Zachariah Shanahan

I've been considering Color Negative Vision 3 because of it's speed. Haven't been too impressed with Reversal so far.

Anyone else care to add to the discussion?

It's all a matter of experimentation. I am determined to find the correct way to make it acceptable for an audience. At no point did I mention matching digital to Super 8. I will be shooting with (at the least) a Super 16mm sensor and a layer of film grain will be added in post production. It wouldn't be SUCH a big deal if we shot on S16mm film stock but that's out of the question, budget wise. I will venture forth under a lack of resources!

I've seen a few of these, all great! I created this follow up thread...Combining S8mm with a RAW workflow(Or just digital) - Super-8 - Cinematography.com

That's a brilliant suggestion, thank you. I'm dealing with a psychological thriller, so that would be a very effective approach. I don't want it to feel like an Oliver Stone film with 3 formats cutting together for over indulgence.

I had a recent plan to shoot a short exclusively on S8mm. I love the look, but I now feel it's best reserved for certain sequences to compliment a narrative. I don't want my story to be hindered by a lack of crystal sync etc. so refuse to adapt a serious film around the format just to shoot it because I love the organic look. With the advent of RAW and the ability to play with the grading on an extreme level, I reached the conclusion that the BlackMagic Cinema Camera would be a perfect couple for S8mm. It's look is extremely proffesional compared to that of DSLR and it could be used for dialogue sequences and ones that rely on multiple takes. So I've begun to theorise the best way to use S8mm alongside a digital workflow. Now, I don't want to stick to flashbacks (cliche), instead I aim to deliver a refreshing mix of images that will not feel out of place. I don't want the audience to get taken out of the story because of it. It's a tricky discussion. I wonder if anyone on the board has had sucess experimenting with intercutting film and digital formats for cinematic effect?

http://www.ebay.com.au/itm/USED-Beaulieu-Pro-16mm-Movie-Camera-Angenieux-17-68mm-F-1-7-Lens-/171034625139?pt=US_Vintage_Cameras&hash=item27d2754473&_uhb=1 http://www.samys.com/mp/Used//Pro-16mm-Movie-Camera-+-Angenieux-17-68mm-F/1.7-Lens-Used/117904.html;jsessionid=ABD791FF917FA437D4C2FE3A57AB2B44 I can see it was sold by Pro8mm, but it listed as Pro16mm. They don't sell 16mm camera's anymore but I'm sure this is a plus that it was likely serviced and cleaned up before being resold. Can someone please help me identify the model so I can judge it's specs?

There are so many experimental shorts and an abundance of test rolls, quick tests and so on. It's really disappointing to find no quality short films for the format. There are a few Straight8's but that doesn't equate to the same thing in my opinion. I'm talking about short films with dialogue, a complete narrative shot on S8. Can anyone help me out?

I'm new to this... is that something the developer should be notified of? Do regular S8 users give explicit details about the exposure for their rolls, how will the final image be affected by this?

Correct, I already know what needs to be done. Frame by frame is very important. Though Retro8 is too cheap to ignore for a first viewing.

Might I add, if they could only be processed as B&W, I'd scrap the idea. I'm interested in the faded colours, grain and the unknown of it all.

I see your point, it does seem like a waste not to try though. The processing fee is not an issue for me, I'm just curious for the results.

Have a Fuji RT200 from 84, RT50 from '02 in the post. Purchased for the Single8mm cart only so rolls are a bonus for experimentation. What results have people had with exposing expired film? I've no knowledge of their storage at this point. Use a ZC1000. I'd love to know.

Seeing as Single 8 can rewind and fast forward, I should have no problem with practise, the issue that still remains is prying open the cartridge carefully...Does anyone here know the sweet spots?

Can anyone please explain how Fuji 100 can be pushed to 200 and 400ASA?

