Aaron Razi

I'm a bit confused as to your phrasing here. Are you saying a chromium intensifier would or would not work? If that is a possibility prohibited by costs, I could certainly weigh the idea of splicing the negative and only getting the first segment treated (as that is by far the most interesting segment). And yes, unfortunately I've definitely pushed the scan to it's limits. If there's not a remedy for the film itself, I'm doubtful the quality could be improved. Thank you for these suggestions! These are very compelling softwares, and I have tried/am trying various tests. I am skeptical how the software works with 8mm grain as opposed to digital noise, although I'll concede I'm out of my depths with this sort of stuff. Do you have any recommendations for services that could handle this/AI based restoration? I will also start looking myself. Thank you everyone for such quick and helpful responses!

Hello all! I am currently working on a project with some old 8mm film. It was a roll of Kodachrome II that I found. I got it developed to B&W, as that is the only way most places develop it these days. However, the film is very faded. This is somewhat to be expected, considering it had been sitting undeveloped for upwards of 50 years. However, there is only so much I can do digitally to enhance the image. Is there any sort of chemical process that could be applied to the film after it is developed, to retrieve some of the image? Something that would boost the contrast? I'm assuming the answer is no, but I wanted to ask. Additionally, if anyone had any other suggestions or remedies, I would very much like to increase the clarity of this footage, as I am trying to track down the person who shot it. The footage is below for your convenience. Thank you so much! --------------- Here is the ungraded roll: Here is the graded roll:

Thanks Bruce! Do you have any suggestions as to which models specifically?

Hi folks! Long time, no see! So I've had my Canon Auto-Zoom 518 for about a year and a half now. It's an awesome camera, but for as long as I've had it, the light-meter has been consistently finicky. It requires batteries that no longer exist (PX625), so I have to resort to obscure substitutes (Wein Cells 1.35V Mercury Replacement Battery) that often stop working, such and such. For the past few months, I was using somewhat of a hack with a random alkaline battery and the Wein Cell, which was working until I left my camera in the cold for a bit too long. Even now, when I bought the correct Wein Cells, the light meter refuses to work. There is no indication of the light meter being powered or anything. I've tried turning it off and on, and everything that has worked in the past. I'm wondering now a few things: Should I be using different batteries? Has the cold done irreparable damage to the light meter? Do I need a new camera? I really love the camera. It has a crisp image and isn't too bulky. (Here is a project I shot on it) I'm not too quick to drop it for another model. However, if I had to, which cameras have more reliable light meters and aren't too expensive? (I have a budget of $100-$125) Is there anything that comes to mind? Thanks so much as always, Aaron Razi Baseman

If anyone was curious, the film came out just fine! Here is a link of the finished project ?

Howdy! I recently visited Rome and brought my Super 8 along to get some shots of the gorgeous city and the ruins. Along the way, I encountered many X-Ray machines, at the airport and at museums and such. I was sure that I only let my film through machines that said that film would be fine, but I was curious/paranoid if the machines are truly film-safe or are just "film-safe"? It would be a shame to lug my camera across the world and not have the film turn out. I had cartridges with 100D, 200, and 500T ISO. Additionally, in the worst case scenario, how would an X-Ray affect the film? Does it expose it partially? Or does it distort the color/contrast? Thanks!

Oh man. I have no idea what that was except pure brilliance haha! Often A Film By: ____ is what I go with. Simple enough.

Could you shoot some Ektachrome 100D as is (with 1.8 f-stop) and opt for a push when you develop? It might not work THAT well, but it's better than nothing.

Gah! What a shame. They better be delivering a good product for $25/roll and such a small specialty. I'll stick to Cinelab.

Thanks Nick! Does anyone know how the quality compares to Cinelab?

Thanks for the heads up! Where can I find more info online? Right now their website (x) only says 16mm and 35mm color neg?

