Rolando Morales

Thanks everyone! I have yet to send the film out. I have been testing other films I had in medium format.

I will definitely send the film out soon as I have another roll that I plan to shoot. I have not contacted Cinelab yet, but will see their suggestion. Also, I was shooting at the "normal" 18 fps. The roll is not THAT important, just family footage. Well important to us =)

Will update soon.

Thanks again =)

Hello all!

So i'm shooting my third roll ever of Super 8 and second roll in my Nizo 801 (first roll was perfect). Then when I'm almost done with the roll of Kodak 50D, at the Beach today, I realized my aperture was on f1.8. Then thinking a little more I'm pretty sure it was there from the start of the roll. After some internet search and reading the manual I tested the voltage using the "black dot" power circuit (On/OFF switch). It went straight to f16, great. I tried checking the batteries for the meter and the aperture crept back to f1.8. ok. SO then I tried manually adjusting the aperture, and it barely made it's way to f4 and would go no more and this was pointing at a bright wall in full sun.

Then I read a little about the "issues" with the batteries for the meter. I have never changed them since new, and from what I'm hoping for is that that may be the issue. I've also heard about "sticky shutters" but have no way to test that.

So I'm here asking anyone with this experience or similar what can I check aside from the new batteries I will be ordering. Also, should I even bother getting the 50D developed and scanned, being that it might be WAY over exposed? Or should I let Cinelab know and maybe they can get something going for it?

Any help and or suggestions is always appreciated. I tried a search but some things weren't to clear for me. Thanks to all in advance!

If you are planing on scanning and finishing digitally, I would shoot 500T and remove the color in post. The extra grain in 500T actually looks good in B&W. As far as anything being lost, if it is scanned well then all of that is adjusted in post (DaVinci Resolve is a great platform to adjust this.)

 

In her room you may be able to add more light so keep that in mind. The more light the better...you can always remove light in post but trying to "add light" in post never looks as good as the real thing.

 

The main difference you're talking about is negative vs. reversal when you talk 200T vs. Tri-X. Tri-X will have a higher contrast than the negative film at first but you can get the negative closer to that high contrast look if you want in post. Negative will also help you hold the highlights without blowing them out as much.

 

The 310xl may have a wide aperture but it doesn't have the best lens so keep that in mind.

Thanks! I have my Nizo 801, but figured I would bring the 310XL for its aperture. I will also be shooting stills in B&W. The film will get processed/scanned by Cinelab and Gamma Ray Digital. Thanks for the reminder on Negative vs. reversal, I didn't take that into account. 500t it is!

I'd say you'd probably be fine. Buuuuut if you're totally ok with converting color negative to B&W (and foregoing any option to project it) then just toss some 500T in there and shoot that. You'll be able to see in the dark with that film and the f1.0 lens of the 310XL. You'll actually have much MORE latitude if you use color negative converted to B&W than Tri-X 7266 since that's a reversal stock therefore less latitude. Then you can add contrast back in post like WIll said.

 

One of the first times I shot Super 8 was at my friend's wedding and the reception was SUPER low light and I shot it on 500T with my 514XL and then converted to B&W in post because of the terrible scan I got. You can see here. But if you get a nice scan you should be better off than this video.

 

But... as Will says, that lens is not the sharpest and you can ALSO see in my video that my focus is not always spot on. Granted I've gotten a lot better at focusing but the 310XL doesn't have the split-image focusing of the 514XL... just distance so judge carefully.

 

500T as B&W starts around 3:15 in the video.

 

Thanks again! I am totally fine with converting the color to B&W. And sadly, I wont be projecting the film either, at least not anytime soon.

I've seen that video (more than once haha), that's why I was hoping you'd also add your suggestions

Thank you both!

*sorry double post**

Hello everyone! I will be shooting a small home movie for my family. My sis in law has a newborn coming soon and I i wanted to shoot in black and white. I will be shooting inside the hospital and her room. I was thinking for the extra light that I might need, shooting in Kodak 200t and converting to black and white in FCP. I'm new to this, but i'm thinking the extra speed over 7266 will get me slightly better exposure. I will be using my Canon 310xl.

My question is, doing a 200t to B&W conversion, will anything be lost? shadow/high-light detail? I am also getting processed/scanned by the pro labs (not sure if that matters). OR should I just get the Tri-X 7266 and shoot with confidence. I mean, the 310xl has a pretty wide aperture so I can see how it can be used with no issues.

Thanks in advance!

I like it. I think im going to try 500t next.

Thanks everyone! I'll admit, nothing much to look at. But this is a reason I also chose S8 to shoot. I wanted this look and feel of everyday memories. I had to downsize the file to post on Vimeo (free account).

I did not use a light meter. I wanted to see how the cameras meter held up and to also learn the internal meter.

I have a roll of 200t from my recent trip to Georgia with some friends and this weekend I will be shooting another roll of 200t in my new to me Canon 310xl. Another "test roll" for that one. Can't wait to see those yet either haha

My first roll of Super 8. I shot very random scenes mostly at 18fps. I mixed in a few 24 and 54 fps. Most of the roll was under exposed a tad bit but nothing I couldn't fix in FCP. I am not sure what setting I had it on, bulb or tungsten. I do know I switched it back and forth here and there. I tried testing most settings and in very different lighting situations. As you can see towards the end I was shooting inside my living room with cloudy ambient light entering the room.

