Charles Doran
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Posts posted by Charles Doran
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The film tested many things, but throughout it all was the achievement of taking professional Super-8 negative film stocks, such as Kodak 50D, and then scanning the negs into a 2k digital intermediate (RGB 10 bit log), which was then edited and after post production work made into a 35mm negative, which is used to make 35mm positive prints that go to theatres. The finished product is a projectable 35mm print. Once the 2K digital intermediate is made, the rest of the process is not different from what many modern filmmakers are doing now, only they of course start with 35mm negatives instead of Super-8. The whole film and the process is fascinating and warranted a 7 page spread as well as the cover of the latest issue of Super 8 Today.
Sounds fantastic. When might subscribers expect their copies, Chris?
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Very recently I had two projects that I edited (one of which I shot) screened at two very prestigious annual events, one on the East Coast the other on the West Coast, on the very same night. Sometime this week I'll pick up my film prize from Kodak for a festival that I received an award from last year.
Pray tell, what were the names of these prestigious events?
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I had the exact same problem! I never bothered to get it fixed since it wasn't that big a deal but it's weird that so many people have dealt with the same issue.
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I did do a scene comparison in S8 with Velvia and 100D a while back... If the Velvia is finer grain and more saturated, it is very slight. Not really noticable enough to sacrafice stability, where 100D does much better in MP cart format. Over all, I can't complain about the look and performance of either stock... both are amazing to me (K40 isn't even in the same realm as these newer stocks). The deal breaker comes down to availability and dependability. Spectra will be offering their version of 100D, made with fresh Kodak DS8 perfed stock. I've used some of that with my Scoopic already and it's incredible.
Where is your comparison? I'd love to see it.
Here is one I did a few weeks ago -- QT file with side-by-side links of velvia and E100d:
http://www.westsiderfilm.com/clips2.html
Personally I love the Velvia...but the E100D is nothing to be upset over...
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Wow. great examples. I was struck by how the 500T let you shoot wide open at night and get good images.
But! Dude! You have to let me hang lights, pull cable, do whatever for your next film, for free!
You know some fine ass women!!!
F.R.
Sure! I sure could have used some PAs on our first day of filming. We had a crew of five - director, DP, slate, makeup, gaffer...I was ready to collapse after 12 hours...
I loved the velvia blues. Was there any significant differences between the 2 telecines?No - I think I just told the colorist to keep the saturation up and not tone it down. He offered to but I liked the look.
You should do a follow up article on interacting with a rank colorist. So many people get gypped (Is Gypped short for gypsie, it never dawned on me until I just typed it out, another politically incorrect word I suppose) out of the experience because they either can't afford it or don't see the value of it.Not a bad idea. I've heard some people say that they are happy just using a DV cam and capturing the footage off a white piece of paper but for this film I don't know what I would have done without a real colorist using a Da Vinci color corrector and telecine. Since I wanted to create a certain "look" for the two different locales (L.A.'s "westside" vs. the San Fernando Valley) I needed to sit down with the colorist and explain what I wanted and go over the options. It wasn't cheap by any means but for this project it was essential.
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I've posted a short comparison of Velvia and E100D side-by-side. Also some more unedited clips from my film:
http://www.westsiderfilm.com/clips2.html
Plus on my previous clips page I added some 500T nighttime footage.
http://www.westsiderfilm.com/clips.html
Enjoy...I tried to make the files shorter so they won't take forever to download...
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I bought a used super 8 camera, and a cartridge of Kodak Ektachrome 160 (7257) came with it.
I shot the roll, and now was wondering if anyone knew of a place i could get it developed at.
I'd appreciate any help.
Thanks-
Nick Norton
Spectra in North Hollywood can do it.
Spectrafilmandvideo.com
I was in the exact same position as you -- bought a camera off of e-bay and a roll came with it. Images looked ok for such a crappy film stock.
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What blue streaks and flashes are your referring to? Was there a problem in transfer or processing? :unsure:
Yeah, that's kind of weird. I've seen that with some Kodachrome stuff but not the 200T.
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Here's a short clip of some 100D in my neighborhood. It's a google clip, so it's pretty pixlish when enlarged, but if you watch the small version, thats how it looks for real, but big!
Hey Tony,
that looks really good. Great colors. Reminds me of my brother's hood on NE 19th Ave....
I found out that John Schwind is still selling some of the E100D so I ordered a roll...it's supposed to be sunny in LA this weekend and I still have some Velvia left. Might do some side-by-side comparisons...
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Can someone post a really Hi-Res screenshot of some E100D.
It really is a fantastic stock. I shot some 100D (on a Canon 814 AZ) I purchased from John Schwind. I'm sure it doesn't have the stability of Tony's DS8 but here is a page with clips from a transfer I did at Spectra:
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I hardly ever post here (mainly on filmshooting.com where he caused more disruptions) but I gotta say one thing -- if Santo's filmmaking skills were on par with his claims, he would be a genius and not have to bother anyone on these forums.
He submitted a short film to me a couple of years ago to this screening I was putting on in Echo Park. I can't recall the name of the film but I still have it. Something about the niece of the devil being killed and the Devil seeking revenge. It was so bad I couldn't put it in the screening. An unholy mix of mini-DV and Super-8. Completely incoherent trash, badly shot, poorly lit and horribly acted. A disaster. Maybe he's improved since then, who knows?
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The Velvia clips look amazing, although I suspect that Spectra is doing a decent amount of noise reduction in their Super-8 transfers. With the grain reduced, the sharpness enhanced, the strong contrast, strong colors, and deep focus, it almost looks, well... like DV, which is weird. The 200T neg stuff though would not be mistaken for video.
Hi David,
thanks... I was at the telecine session and they didn't do a lot of tweaking...had to de-saturate a bit to keep the colors from popping out too much (esp. the reds). Yeah, on the other forum I usually post at (filmshooting.com) someone else mentioned part of the Velvia looking like DV -- I think the jogging on San Vicente Bl. bit. The sun was just at a perfect angle then -- just the best filming conditions imaginable.
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64T and Velvia 50D. Some months some of you were going to post the 64T shot and processed as a negative. Also it's been several months since the release of Fuji's Velvia 50D. I believe many would benefit from some examples of both. Also I had a wonderfull conversation with the colorist at Flying Spot. When I asked him if 64T looked good, his response was that if you showed to properly shot and exposed tapes one shot with Kodachrome and one 64T you could not tell the difference. That was a real boost of cofidence for me considering all the negative. I get the same mixed bag of reviews from V2 200T users. some say it is sharp and beautiful others say its got grain the size of hailstones. I guess we need to have faith in Kodak's abilities and keep asking how we can improve with the tools Kodak gives us.
I've got QT files of the Velvia 50 on my website:
I'll have 64T (Kodak & Fuji) clips within the next few days as well as other stocks.
Where Does Velvia Stand in the Super-8 Community?
in Super-8
Posted
I don't understand why this is your "goal." Are you trying to prove a point to Doug at Spectra to keep selling it without a "package" deal? It would not seem to make sense to offer to sell the Velvia with a "telecine-only" type of package unless, of course, the majority of the Spectra clients are commercial filmmakers in the area who need a quick transfer...From the times I was there they seemed to do a big mailorder business with folks all over the country, if not the world.