Justin Lovell

Interesting. Forgive my lack of knowledge about electricity. How did you figure that the duracell battery is 24A ? is that approx equal to 240W ? The Xantrex rep told me to go with the 1200a Eliminator Power box and said that should give me 2.5-3 hours running time. That doesn't seem to match up with what you're saying about the Duracell 300a, if that would give me 3 hours.. doesn't seem right to me..?

I am about to purchase this LED 1000: http://www.prompterpeople.com/led1000.php (specs found here). 100w, 12vDC (10-15, no higher), 100-240v ac 50/60, 10amp draw 1. What battery would power this light for approx 1.5 - 3 hours? (I will be getting 3 of these lights, so will be looking for a cost effective and not too heavy solution). Most likely a single battery for each light, not 1 massive battery to power all 3. 2. Looking ideally for battery suppliers in Toronto who you could recommend. I'd like to pickup rather than ship the product. These were recommended to me: Motomaster Eliminator 1,200A PowerBox http://www.canadiantire.ca/browse/product_...D=1218560950472 (A little bigger than I would hope to have it). Bescor PRB-24 Heavy Duty 12Volt 24 Amp http://www.markertek.com/SearchProduct.asp...amp;pagesize=20 A little more expensive than hoped, figuring I would be better off getting multiple 'eliminator' style batteries such as: Duracell Powerpack 300 http://www.tigerdirect.ca/applications/sea...76&csid=_21 Though, I don't know how long the light would run for on this battery. Advice? Anyone have a similar setup? Thanks,

If you have one, please let me know. I may be interested.... contact via PM, or reply.

Some samples of 3374.... (High Contrast Black and White on super 16 with an angenieux 5.9, and Switar POE 16-100 zoom). www.framediscreet.blogspot.com - scroll down a few posts to ON LOCATION- BBOYIN IN DUNDAS SQUARE. Man this stock is gorgeous... Just a risky one if you're not nailing your exposure. I rate it at 100ASA in my S16 Bolex.

Video sampler of the ang. 5.9mm on my bolex S16mm. Didn't put in the letterbox for you.... Notice how it isn't vignetting? I was shooting around t- 5.6 1/2 - t- 16. http://framediscreet.blogspot.com/2008/04/...are-bboyin.html

Hey Joe, Give me a call tomorrow at the studio and I can help sort ya out. 416.803.1101. Minimum fee is 50' (1 cartridge) S8 or 100' 16mm. In general, when shipping across the border if you declare a value over $100 you will get charged some kind of fee. Most people keep the value under $100 and claim it as 'other or documentation'.. as well they state it is home movie film, with 'no commercial value'. UPS usually nails you on some kind of fees- I have not had good experiences with them. FedEx Express is far more reliable. Purolator has been excellent for shipping within Canada, and no problems thus far to the US (however most people trust in FedEx when going across the border).

try www.qvcvideo.com and check out their helmet cam. Not sure the lens that you'll need though, probably an 8mm but not 100%. lenses are cheap though so just buy a few and use the one you need.

Going tapeless, won't need it anymore. Low hours. Component video input/output, LCD screen, timcode display, XLR audio in/out. Solid workhorse of a deck. $2500 CDN. Serious inquiries only. Located in Toronto. 1.416.803.1101

I think it's really gives a gritty raw feeling to the action. I definitely would not consider it too distracting. Its not like video gain/grain. The key is that this grain 'makes up' the image, it doesn't overlay the image.

I think most labs can do a cross-process. I just do it with sebastjan at Niagara Custom Lab.. Some labs charge more, I don't think NCL charges more, if they do, its minimal. It's always risky, but I've been happy with the results. Gets more contrasty so it helps to nail your exposure. The transfer can make it look really cool, or really cruddy. I've found that if I try to 'save' the image and bring it back to a normal color palate it looks horrible. Its better off letting it be warmer and saturated.. just embrace to wonkyness of the colours. "The national" was transferred in my studio @ frame discreet. I'm using a modified DV8 Sniper from Movie stuff. Swapped out some components, upgraded others changed the camera and added in an upsampling color corrector to get some real control during the xfer. If you're ever in Toronto come drop in and check out the setup.

