are using a fully working camera that „knows“ 40D, 160T and 100D. But that’s what you need the ruler for. Not sure about the other filmstocks.) Hope this helps Jörg

Hi! It’s not only the lighting and potential flaws in the transfer. You should also take a look at the props, haircuts, dresses, …: Everything in Pulp Fiction looks like „typically 70s“: Samuel L. Jackson‘s haircut, the reel-to-reel-tape-recorder in the Marsellus‘ flat, … . The Jack Rabbit Slim‘s even looks like 50s, … . So it’s very, very hard for you brain to agree to the fact that it’s a film shot in the 1990s. Just my 2 cents Jörg

At least an English brochure is available online: http://issuu.com/filmmaker8.com/docs/beaulieu_1008_xl_-_brochure

As you're in the USA: http://www.craigcamera.com/ib_b.htm (Even though the founder has died some years ago, his widow is still selling the remaining manuals.)

You might want to take a look at this thread: http://www.filmshooting.com/scripts/forum/viewtopic.php?f=1&t=24780 Other than this: Most video-editing-tools allow colour-correction by selecting a pixel that was supposed to be white. This works for me (in most of the cases). But I still have to increase contrast and luminance after this.

Hi, you might want to take a look at this list (even though some links might be dead and some of the labs might have been closed): http://super8wiki.com/index.php/Category:FAQ#Where_to_Find_Equipment.2C_Processing_and.2For_Telecine Nearly all labs are now offering worldwide services. There are labs in Australia (e.g. Nanolab), Japan (e.g. Retro8) and Southern/Northern/Central America that might be cheaper and faster than dealing with labs in Europe (e.g. Andec). Kodak also has got a list of labs, too (even though it's less complete): http://motion.kodak.com/motion/Support/Laboratories_Directory/index.htm Jörg

You'll have to ask the owner of the webpage yourself. ;-) The owner is "Friedemann Wachsmuth". He's also a member of this forum: http://www.cinematography.com/index.php?showuser=47833 AFAIK some of his films on Vimeo are processed by himself in his tank: https://vimeo.com/peaceman/videos/

2K. There are also a few companies that can do "traditional" blow-ups from Super8 to 35mm (=no need for getting a transfer), e.g.: http://www.studiogamma.be/gonflage_en.php http://www.andecfilm.de/en/e_start.htm

http://www.peaceman.de/blog/index.php/inexpensive-super-8-home-processing-tank

Hi, there are normally two problems with older projectors: Rubber belts have deteriorated. They now either turn to glue, break into small pieces or are too slippery to operate correctly. The take-up arm's friction clutch has deteriorated (as it's made of cork in some projectors). Hence the reel doesn't move even though the belts, motors, ... perform correctly. The second problem is more a related to 16mm or larger. This is because the reels aren't that heavy for standard8/super8 and hence some (or even most) standard8/super8-projectors don't even have a friction clutch. Therefore I can't tell whether the second problem could occur with your projector. ;-) BTW: Are you sure that all knobs, triggers, dials etc. are at the correct position? Some of the projectors do have a "film removal from path"- or "threading"-mode where some functions might be set to "idle"... ;-) Good luck, Jörg

Hi, I've dealt with Blue Cine Tech at least three times over the last and never had any problem. Maybe they're just on summer-vacation and forgot to state it on their webpage? Jörg

Unfortunately that survey is completely useless as they've mixed cine and still without any sense. E.g.: As I'm shooting 135, Super8, DS8 and Single8: Which format should I use for the costs?! And how does ferrania know which format I'm using for the prices? (Not to mention that none of the four formats comes in rolls...)

Please forget that link. I meant to post another link: http://www.leefilters.com/index.php/camera/system Unfortunately I can't edit my post any more. :-( (There are more rotatable filter-holders from Lee and other companies. So there must be one that's suited for your filter. But I haven't found any motorised versions...)

What about this one? http://www.owis.eu/en/products/motorized-positioning-systems/produktgruppe/filterraeder/produkt/8/productview/Main/

Why is the loading-advice in French? Was the whole film "Made in France"?

Hi, with the dawn of the 200ASA-reversal-films, I'm thinking about getting myself a ND-filter. But I'm stuck: Should I use a variable ND-filter? Or one with a fixed factor? Is a cheap no-name Chinese filter (<20€) good enough for "8mm type S"? Or shall I get myself a more expensive filter? AFAIK cheapest: http://www.pearl.de/a-NC1946-1304.shtml Cheap, but at least from a well-known brand: http://www.fotokoch.de/Hoya-Graufilter-ND-4-HMC-E-55_32792.html AFAIK most expensive: http://www.fotoimpex.de/shop/kameras-zubehoer/heliopan-filter-grau-nd-06-serie-vi.html So what are you using? And what would you recommend? Jörg

The result of Film9 looks great! Could you please also upload the original mp4?

Nope, you'll have to set the switch to "bulb" (=no filter). (Theoretically you don't have to do this as the Vision3 50D is correctly notched as "daylight balanced". Hence the camera should automatically disable the filter. But as disabling an already disabled filter doesn't hurt and as it's difficult to check whether the camera's automatism still works correctly....)

Another source: http://www.silverprint.co.uk/ProductByGroup.asp?PrGrp=29

http://www.panavision.co.uk/panastore/default.asp?cid=37&clr=true http://www.18frames.co.uk/ http://www.bluecinetech.co.uk/

Mr. Wachsmuth has tested developing Vision3 as reversal (in Super8): http://www.filmkorn.org/kodak-vision-zum-positiv-entwickeln/