Justin Lovell

Brand new. Used once. $950 obo. Retails $1250 on the cinevate.com website.

Excellent build quality. Will throw in an extra pitch gear.

I have the camera, curious about the procedure to reload the cartridges, do you have information about that or where to get film stock for reloading?

Also check out www.framediscreet.com.

We offer 2k raw data scans. More information on our website as well as some stills.

Created and run by cinematographers.

And Paul at cinelicious Is a great guy who also has a top notch setup!

Shot by cinematographer Pouyan Fard with a cheap-o super 8 camera picked up for $3 at value village. Will be Intercut for a Fashion commercial spot with his 5D DSLR steadicam shots.

This will definitely stand apart from the DSLR footage. The texture and softness of super 8 really works well to get a less crisp/harsh dreamy reality. Does wonders to women's skin tones.

Film tranfserred in 2K at www.framediscreet.com

Hey Guys,

A still from a recent shoot I did out in iceland. (A little bit of compression artifacts on the image from the upload to wordpress), but you'll get the idea of the colors and saturation.

http://framediscreet.com/about/

Hey Guys,

<br class="Apple-interchange-newline">I have a Tcube FIG LUT box / color corrector that I am selling if you are interested or know of someone who may have use for it. Often used in production with Arri Alexa cameras.http://www.tcube.tv/products/fighttp://www.broadcast-media.eu/2010/04/iridas-launches-speedgrade-onset-2010-with-tcube-fig-support/

Please let me know.

Thank you!

Justin Lovellcinematographer8/16mm.2k.film.scanswww.framediscreet.com

Cool, if I can help ya out... let me know.

We love collaborating with cinematographers to help you get the most out of your super 8... so don't hesitate to contact us.

www.framediscreet.com

Thanks for the kind words.. taken us a lot of R&D to get the quality where I want it to be with our Belladonna 2k Raw data Scanner.

I've pushed 500t super 8 up to 3 stops and it still looked great!

Definitely grainy, but hell, that's why we're using super 8 right?

My general thought is:

If you're stuck in a situation where you are 2 stops(eg.) underexposed, then push it 2 stops in the processing.

You'll get a better image by pushing the processing. (this is especially true with super 8, less so with 35mm)

Get the silver to activate and develop an image on the film itself as opposed to trying to push the image in the transfer and dig an image out of something that never had enough light to make an image in the first place.

If using 500T stock I'm assuming that using automatic exposure based on the internal meter would overexpose by 1.5 stops. Anyone know if that's right?

This is correct, the nizo 481 meters in 40/160. 500t Will be quite over exposed. That said, it is still usable.

Top sample is some 500T I shot in Iceland.

Bottom Sample is 100D Cross-Processed at Niagara Custom Lab

Film scanned in 2k Raw at our studio - www.framediscreet.com

Hey Mark,

Thanks for the kind words. Check our site for some frame grab samples on the main page. (the video samples are from our old SD setup).

Below is some ektachrome 100d. What a great stock :)

Also some cross-processed Tri-X.

If we can help ya out, just let me know.

Justin

cinematographer

8/16mm.2k.film.scans

www.framediscreet.com

http://www.tcube.tv/products/fig

If anyone is interested, please let me know. I have changed my workflow and don't require it anymore. Used it for realtime color correction/telecine. But is a great product for seeing luts in realtime.

Getting a ton of use with Arri alexa cameras.

Justin Lovell

cinematographer collective

8/16mm.2k.film.scans

www.framediscreet.com

Hi, I'm about to shoot a feature film using this camera SI-2K and I would like to watch some material recorded with that camera, specially in a 'naturalistic' way, without many digital artifacts and color correction in post.

Do you guys know a few links to share?

 

 

Thank you!

There are a few things posted in my blog..

http://framediscreet.com/about/

And more video samples posted here in some of the projects I've shot:

http://framediscreet.com/media/

I just borrowed a black and white AZ spectrum tap and wasn't all that impressed with it in low light.

Ended up noga arming a point and shoot camera above the camera and recording takes on that.

It was only meant as a reference for the fight choreographer to ensure that all the punches/kicks were selling. That was much better than the muddy dark feed coming from the video tap.

Do you already know about the AZ Spectrum ones? About $1600 new.

http://www.az-spectrum.com/nprvideo.html

 

If it has to be dirt cheap then maybe you can rig a small CCD camera on the eye piece. There was an ACL that sold recently on eBay that had one of those. I should have asked the guy to share the basic specs for this forum.

 

Re the multiple postings for this topic. They don't like that.