Just did some testing shooting some bboying some super 8 ektachrome 64T and cross-processed it Niagara Custom Lab. Very interesting color palate and makes the grain even grittier. Super cool, definitely has a specific look to it. Works well for the breakin' footage I shot! Samples show: 1.over/under exposure +2,+1,N,-1,-2 2. Uncorrected without the 85 filter Hope this information helps someone! www.framediscreet.blogspot.com

Hey, Just posted some stills from NICK NORTON'S "REAL STREET" transfer. He shot 500T in a club of a band on stage. No more questions, just some results for you to judge for yourself. www.framediscreet.blogspot.com Scroll down to find the post from APRIL 18th. Also posted some cross-processed ektachrome 64T.

Can anyone do this, or help me find someone who can modify a projector to run at a constant speed? Doesn't matter what speed, just needs to be locked at an exact fps so I can pull the audio off some sound super 8 footage and sync in with a transfer. Thanks!

posted a wedding I shot on a mix of super 8 and super 16 in my blog. Has 250D, 200T, 500T, 64T (cross processed) and tri-x (cross-processed) all in it. Enjoy the reference :) www.framediscreet.blogspot.com (scroll down a few days) back.

Hey Chris, The reddish thing is not a sprocket, its the side of my marker board in the shot :P Camera used was the 1014xls modded for max 8. Transfer was done twice, once framed for the super 8 frame, once for the max 8 frame. (same footage). Nice guess, not Parry Sound, but close. Just north of Gravenhurst on Mckay Lake. All the Best!

Thanks man. Hope it is of interest to some people :) I enjoy posting it. Always adding more. Might start posting some lighting setups. Soon to come some super 8 7218 from the bboy jam. www.framediscreet.blogspot.com

bumpppp

FYI, may be of interest to you. http://framediscreet.blogspot.com/ Nice test for you to see how the different formats compare when using the same stock. (Click images for larger versions). FYI Max 8 is a modification made to widen the gate of the camera allowing image to be recorded where sound used to be recorded. In the transfer you are able to 'zoom out' and see more of the image resulting in tighter grain and a 16x9 image area. There are some limitations to this modification though as you're not able to see the extra are in the viewfinder of the camera and certain focal lengths will vignette. Stock: Kodak 7218 500T Format: Super 8, Max 8 (super duper 8 ), Super 16 Cameras: Canon 1014xls S8, Eclair NPR 16mm (lens Zeiss 11.5-115) Cinematographer: Justin Lovell Transfer: Justin Lovell @ Frame Discreet

FYI, may be of interest to you. http://framediscreet.blogspot.com/ Nice test for you to see how the different formats compare when using the same stock. (Click images for larger versions). FYI Max 8 is a modification made to widen the gate of the camera allowing image to be recorded where sound used to be recorded. In the transfer you are able to 'zoom out' and see more of the image resulting in tighter grain and a 16x9 image area. There are some limitations to this modification though as you're not able to see the extra are in the viewfinder of the camera and certain focal lengths will vignette. Stock: Kodak 7218 500T Format: Super 8, Max 8 (super duper 8), Super 16 Cameras: Canon 1014xls S8, Eclair NPR 16mm (lens Zeiss 11.5-115) Cinematographer: Justin Lovell Transfer: Justin Lovell @ Frame Discreet

Reversal is a beautiful thing. However as of late I've been finding color neg to be a much more versatile stock to be using. Better dynamic range and faster speed ASA for low light, shutter angle tricks and high speed shooting. If I'm going to be projecting the film, Reversal is the only way to go. Color neg can be pushed 1-2 stops without a huge loss. I'm going to be pushing some super 16 500t later this week and will post it up in my blog. Also shot some 500t S8 with a key light overexposing by 2-3 stops and I'll post that too. best!

Got some stills of 500t fuji and 250D (vision 1) in 16mm. www.framediscreet.blogspot.com scroll down to super 16 jib jam- bleach bypass best!

www.Lift.on.ca has the ability to do it in Toronto.

Hey! I'd actually be slightly losing resolution if mastered out to BETA SP if I came off the 10 bit capture file. Digi-Beta would be a much better format, but not a good enough Return on Investment for me. Rather spend that money on color correction hardware and a move to HD. At this point, I find more people are requesting to have the original capture files on Hard Drive to avoid any more compression. (Plus it saves them time in the editing phase not having to recapture or find a Deck to rent).

If you're looking for some online samples of super 8 or 16, check out our blog, we've been doing some interesting stuff with different cross-processes and such... www.framediscreet.blogspot.com Best!

Sorry, there was a bug with the video, got it back up again, this time in FLV format.