Will Montgomery

This is how we learn. :)

So next time pay more attention to exposure. Make sure you're using your meter properly...look for YouTube videos if you're not familiar with it. As far as seating the film correctly, loading takes practice. Plus you'll get to know the particular "purrr" of your camera and will know when something doesn't sound right.

Bottom line is keep trying and learning from each try. Eventually you'll nail it and it will all make sense and you'll be like, "wow. this is really cool."

I've never shot with a Bolex so I can't give you any specifics but plenty of folks on this forum will be able to.

Wish there was a treatment for vinegar syndrome.

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

Kodak isn't in the processing business to kill other good labs...they just want to make sure their big pro customers have access to labs close to the action for 16 & 35mm negative. That's why the Atlanta Kodak lab isn't doing Super 8 or Regular 8 or B&W or any specialty stocks; it's there to support The Walking Dead and everything else is just gravy.

I will say that the Atlanta lab rocks and those guys love film as much as us or more and have a top notch operation. Plus really cool Kodak film boxes now.

Super glad that labs like Cinelab are still around for ALL kinds of stock however. They are keeping film alive.

You can pull out the cartridge at anytime and look to see if it's done. This will reset the counter if you close it back up and keep shooting but it will only expose a couple frames.

 

Use Resolve. It's free, and it supports legacy frame rates including 18fps.

 

And it's a million times better than Premiere. You only have to pay for it if you want to *export* at resolutions higher than UHD. You can bring in 4k files and work with them, but there are some limits on file output sizes unless you spend $300 for a license (which is roughly the same as a year of Premiere but it's a permanent license)

Not to mention the real reason to use Resolve...color. Still can't believe they made it available for free.

So they were cleaning out cold storage and found this laying around probably...

Of all the cameras I have used over the years the Leicina Special delivers a very steady image over all overs for what its worth and I love using 'the brick'

Extremely well built camera.

Fortunately, all of the cameras I have bought off of eBay have worked to some degree.

Same for me. However, I've had a few that stoped working after a couple of cartridges. You've got to remember that the cheap Super 8 cameras used plastic gears and some are over 40 years old now. Once you start using them they can break just from age. But if you buy them for $10, it's not much of a risk.

I have a box of about 20 Canon Autofocus 310xl cameras and I have to go through them every few months to figure out which one has failed that month. I think I have 5 that still work...but they all worked when I bought the over the last 6 years or so.

Adapting is almost always possible; it's the focusing that will be an issue. Or I guess you could say adapting it properly for infinity focus to be accurate is not always possible.

If the camera does it's job the way it's supposed to, then of course the lens is the most important thing...excluding the camera operator of course. Keep in mind that the Super 8 format is inherently flawed in the cartridge design.

My Angenieux f1.2 6-80 on my Beaulieu 4008 zm II anniversary edition makes beautiful images. If I could put lens that on my Canon 310xl I'd bet the image would be pretty close. There may be some steadiness issues that could be noticeable if you know what to look for, but for the most part it would look great.

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.]

It will be expensive. I would expect it to be at least $1600, probably more. But honestly, if they can make it sturdy and reliable it's not an unreasonable price for what they are doing and all the work that has gone into it, it's just wouldn't make financial sense to us die-hard users when top of the line Super 8 cameras can still be had for $500 or so...cheap ones for $10.

They'll be going after a different crowd than us probably. However, throwing on my f1.2 6-90 Angenieux lens from my Beaulieu 4008 zm II anniversary edition might be fun. Although without an optical viewfinder I'm not sure how focus will work.

I cannot recall a request for this (to offer something like the product noted below) in the past several years

Funny, as I just made the same request with a product manager in the motion picture division so they don't seem to talk to each other.

I can't get over how much of an "ordeal" it would be to spool off say 10k feet before they slit the film. What kind of ordeal are we talking? Two hours worth of work? Then typing a new catalog number into a database? The bureaucracy with this company will kill it yet.

Why 15fps? Wasn't it shot at 18fps or 24fps?

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.

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.

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

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?

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.

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.

You'd think there would be plenty of decent used Super-8 cameras on the market.

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.

Can my Fuji 6x9 cameras shoot movies too? If they did, it would be IMAX quality!!!!

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.

No camera news?

Grandparents' garage or attic.

 

Merde.

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.

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.