Nate Downes

Are you SURE it is "Super-X"?  What is the film code number?  If it starts with a "12.." it is likely dangerous NITRATE film.  Be careful!!!  Nonetheless, quite a testimonial for the keeping qualities of the film.  Was it refrigerated?

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.

Yeah. EASTMAN 4-X Negative Film 5224/7224 is an oldie but goodie. EI500 in daylight, EI400 tungsten. Distinctive grain.

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.

I just shot some Super-X on my Filmo to compare to the Plus-X I ran through my Super8.

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.

Don't think it's a rumor. I was told specifically by a Kodak rep that the '18 stock and the new '17 (200T) stock would soon be available in S-8. Don't know the timeline, but they are on the way. George, why not just call down to 31st St. and ask?

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

In the last few years, Kodak has made some significant improvements to its line of B&W films. Give them a try!

 

http://www.kodak.com/US/en/motion/products...0.1.4.4.8&lc=en

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.

Michael, where were you located in FL?

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.

If you shoot B&W still 35mm film with colored filters and a fully manual camera your learning price will be lower for only the first rolls. Otherwise get a R8mm camera like a Bolex H8 and shoot some movie film. That way you don't need a 35mm still camera and all that extra expense. Bracket your first shots, keep records of everything and only use one film type and processor labratory till you get perfect results. Look for web sites as there are a ton of them. Some teach more than others. Use a hand held light meter. If you want to see my old teaching webs made with new film making learning in mind I could send you a copy; see my current web on learning 16mm shooting with cheap cameras and Black & White film:

http://www.16mmoviemaking.com

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.

Hi I need to get in touch with a screen writer for a movie. If any of you guys know where I can find someone willing to write please send them my way. My email is Superfight34@hotmail.com.

 

Thanks,

Alex

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)