Joerg Polzfusz

Could this be the „end of film indicator“? (I would have expected it to be much closer to the viewfinder and hence not visible on this photo. But it might be worth a try.)

When you ignore factors like camera-defects that leads to jittery images, then it’s filter+lens+film.

When shooting with S8, you would need to do it in camera with an additional tool like the http://cineassist.filmcurl.com. But be aware that this heavily depends on your camera.

Hi! Speed ramping is normally done in post. The way to do it in Adobe Premiere Pro is explained here: https://motionarray.com/learn/premiere-pro/premiere-pro-speed-ramping-tutorial/ IMHO the results are better when shooting the whole scene in SloMo and then letting the video editing software skip the obsolete frames. But this depends on the camera and the software.

Hi! Most microphones for S8-cameras are unidirectional. There are hundreds of modern equivalents to them. However, there aren’t any modern „boom microphones“ that I know of (as they expect you to have proper microphone stands/tripods with extensions etc.). The main questions are: Mono or stereo? Do you only need the sound as a reference? Or should it be the only source for your final result? Do you know the difference between a microphone directly attached to the guitar and a microphone being located several meters away? Why don‘t you use a wireless microphone or a sound-guy with a boompole?

On Muddy‘s webpage, you can also see one of those „additional holes“ that are present on the cartridges of the Fujichrome RT200N, but not on the other cartridges…

BTW: Here‘s an interesting Japanese article on the three means of indicating the film speed (with Google translation): https://www-muddyfilm-net.translate.goog/2006/04/single8speedset.html?_x_tr_sch=http&_x_tr_sl=auto&_x_tr_tl=de&_x_tr_hl=de According to that page, the „lower notch“ isn’t to distinguish between tungsten and daylight balanced films, but between b&w (notch filled = not present) and Fujichrome (notch present). Strange…

There are three alternative places that define the speed. Most cameras made/sold by Fuji are using the „arc“ (1). An exception is the AX100 (which was made by Kokah and only distributed by Fuji). But I don’t remember whether it’s using the holes (2) or the position of the „nose“ (3). Not sure about the C100. The Elmos are all not using the arc. Same is true for the first Canon. Not sure about the second Canon, the Konicas and the Yashicas. Beside the tungsten/daylight notch (that AFAIK is not used by any camera), Fuji also added „some more holes“. Their purpose is unknown to me. Some say that Fuji used them to automatically differ between Fujicolor (K-12 process), Fujichrome (modified E6) and Fujipan/Neopan (b&w). But I cannot tell whether this is correct. Hope this helps Jörg

Maybe you are only lacking some adapter? https://modernstudio.com/collections/pins/products/copy-of-stand-adapter-1-1-8-to-5-8-steel Or the manufacturer is using some cheap Chinese stands with a non-standard mount, e.g. a parasol stand?!

In the lower image, the „pixar-logo lamp“ is looking straight down and hence isn’t illuminating the actress. In the upper image, the lamp has a 45° angle and hence is illuminating the actor‘s legs. Also, the lamp is much stronger in the upper image (something like 100W vs. 25-40W when it’s an undimmed traditional light bulb).

The lower image is more yellow. I cannot tell whether this was done in post or with a filter or some camera setting (white balance?). I would also assume that the lower image has got one more lamp (positioned on the floor, left of the camera, illuminating the woman’s face and legs).

https://www.kodak.com/en/motion/page/kodak-cinema-tools

You should be able to stick to 16fps. Most playback devices will then take care of the rest on their own. The only frame-rate-limitations left in the digital realm are for DVD, Blu-ray or certain video-platforms (YouTube, …) or for certain (outdated) codecs. In any case: Simply doubling the frames will result in some jitter. Hence, most video editing softwares will use interpolation or even AI to create the missing frames. BTW: Keep in mind that there’s no 30fps frame rate for video. It’s still that strange NTSC frame rate with only 29.97fps (even though most software or devices will show the rounded value of 30fps). Good luck with your project!

As you seem to be located in London, you might want to contact these companies: https://www.ontrack.com/en-gb/data-recovery/london https://www.dataclinic.co.uk/ (I have never used their services. But a company that I used to work for once used Ontrack (German branch) to recover data from a crashed hard drive. They complained about the invoice. But more than 95% of the physically damaged hard drive was rescued in only a few days.) Of course, there’s also the chance the the Tascam simply failed to record. Hence, there might be nothing to recover.

Hi! That‘s bad luck. Did you try the software „Recoverit Data Recovery“? Or some professional service that offers data recovery? Did you check the SD-card‘s „write protection“-switch? Sometimes it gets enabled by accident when putting the card into the device (camera, PC, recorder, …). Depending on the file-system (VFAT32, NTFS,…) and OS (Windows, Linux, MacOS,…), there is also a software flag that can turn the whole card or a whole partition write protected. There are also some viruses/ransomwares that can turn SD-cards to „read only“. I also had some USB-sticks/SD-cards/Micro-SD-cards that suddenly stopped working after one or two months without any obvious reason. Also check the Tascam‘s sd-card-slot for dirt. And test it with a different card. I hope that you can recover your data! Good luck! Jörg

Hi! Try http://www.retro8.com/service/mente.html or https://www.kamera-service.at/index.php?id=47 or https://www.photo-prosswitz.de/reparaturannahme/ Not sure whether this company is still in business: http://www.filmmaker8.com/Camera_Service.html Good luck! Jörg

Hi! Did you read this thread?