 

Cheers

Gregg

Thanks Gregg,

I am aware of the AZ spectrum model. I was actually hoping to find a used one around here somewhere. Don't want to rig over the eyepiece, as I'll be operating, its for recording playback for the stunt team to be OK with the performances.

Just a small job that wanted to shoot on DSLRs, but I'm trying to convince them to shoot super 16. It's going to look so much grittier and raw, just a tough battle to fight when most people are so used to digital now.

(sorry for the double postings, just in a time constraint jam and wanted to get a little more exposure).. my apologies.

Anyone have one for sale?

info (at) framediscreet.com

Thanks!

Anyone in here have one?

info (at) framediscreet.com

If you have one, please let me know!

info(at)framediscreet.com

80s - $145 each

or $250 for the pair.

(1 battery's LED indicator isn't functioning - however if used on a camera, your internal battery indicator should show how much power remaining.)

7s - $125 each

or $225 for the pair.

(picture not show/reached max upload picture limit)

Buy all 4 batteries for $460

We just upgraded our SI2K package to use the CINEDECK recorder and it ROCKS.

Available out of Toronto.

www.framediscreet.com (info on the package isn't updated on the site, so email for inquiries)

info (at) framediscreet.com.

no kidding! It won't let me edit the post. I've contacted admin to delete it so I can repost with something a little less ridiculous..

http://www.riseandfallonline.com

Cinematographer: Justin Lovell

Camera package: www.framediscreet.com

VFX: www.junctionvfx.com

More credits on the website.

Be sure to click the youtube 720p or 1080p button and go full screen for the highest resolution.

Generally in a situation like this you would have light coming from the moon, fires, explosions,

vehicle lights(if any), flares, and any light that would come from the "white house". I suggest

that you use your most powerful light/lights(maybe your balloon & source 4s) to somehow

simulate the ambient moon. I'm not sure how wide your shot will be, but hopefully you have enough power to cover the area in the shot with moonlight. Then use your other lights as needed for the other areas/effects that will need light.

 

Hope this helps.

yep, that's the plan.

Just avoiding lens flares from the practicals is quite difficult, near impossible. The VFX guys are going to hate us.

Hey there,

I'm lighting a night battle scene in a field. We have trenches dug out, placing hummers, burnt out limos, chopper all kinds of interesting set dec.

All POV/ Helmet cam on SI2k Mini

The action takes place running from point A trench- point B- white house.

The white house will be CG in the background as we run towards it.

I'm approaching it:

-Night time with Ambient Moonlight, keyed from pockets of light areas (little fires, road flares, search lights).

-Key sources of light - China balls scattered throughout the field to be CG replaced with Firey pits. Testing road flares, they look awesome, but flare the lens too much. Practical Fire is a no go due to production restraints.

- 4 Source 4 sidey/backy not hitting the ground, allowing people to run through the dark areas rimming them without completely disappearing

-Air Star hellium balloon placed either A) off to the side (3:00) or directly in front (1:00)- to feel like you are running towards a bright location.

Concerns:

VFX heavy so lens flares are a major concern.

Flaring the lens from AIRSTAR being in the frame (cg removal)

Flaring the lens from Road Flares / Magic Lanterns

Any advice for this style of lighting / shoot. Small budget but we do have access to some bigger lighting equipment.

We considered day for night, but I didn't think I would be able to get the right feel of the lighting being keyed from fire pits.

Thanks!

Thanks for the info, guys.

 

I completely understand the "no-uprezz" school of thought.

 

Forget Blu-Ray versus DVD deliverable for a second, what I am also hearing is that it is not as cut and dry as a SD vs HD decision when considering transfers. Which is what my original post was looking to uncover - ideally someone that has done a side-by-side comparison of Spectra's uncompressed SD out versus (say) Frame Discreet's HD/SI2K/Cineform output, who can offer what differences they noticed (all things other than transfer equipment and colorist being equal); but am I right in saying it is not as simple as saying, "Well it's in HD, its better."?

 

Justin are all your HD scans done with the MovieStuff/SI2k combo? Is everything output as 2048x1556 and then dumbed down to 1920x1080 if that is what the customer wants?

 

Hope my questions haven't led to complete handfuls of hair being pulled out - but this is all very fascinating and (obviously) quite new to me.

I'm using Roger's (Movie Stuff)'s Sniper scanners for SD transfers.

My HD xfers are with our custom built BELLADONNA 2k scanner. I can bring in the footage as 2k, 1080, 720. Normally outputting to 1080 for people.

Hope that helps!

Glad to see you're keepin busy kent.

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