Zach Moore

Thanks a lot Clark! That's correct, some of the faces you see are from the voices you hear. You really nailed it with what I was going for, wanting the voices to be a sort of internal dialogue that can feel relatable rather than the viewer being conscious that they are talking directly to them/the camera. There's a subtle anonymity to it which I thought felt more intimate. I've also found people open up more and can be themselves when I just have a mic under them out of view vs. a loud camera pointed at them while we share a conversation. While the idea was always to pair separate audio with portraits, I had thought of trying to shoot a few interviews sync-sound. However, with the interviews sometimes lasting an hour or more it was just too tricky to try to find 2min 30sec spots to decide to roll during the conversation. Add in the headache of needing to swap cartridges without interrupting, the camera noise becoming distracting, and the high cost I quickly scrapped that plan.

Thanks so much Dan, as an editor by trade this is the best kind of feedback I can get!

So interesting that you'd say that as this trailer premiered last week on the big screen at Anthology Film Archives in NYC, which Jonas Mekas co-founded. Koyaanisqatsi and the rest of Ron Fricke's work has been a huge inspiration as well, so there are definitely sprinkles of that in here! Thank you very much Heikki. I did use a Ronin RS2 gimbal for tracking shots and the helicopter shot, as well as some shots on a motorized slider. In addition to those tools about 50% of the images were stabilized with Adobe After Effects to reduce the jumpiness that super 8 gives due to the non-uniform perforations and lack of registration pin. I agree that the medium can be very important as well as story. I specifically chose super 8 for this project for a number of reasons, but the biggest of all is purely the aesthetic. It's nostalgic and timeless to me. When people ask "why not just shoot digital and emulate the film look?" it's really a purely selfish reason that I just love the craft of shooting on film and the deliberate process in creating your images. Shooting super 8 definitely makes me slow down when I compose a shot and ask myself "does this really need to be captured?"

Definitely allows me much more freedom, and also doesn't feel as intrusive for many of the interview subjects which are done at random out on the streets. I'm recording the audio with a Sennheiser MKH 416 into a Zoom F3.

Thanks Tyler! I had initially considered doing some sync sound for this project, but ended up deciding against it due to the headache involved without owning a crystal-sync camera. Some of the interviews can go on a long time too so it would have been hard to decide when to roll for only a couple minutes at a time before needing to swap cartridges. I carry a mic and field recorder with me while shooting in order to capture some ambiance and any specific sounds that can be matched up in the edit which has been working well enough, and ended up really liking the feeling I got from it.

Hey everyone, I’m really excited to share the first trailer for a documentary feature that I have been working on the past 5 years which is shot entirely on super 8. A Life Across the Street is a film that examines life in its many intricacies through diverse viewpoints. The film focuses on personal experiences that are unique to each of us, while their deeper messages can resonate with all of us and inspire a sense of shared humanity. This film has been shot primarily on Beaulieu 4008 ZMII cameras with various lenses, as well as a Nizo Professional and Nikon R10 using Kodak 50D, 200T, and 500T negative film. Processing by Metropolis Post and scans by Gamma Ray Digital.

Thanks Simon, could you explain what is different about the mounts? From what I have seen, these are both C-mount.

I've been looking for some information on the differences in the Schneider-Kreuznach Tele-Xenar lenses, specifically the 150mm f/4 C-Mount which I have seen in both a "Cine-Tele-Xenar" with a black zebra design, as well as an all-silver version that doesn't carry the "Cine" label, but looks to have notches in the lens barrel for something similar to a reglomatic control unit sometimes found with Beaulieu cameras. Can anyone shed some light on what is different about these 2 designs? Are they just separate runs with updated designs? Would either work fine mounted to a Beaulieu R16/4008/etc, or are there major differences I should be aware of? Thanks for any insight!

Hi everyone, I recently got a Scneider-Kreuznach UWL III ultra wide adapter to use with my Beaulieu 4008 ZMII and was just curious as to the proper configuration with the macro setting. When I pull the macro lever on my Schneider Optivaron 6-66mm 1.8 all the way down, it's impossible to focus on anything no matter how close/far (this is also the case without the wide angle adapter attached). I can get things into focus when pulling the macro lever just slightly, but it doesn't seem to be super secure in that position. I'm currently using the lens without the reglomatic zoom control unit. The macro lever has some friction initially, but then feels loose/smooth until it's pulled all the way down. If something were to bump it or I accidentally touch it when adjusting the iris, it could shift things out of focus pretty easily. My question is, is this normal and that's just how I need to go about achieving the fixed focus with this adapter, or should the macro lever on my lens be behaving differently? Thanks!