Nate Downes

Emulsion No. 5205-24-08 Kodak Super-X Gun Camera Safety Film Blue Base "Develop before Oct 1945" The man I bought it from claims it was kept refrigerated.

I almost bought some reels of 4-X B&W film, but the guy selling it was asking too much. So I got the Super-X instead. I am still surprised at how good the Super-X's results were. I should telecine some clips from it to show you all.

You probably mean Tri-X, because Super X pan (or was it Super XX pan) was discontinued ages and ages ago. - G. Nope, I ment Super-X. US Army WWII issue. 40 meters unshot. Felt like seeing what the results were. Pretty good for 60+ year old film.

Ok, now I feel like some kind of overachiever, working on a 3:1 ratio for a 90-minute.

Egads, more options! (need to finish testing these S8 cams)

No arguements here. I just shot some Super-X on my Filmo to compare to the Plus-X I ran through my Super8. The Plus-X actually looked better, even tho it was on a much smaller format, very impressive.

I was in the Tampa Bay area (St. Petersburg). Born and raised there. I worked primarily in the corporate video world, some film jobs ocassionally, '89-'98. I'm in the Royal Palm Beach area, I see how competitive it can be. (not as bad as Tampa tho, not as large a talent pool) Doesn't help that I work with Film rather than DV.

Doesn't even have to be an H8. A B8 or an L8 will help. Shoot, even go for Super8 cameras, they can be found at flea markets for under $10. (That's how I got started) I've done more than a little work on my $5 Vivitar Super8. Or on my $20 Bolex L8.

I'm relocating to central Florida at the end of the month, and as I don't know people around here it is a challenge to network. So, I'm writing to see if anyone could make use of a semi-pro cinematographer with his own 16mm and Super8 equipment.

It would be easier if we knew what you were looking to write. I know several screenwriters of varying strengths, but wouldn't know which one to send your way.

I have to agree with everyone else here, Bolex is not the ideal choice for sound. If you can afford it, go for the Arri.

Always use the right equipment for the job. However, a trick my old professor taught me is to write to your equipment. Example, I own a Filmo, a Keystone, a Cinkvox and a B&H 200EE, not what anyone would classify as "top-end" by any means. So, I wrote a script that played to their strengths and by-passed their weaknesses. Filmo's great for those synch shots, used that almost exclusively for dialog, with the Cinkvox backing it up (added a synch to that). The Keystone was my 2nd unit, and as it could get 64fps was great for slow-mo work. And that 200EE? The thing is TINY! I squeezed it into spots that are absolutely impossible with normal cameras. Just my 2 bits.

As an ameteur wishing to get into indies, there's no clear guide to that either. Guess I need to find someone willing to take a chance on my portfolio. (the fact I own my own cameras might help)