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Will Montgomery

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Everything posted by Will Montgomery

  1. I recently spoke with my rep and a gentleman in production about a double-8 run or pulling the double super 8 before they convert it to Super 8 cartridges. Basically it boils down to a lot of bureaucratic difficulty within the company. They have provided special order products like unperforated 16mm stock in the past and will consider it again as long as it doesn't interrupt factory processes too much...but even with the massive reorganization and downsizing, they haven't quite gotten to the responsiveness and nimbleness of a startup or other companies of the same size. They recommended I check back after the first of the year and Ektachrome 16mm release (that's not a confirmation of a timeline by the way). I would expect a minimum order of something like 10,000 feet of DS8 (which would be 20,000 once split) might be possible. That would require all DS8 enthusiasts to purchase quite a few rolls and a lot of work rolling them down to 25' and 100' reels. Not sure where you even get those supplies these days.
  2. I think you've covered the 16mm options. Bolex might be a good next one to try. I don't like the winding on the K3. I have a crystal synced Canon Scoopic MS which is my go-to camera for home movies and run-n-gun type shooting. Wouldn't shoot a feature with it but some inserts maybe. If you're looking for quality, steady shots and you'll be using a tripod I really like the Arri SR2. Super solid registration and built like a tank. Somewhat painful to handhold, but doable. In the U.S. they are still regularly serviced; not sure about Europe.
  3. Will Montgomery

    Super 16

    S16 is an acquisition format ONLY, let alone S16 anamorphic. There have been a few people creating S16 projectors for their own use but not widespread. If you'd like anyone other than yourself to project it I'd consider going standard 16 anamorphic. Then you can make prints and share and show at festivals more easily. Talk to Tommy at Video & Film Solutions in Maryland if you want any technical advice. He can also do soundtrack prints for 16mm. http://www.videofilmsolutions.com
  4. I have a DS8 Scoopic that's been sitting unused for many years. It would be nice to get some new DS8 stock on 100' reels. Anyone have that available these days?
  5. Resolve has a fairly high learning curve but it is completely worth the time investment. Plenty of free online tutorials available. Once you've mastered Resolve, or at least understand it's basics you'll be able to do some amazing things with an industry standard software package. Not too long ago you'd be looking at $30k+ to get Resolve. Free is better. Color correction is really an art unto itself and while it would be nice to be able to press one button to make things better you really need to understand the whole process and reasons behind it to take your work to the next level.
  6. Will Montgomery