Hi! Two years ago, I bought some license for a „text to speech“ tool as my oldest daughter needed it for some school projects. I’m getting advertising emails from the creators of the tool ever since. In 99%, I‘m simply deleting them. But sometimes, they contain interesting information. This time, it’s so interesting that I’m even going to share it. Quote: Hey Friend, Are you as constantly surprised, as I am, at what AI and specifically ChatGTP can do... For example: Did you know that you can enter ANY YouTube URL and get ChatGTP to write: ? A summary of its content ? List the HashTags of that video ? List the search terms it's targeting... ? and all kinds of insights and suggestions... ? Even write a complete Transcript of its content! ? THEN it can rewrite that transcript in a different 'style' To do that simply login to ChatGPT and enter the prompt: "Generate a transcript for this YouTube video [insert YouTube video URL] using ChatGPT." Once it's done that then add the prompt: "Now rewrite that transcript in the style of [insert a famous persons name]" Truly mindblowing right? ? Now while that might be super helpful when it comes to creating content for and ranking your own videos... But YOUR videos can be reverse-engineered by your competition as well!

Does the music has to be played on a piano or cinema organ? Which genre is the movie (comedy, tragedy, horror, …)? https://filmmusic.io/genres/silent-film-score https://pixabay.com/music/search/silent movie/ https://motionarray.com/royalty-free-music/silent-movie-21099/ https://licensing.jamendo.com/en/royalty-free-music/project/filmtv/silent-film On archive.org, there are also several old 78rpm records that lost copyright due to their age (in the USA - the legal situation e.g. in Germany is different). More orchestral music: https://incompetech.com/music/royalty-free/music.html

Hi! The amount of dialogues should match the mood and the pace of the film. Think about „Fargo“ with the „usual amount“ of dialogues. It would have ruined the film. Or think about „Pulp Fiction“ or „Beverly Hills Cop“ with less dialogues… . In other words: The amount of dialogues should be an artistic decision made at the stage of writing the script. (This doesn’t prevent real life examples from having too much dialogues, especially YouTube-videos that try to cover their obsolescence or TV-stuff that is created for an audience that is not properly paying attention because they are cooking or playing video games at the same time.) BTW: For me, the word „conflict“ is a little bit too limiting. Not every movie has to have an alien invasion. ? I guess that obstacles, problems or hurdles are better terms. Even „Totoro“ has these elements (mother in hospital, kids getting lost, kids fleeing from reality into a world of fantasy, …). You can also find it in documentaries about wild animals („will the zebras be able the cross the river without being eaten by crocodiles?“, „Is the eagle going to find enough nutrition for its hatchlings?“…). And in romantic movies, the problem will be more like „is he able to fight his fear of rejection and will ask the girl for a date?“ You’ll also notice that most movies have more than one problem. E.g. in most disaster movies, there’s a not only the disaster as „obstacle“, but also a family or a couple that gets separated and now wants to reunite. Or let’s take „Casablanca“: Is it about people trying to flee to the USA (which ones?)? Is it about resistance? Is it about the love of Rick and Ilsa? Or about the love of Victor and Ilsa? Or about sacrifice for a higher goal? Or about the friendship between Rick and Sam - or between Rick and Louis? Depending on your point of view, you’ll find a completely different „problem“ that is fixed in the movie - with the main „obstacle“ (WWII/Nazi dictatorship) not getting solved. Jörg

Hi! Psychological impact: When you put the filter onto the camera, then the actors/animals will act as when being in a normally lit room (because it will be „normally lit“). But with having red lights, they will act as being in a strangely lit room. (Unless you are working with very skilled actors and perfectly trained animals.) Optical impact: Simplified: The filter on the camera will simply add red to the „normal colors“. This will give slightly different results than having ref lights. When having red lights, then mirrors, metal, glass, liquids, …can still create „rainbow effects“ (in this case, the light will only be broken into red, orange and yellow). And you will have surfaces that will become nearly black (as they don’t reflect the red part of the light) while others will become „brighter than normal“ (as they mainly/only reflect red). On top: when the actors are using a smartphone/pc/laptop, then their screens will have „normal colors“. Welcome to Mars! Jörg

Now, you can finally fix the sound mix in post-post: https://www.iflscience.com/amazon-releases-ai-tool-so-you-can-finally-hear-dialogue-in-movies-68552

Maybe this one? https://www.filmkorn.org/super8data/database/cameras_list/cameras_bell/bell_2146g.htm It was sold with a fixed grip (-g in super8data) and with a foldable grip (-f in super8data).

Hi! Super8data has a lot of images: https://www.filmkorn.org/super8data/database/cameras_list/cameras_bell/cameras_bell.htm Same is true for Mondofoto (simply click onto „next“ until you reach your camera or the first „non-b&h“): http://www.mondofoto.com/encyclopedia/encyclopedia-26.html Good luck! Jörg

You can also get an extensible „clamping rod“ (something like this, even though this one wouldn’t be suited: https://toolineo.de/bosch-teleskop-klemmstange-bt-350-p!100000001861896.html ) and attach it between the van‘s floor and ceiling. Then, you can attach a tripod head with some clamp.