Hi I recently got back my telecine Single8 footage from Retro8. They do a great deal Australian$8/1 minute for HD ProRes 422, which is a bargain for viewing footage cheaply. I requested playback/capture at 24FPS. Anyway, running it through Sony Vegas Pro 12 I match the project settings to that of the video files and for some reason it is recognizing as 29.970FPS no matter what I do. Though it's apparently not an error on Retro8's part, I'm the first customer to inquire how this has happened. They capture with 5DMk2 and transfer via Ninja, apparently at the only available option 60i (NTSC). Tak from Retro says that his company is not digital minded but suggested me slowing the footage down. Then I have the issue of the interlacing, which defeats the purpose of shooting on film in the first place. The actual Video details are listed as 1920x1080x24, which is so strange, but it has definitely been sped up in the process. I highly doubt it's an error within Vegas Pro 12, so it must have happened in the creation of the file. I need to find a solution as I plan to shoot S8mm narrative in a month. Can anyone break down my possible options for this batch of footage if I want to edit in 24FPS. The destination for my project is a festival run. I'm the Director/2nd Unit DP, not an editor, but I can already foresee problems with this batch, and will likely need to find another company for the final cut's transfer. Who out of Cinelicious, FrameDiscreet etc. have the most reasonable deal $ per/min for a 1080p strict 24FPS transfer with no fuss? People who know what they are doing? Would it be cheeky to simply splice together the stuff I want done? Sorry for the long thread.... Regards

Thank you so much! Also I did ask Ignacio, who I have on FB, but he must be busy, no response yet.

Ok, I'd like to shoot Vision 200T on my ZC1000 and have found that there are different types of cartridges. The newer ones are one complete piece of plastic and it looks nigh impossible to open them without damaging, but I have 2 unexposed carts from Retro8 that must be the older type that they reuse for future stock, being easier to pry open, glued back together. I have an already opened Single 8 cart in the post, and some crappy old film that came in another Super8 camera, and will be practicing asap. I'm wondering has anyone taken the steps to complete such a process and knows the sweet spots to carefully open and load. I know that 40ft will only fit inside and I'll have to trim 10, which I later plan to cement together to use. Regards!

Thank you very much! I might add Retro8/Retro Enterprises is now completely out of 64T so I search for a new alternative.

For someone new to the small format scene, this kind of resource can be extremely helpful. Are there any outgoing experienced people on the board willing to help write up a list? Companies -negative -reversal -B&W etc. I see countless threads about stock tests old and new, but it involves a lot of sifting and some of it is out of date. Look forward to hearing from you. Regards Zachariel J Shanahan

It's an incredible prospect to behold. I'm working on my first S8mm project at the moment so I'm discovering the limitations with tests etc. though I think with the technology available now it's never been a better time to embrace the small format. Yeah, As'Image list their 4K scans at 3296 x 2472 though I found no mention of Kinetta on their site. Though this is a giant image to work with! @Dom you're from Melbourne. I'm in the Gold Coast. Do you get your stock from NanoLab?

If it was shot at 24fps then get it transferred at 24fps to your own HDD in High Definition. It will appear jumpy if you mess around with the captured frame rate. Pro Res 422 is great to edit with. If you want more control of the image then find a lab that does Pro Res 4444. What facility are you looking at? You should get it processed as soon as possible but take your time finding the right company to do the transfer/telecine/scan. These are all different methods which will produce varying results. A lot of places record the image while projected on a wall. You don't really want that for footage used for a final cut of a project. Ask in scrupulous detail what equipment they use and for examples of their results. Good luck.

Around 150k, there are only a few available to the public worldwide according to what I've found out. No idea what the rates would be. They are more advantageous for the small formats, as opposed to 16, 32 etc.

Greetings fellow S8mm users! I''m planning to shoot a 7 minute narrative festival short on my Fujica ZC-1000 with a variety of stock from Retro 8(http://film.club.ne.jp/english/englishindex.html ) using the Fujinon f/1.8 7.5-70mm Currently in pre-prod researching theory in attaining a cinematic look on Single 8mm with the use of anamorphic lenses etc. but my mind keeps flowing back to an Ultra HD scan since I heard of the Kinetta (http://www.kinetta.com/) used on "Our Nixon" http://vimeo.com/45079849 I want to play with as large a res file as possible, at least 2.5k, so I can dramatically work with the image in post and crop it. Though this might not sound feasible I want as close to 16:9 as possible. I've heard that Cinelicious (http://cinelicious.tv/we-love-film/small-formats) has a great rep. Alternatively, if anyone knows of a scanning house with a Kinetta they could please share. I found the Massachusetts College of Art and Design has one for their students, so I'm waiting for an answer for their service. Regards Zachariel J Shanahan "Aspiring" Filmmaker PS: I should be getting 5 test rolls/holiday film of HD scans from Retro8 soon, though I think they just do a telecine with a 5d Mk2. I'll share the results when I get them. I've been very impressed with Tak's service since we spoke on the phone on their Tokyo premises (as the front of desk couldn't speak English (^_^)