    Super 16

    I had that LA7200 setup on my Scoopic for a while but it was just more trouble than it was worth. Focusing was incredibly difficult and not a very practical setup. Would like to try the Hawks on my SR2 however.
  7. There are, but the cheaper ones with plastic gears are really pushing their shelf life...I wouldn't buy one of those unless it was $20 or under; I've had 6 of them fail in the last couple of years. The plastic won't last long once it gets used again. However, the better built ones like the Canon 814, Beaulieu's & such will still be great with a little tender love & care.
  8. There's a camera that shoots 65mm and look like a Eyemo...just a little bigger...can't remember what it's called but probably about 15 seconds per 100 foot load! Since this camera only has 8-12 exposures, you'd get a half of a second of glorious IMAX quality.
  9. Grandparents' garage or attic.
  10. Just make a print using print stock...there are still a few labs out there that do it. May not have the vibrance that Ektachrome would have but you can tell the lab that's what you want and they may be able to saturate it more.
  11. Ektachrome will cost more than Vision negative stocks...it always has. I like to project it in 16mm and I like the look in general when scanned but I probably would stick with Vision stocks in Super 8 and 35mm...although it would be fun to test a 35mm motion picture Ektachrome 100' reel on my Eyemo.
  12. What mount does it have? Mine was re-configured by Steve @ Steve's cine and the PL mount is flawless. Great modern built-in motor too.
  13. I think I have a fairly new/good 2c video tap door lying around...I'm PM you if I can find it. 2c is a great camera to learn 35mm on. No registration pin like the 3, but get a PL mount and throw on some modern glass and you're good to go. Also with 200' mags it's not too bad hand held.
  14. This is why I wish eBay had a comments section. Would someone actually pay $325 for empty plastic A-Minima reels? I'm pretty sure some labs will have some laying around if you'd just ask... https://ebay.us/7GySVj
  15. Depends on your workflow and scanner...if you use a film chain scanner (Moviestuff) then reversal is probably easier but if you use something like a Lasergraphics then it doesn't really make much difference I would think since the software doesn't care that much. In that case it's simply a different look.
  16. Keep in mind that many of the later-made inexpensive Super 8 cameras had plastic gears that may work at the moment but will undoubtedly fail soon. Some of the older ones are built more like tanks and are worth considering.
  17. Sometimes making an impact with a Super 8 camera gives the bride & groom and extra "cool" factor that people remember. They love sending out Facebook posts showing the strange exotic camera used at their wedding. The other great thing to do with events like that is to handout cheap Super 8 cameras like the Canon AF310xl (that has a crappy lens but it is autofocus) to wedding party members so they can shoot for fun. Just give them one roll loaded and let them go to town and you'll get some great stuff to use that looks like Super 8 should...jerky and out-of-focus but when combined with the well shot stuff you do it is really cool. I have 15 of these camera I've purchased over the years for $5-$40 each so when a beer gets poured over them I really don't care.
  18. Scans are amazing today and a great value, but with these flat scans you need to know your way around Resolve or how to color well. In the "old days" 10 years ago, I'd always have a colorist make the footage beautiful before I'd be editing and it was a pleasure to work with. I know it makes more sense to color after you've edited but it was nice to work with perfectly colored footage.
  19. I shot a ton of 16mm 100D and loved it projected. Fine scanned, but amazing projected. Color was rich but not overly saturated; very realistic and accurate. I also shot Kodachrome 16mm and loved that even more for the non-realistic but beautiful pastel-like color it got. Due to the nature of the stock itself it doesn't scan very easily (see tons of posts about Kodachrome 35mm slide scans) but projected it was just gorgeous. Certainly less exposure latitude than negative stocks but honestly if you're in the ballpark without extremes (going from shadow to bright sun at the same exposure) you're ok. I would always suggest good, hi-res scans before running through a projector but you owe it to yourself to see it projected. Honestly, its such a pain to get out the projector you won't do it very often. I've made 16mm prints from negative stocks with good results but the prints never seem to have the jump-off-the-screen color that E100D or Kodachrome had.
  20. Screw...M42 mount. Thats another thing I'd recommend...some Pentax Super Takumar lenses...like a 24, 35 and 50mm. That actually made the most noticeable difference to me; those lenses are amazing. Fairly common and inexpensive but super sharp.
  21. At that point it is a $375 camera. I think I sold mine with all the mods and a case for $600. I'd get the brightened viewfinder before Super 16 actually. It helps quite a bit. Also, that's less than 2 rolls of film + developing + scanning. I think the gate is just a mater of unscrewing it and screwing in the new one just like the mount (which is extremely easy.) Honestly, just take it out and shoot. Scans today look great with regular 16 and you can re-frame in post without losing resolution if you get a full 2k or 4k scan. Especially if you shoot 50D outside.
  22. I had a K3 about 6 or 7 years ago. Got tired of winding it and sold it but had several things done to it: Duall widened my gate and drilled out the viewfinder to see the full S16 field. Duall also removed all the loop formers...too often they would scratch the film so it was better to manually make the loops Bernie at Super16Inc.com did his Laserbrighten process on the mirror and it became MUCH MUCH brighter. Highly recommend that. I found a re-centered lens mount on eBay and it was very easy just to screw it on and have the lens centered for Super 16. Don't know if you can find those anymore.
  23. The masters can use light to sculpt a scene and make it seem "natural" when it's anything but. You're definitely on your way and learning how light sticks to film so bravo. A great colorist I've worked with for years said to me once, "get the light the way you like it, then double it." Not sure if that's scientific but if you can keep it in the same ratio but put more light on the scene it's much easier to remove light than add it in. Just because a stock says 500 doesn't mean it sees in the dark. Lighting makes any scene come to life, film or digital. Love the idea of looking at a Vermeer and trying to achieve that. What wonderful practice that would be.
  24. Thanks for the insight. I can certainly talk to my broadcast brethren about their tracking systems, but they certainly aren't really toward film. The Filemaker method might make the most sense...cost effective and flexible. I can just set it up to include all the info I need and print box stickers with major data points and a catalog number pointing back to the database.
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