Hi Kieran, This is coming from another amateur poster here, but I think the format choice totally depends on the look you are going for. Super 8 certainly has more a vintage look, and I think the behind-the-scenes documentary will aid from that. Everything about the cameras, from size to loading of the film, is much more convenient with S8 too. I have found that it is easier to shoot faster and dirtier with Super 8 than 16mm. It might meld better with the mini dv footage too. However! 16 has a much sharper image, and looks more professional. (16mm is my personal favorite format). The Kodak 50D, 100D, 200T, and 500T stocks for both cameras should give you a nice range for lighting, although I'm not the person to ask about the cameras. I use Premiere and aside from a few frame-rate annoyances (because I shoot in 18fps), it's great. Some people have recommended using Resolve, too. Hope this helps! Good Luck!

Any word on the release of Kodak's new Super 8 camera? I'm quite interested in it, and I'm hoping it will be released by Christmas, but I have no idea. I've also heard widely varying reports of the cost (anywhere between ($400-$2000). If it's anything near the latter, that is deeply disappointing. [sorry if this is a bit off topic, but I figured we had discussed this earlier, and this is too small to start a new thread.]

I've heard of Gauge Film, although I've never used them personally. The results I've seen online look pretty good though!

Thanks Nick! That makes much more sense. I'm gonna use Pro-Res for bigger files, but I'll stick to H.624 for lighter exports. (I couldn't figure out how to do custom framerates, so 24 will have to do). Why do you recommend VBR 2 pass over CBR??

It was shot at 18fps. But for some reason Premiere won't let me export at 18. So it defaulted to 15. Would you recommend 23.97?

I just wanted to say – the film was absolutely lovely. In addition to being a simple, but moving story, the Super 16 was sooo fitting for the film. Very charming, very classic, just like the protagonist of the film. Exactly the medium the film needed. Wouldn't have worked nearly as well any other way.

Hey all. Just got my new roll of E-6 Ekta back and I am really happy with it. It looks pretty great on the projector, but of course, it looks a little bit less great on the scan. I did some color work on Adobe Premiere Pro and was wondering what the best export settings would be. In the future, I'd like to share the footage on some social media, but I fear the quaint grain of Super 8 will become gross and bitty once compressed on these platforms. What are the best settings to prevent that from happening? Right now, I'm working with a 1080p scan, at 50 CBR and Rendering at the Maximum Depth, and a frame rate of 15fps. Thanks so much.

I would second that opinion, but perhaps make a new thread so we can delve into specifics without derailing this topic.

Quick Question: I know labs like Cinelab have discounts for developing in bulk ( like 8 cartridges). However, is there any financial advantage in waiting to send off a roll, so I could ship 2 or 3 cartridges together? Being from a younger generation, I'm cursed with growing up in a world of instant gratification, and I get to be impatient about this sort of thing. So, if I'm only shooting 1 at a time, is it worth waiting to send off some of my rolls? Thanks.

Has anyone got any footage back yet? I would love to see some more demo material for it.

Slightly off topic, but I did want to leave a response. They just released a bunch of new sew-on patches, one with the new camera on it. Can't imagine they'll drop the product if they are continuing to cross-promote it? Hoping they'll release it before the holidays.

Good to know! And I was curious if that would look choppy, but I suppose not, thanks!

Thanks for the response Nick! I would completely agree with you on Pro8mm. Their price for a 720p scan is outrageous, especially after shipping. The program I attended this summer used Cinelab, and I am very familiar with how quiet they can be lol! Unfortunately, I shoot at 18fps, which Cinelab does not scan at HD. I am completely fine sending my film to two different places, though. Their proximity to me may even make turnaround times quicker than Pro8. What do you guys know about the quality & prices of Rafik, in NYC?

Yup. I definitely have not been looking hard enough. But at the moment, I am more interested in S8 because it is more practical for my needs, and I adore the look. I send my film out to Pro8mm in Burbank, because while the shipping takes longer, having both the development and telecine done at once sounds a lot quicker. I can be quite impatient lol. However, the lower prices and higher quality are much more appealing once I start shooting reversal. I will probably develop at Cinelab, and send my reels over to you. Thanks so much for the detailed response.