I am pleased and look forward to shooting some more.

Thanks to this forum and all of you who I have asked a ton of questions (Nick C. !) and all who have contributed for others to learn from. I have a ton of questions still AND I already purchased a second camera, a Canon 310XL.

Nizo 801
Kodak Tri-X 7266
Cinelab process and 2k scan

1 - Notch hack, yes or no? Do I even need it? I mainly ask for the Kodak films available and the Nizo 801 and/or Canon 310XL. My idea is just pop in the film and let either camera do its thing.

2 - Criticism is welcomed, but this is my FIRST roll. So any tips or suggestions can be helpful to me.

3- I added instrumental music. I wasn't going to but my wife said she liked it so I kept it. volume off if you want to keep it silent.

https://vimeo.com/258906211

Again, being the new guy here.. I LOVE seeing and reading all the different points being talked about.

One thing I will mention, I completely agree about learning the "right" way, manually. Everyone that asks me about getting into photography I always tell them to get an old manual camera and start with that. All my film cameras are manual except for one. I can see how the same logic is applied here. In my case I wanted something I could play with in an Automatic setting, but go manual if I chose (even if limited). I also wanted something portable, sort of. So a Super 8 clicked the boxes. Going in I did tons of research online and saw the differences in resolution and kind of like that old timey/choppy super 8 look. And if it were about resolution, I could have spent less (factoring the costs of film) in digital and gotten great results.

I also considered the "K3" to start with. Again, size was an issue. I really wanted something small. When I travel I tend to take more than a few cameras/formats with me, in ONE bag. So the least I can take and be happy is fine with me. These are MY reasons and Im not justifying it for anyone or any reason. I'm Just adding to the conversation on why someone might get into Super 8 at this point and time.

Oh and what do you guys think about Pro8mm? (jk)

For someone like me, new to this, it was about availability and ease of getting into this film medium. Super 8 cameras are pretty basic,readily available, working (most of the time) and less complicated for me. I looked into 16mm and got sidetracked on why I originally chose this new venture. Fun and ease. 16mm has a TON of options and also seem much larger in size. I wanted something small and portable. 16mm may well be up my alley one day, and you are right the resolution is REALLY attractive. For now though I will hopefully fall in love and then upgrade to 16 or even dare I say 35mm one day.

Kodak's new processing and scanning service will define what Super 8 costs will be while it lasts. I can't imagine they could sell the film, process it and scan it to 4k for less than $80 per roll+shipping...probably more like $99. For three and a half minutes? It will die quickly and be lampooned on the internet forever.

 

We all know that's pretty much the cost of Super 8 with a decent scan, but the world doesn't know it yet. Is it worth it? Sometimes...guess it depends on what you're shooting.

 

They SHOULD offer a budget service for just film and processing of Ektachrome for $50 or less. That might let it have a chance.

I agree that 3 1/2 minutes of footage for roughly $100 is kind of crazy for a hobbyist (Which i am). As for myself, I already spend about $25-$30 give or take on a roll of film that I send out to get processed, scanned and sent back prints. 36 images max. Sure, there are cheaper ways but I leave it to the pros in that area.

I only hope since i'm NOW getting into this hobby I can easily find various films to work with. Maybe I should start with the ones that are available first hehe ...

I definitely chose the wrong time to start shooting Super 8, but im ok with that.

Of course I battled going with some sort of digital camera for home/personal movies, but I already shoot film in 35mm and Medium format. Why break with what I love? I havent even shot my first roll but im already budgeting in my head up to $100 total per cartridge (cartridge,process,scan,shipping...).

I saw the Formapan, but its only 33'. Although double the money in some cases, i went and bought a few cartridges of Kodak which come at 50'. Being a newbie to the hobby, i still havent read about the Formapan being "Reversal" film and what that means.

Im still learning =)

Two articles have come out on the cinematography:

 

http://www.studiodaily.com/2018/01/cinematographers-m-david-mullen-asc-eric-moynier-marvelous-mrs-maisels-retro-nyc/

 

http://www.creativeplanetnetwork.com/news/shoot/impossible-resist-retro-yet-modern-marvelous-mrs-maisel/636573?utm_source=dlvr.it&utm_medium=twitter

So cool. Im new and just read your Bio and saw your work for this show. My wife and I LOVE the show and one thing I pointed out to her was the Cinematography.

By the way, in case anyone is googling this stuff, there is NEVER any reason to do business with Pro8mm. A number of labs still exist, for MUCH CHEAPER, and there are other transfer places, MUCH CHEAPER *AND* BETTER, and there are other options for overhauling your camera, MUCH CHEAPER.

 

So, you're new to the hobby:

 

DO NOT DO BUSINESS WITH PRO8MM!

Im new and Googling does come up with Pro8mm....BUT luckily i also found this site and I have asked Nick (who has been a tremendous help) for tips and he has been a great help as well as all the other threads ive been reading. So as a new person to the hobby, i hear you loud and clear =)

Lovely film. I thought the scene with the homeless man was a bit long, but it still worked.