Erdwolf_TVL

Ditto. I bought quite a handful of 64Ts from them, because it was cheap. Had them since October, Shot them in November, handed them in for processing on Saturday. I actually think they have got themselves a processor, but are yet to figure it out! To check what 64T looks like, I've sent one cartridge away for processing at Super8 NL. Thanks for the link!

These guys charge £19 per cartridge... They have never been known for their low prices ;) By the way, where do you plan to have it processed? I believe this is an E6 film?

Didn't mean to start another K vs. E thread. More than enough of these around :) --- I have been to Wide Screen Centre today and pre-ordered a roll of 100D. It's quite expensive, and it's sold without processing. According to their sales rep, it's NOT rebranded pro8mm stock. Just curious what to expect. It would have to be REALLY good to justify the price-tag. I'm guessing it will look completely different, but that it won't convert me back from Vision200.

- How many cameras do you have? The more the merrier. Even if some of them are stationary/unmanned. - Two cameras are a BARE MINIMUM to get a decent edit - Give yourself a large number of angles to cut to - Try to get a line recording from the sound engineer - Camera sound "sucks" and it's "different" from every angle - plus a camera will capture all the crowd's noise - Lighting is probably going to be sparse, so ensure you have a camera that can handle low light - Set you camera's white balance to tungsten (this is correct 99% of the time) - Fix your focus if practical - Fix your exposure, if practical - Don't film from within the crowd unless you want a specific effect - Use a tripod! - Don't run out of tape!!!!!!!!!!! Rewind and check all your tapes before the concert!!!!!!!! - Know the concert program like the back of your hand - You need to know when there are breaks, etc. so you can change tapes - Ensure you have mains power or a very strong battery - Visit all the auditions, practice runs, etc. Just some thoughts... Please accept my appologies if I am underestimating you in this post!

Widescreen Centre in London are advertising Ektachrome 100D stock available for Super8, available mid Feb 2006. http://www.widescreen-centre.co.uk/cine.php Maybe worth a shot? I'm definitely going to test it out. (I bet this is rebranded pro8mm...) From what I've read, this may rival E64T in the grain/speed tradeoff, because it's a daylight stock. Then again, I've also seen earlier posts where this stock being referred to as Circuschrome. (Presuming this means colours that make your eyes bleed?) Any thoughts?

I've done one test cartridge and I was happy with the results. Registration was good, the colours were rich and saturated. (I have about 10 64T cartridges that still need to be processed.) Grain only bothered me against still, uniformly coloured surfaces (the sky, for example.) Against tarmac, grass, concrete and trees the grain is invisible. The only reason why I would buy 64T again, though, is because of its price. I much prefer the smooth look and versatility of colour negative printed to positive. It only costs three times as much...

Thanks! http://www.photosonics.com/Rental/4C.html Now I have some bed-time reading...

I've seen a large number of high-speed cameras on EBay recently. Amonst others, an incomplete Hycam (as below...) http://www.visinst.com/Hycam.html Admittedly, 12 000 frames per second is of little use to cinematographers. Still curious, though. According to some on-line resources, this device uses a rotating prism. (A normal claw and shutter mechanism probably won't stand up to the running speeds :) If I understand this concept correctly, the film never stops moving and the image to be captured moves along with it. (Correct me if I'm wrong here.) Now I'm curious whether there are any cine camera that use this concept? If not, why not?

You could always start with Super8 to ease you into the idea of working with film... It's a lot cheaper and Super8 cameras tend to be more camcorder-like in terms of features. Some things I found most daunting in playing around with film... You have to have a fair idea of what you are going to shoot before you start. Entry-level cameras only accomodate a few minutes' worth of film and you pay for every second the trigger is pulled. Hand-held shots are not as forgiving with film as they are on mini-DV. Unless you have a really steady hand, you will have to use a tripod or some sort of camera support. You pay a premium if you want your piece to have sound.

Sitting here, watching "Porridge"on Cable. Many of the old 70s BBC programs were obviously shot on Film and telecined. I'm curious to know what film technology (stock width and emulsion) was used. Any thoughts?

I've never had problems with consumer-grade FUJI tapes in either Hi8 or DV. On the other hand, I have lost 4 SONY Hi8 and 6 SONY Mini DV tapes to jamming and/or coating disintegration over the past five years.

I happened to have found a place called Mac's Cameras in Hammersmith. They have a wide selection of 2nd hand 8mm cameras. Including a number of Bolexes. 262 King Steet, Hammersmith, W6 0SP 020 8846 9853

Thanks for the pointers!

I need some advice in finding two actors for a 3-minute short film. Where should I look? I really am not looking for star talent here... Anyone who has any interest in Drama (not even formal education) would easily do these parts. There are about 20 spoken words in the script. Heck, if I knew more people in London, I wouldn't even bother finding actors. I would just use friends. Any suggestions?

I would not bother personally. I've head it being said that AGFA moviechrome does not age well even after timely processing.

Try heating the goo with a hair-dryer and rubbing it off with a soft but non-disintegrating object. Hands work, but it can be painful!

Would it be logical to say that... 35mm still image is coparable to 12 megapixels digital (print comparison) 16mm has approximately 1/4 the surface area, and is therefor in the region of 4 megapixels? And Super8 is just over 1 megapixel? --- In theory, film's megapixel rating would be the surface are of the film / the surface area of the emulsion particles. Unfortunately, these particles are not all the same size, not all equally light sensitive and they are not dotted down in straight lines.

I've seen pictures of the "poor man's steady cam". It appears to give satisfactory results, but you end up pretty tired after carrying that thing around a day! Ever considered a monopod or a chest-pod*? Chest-pod has a strap around your neck that supports the foot of a monopod on your chest. These are fairly compact. I've never tried one. * What is the proper name for this thing, by the way?

With a still camera you are spoilt with a large number of shutter speeds. This is one of the hardest things to get used to imho. With Cine, you are lucky if you get two on an entry-level camera.

The problem with blanks is the lack of natural recoil and that some automatic weapons will not automatically eject them! You would need to choose your actors and weapons carefully ;) --- If you insist on DIY (which I strongly advise against) try to get your hands on military rounds loaded with cordite or nitrous cellulose. These burn with a nice, slow flame. Obviously you would need to have the bullet projectiles extracted (by a professional) to avoid dire consequences!

Just thought I'd share this. These guys have started taking entries for next year. http://www.straight8.net/straight8b.htm A bit pricey for entry, IMHO, but I've entered anyway.

Hey, I got an 814 AZ. Not as feature-packed or as quiet as the XLS, but rock-solid and great fun ;) Any 58mm filter will work. And in theory, a anamorphic-adapter. Just remember that you are still working with Super-8, which is not the world's most sophisticated film format. Rule of thumb : don't spend more on your accessories than on your camera, unless you intend to buy a better cam that will be compatible with it later on.

My advice is to turn off as many "features" as possible. - Manually set your white balance - Manually set your focus - Switch off image stabilization - Manually set exposure (if practical) AND - Use a tripod, at the very least! I think the best way to work around less-than-perfect-quality is to make up for it in the production. A well-thought-of piece goes a long way to make up for quality lost. The opposite is not always true!

No, Super 8mm won't work in this camera. You would need to find some "Double 8mm" film to use your camera. Though not as readily available as Super-8, this film is still available from specialized retailers. (There's a wealth of information to this regard available on-line.) More than likely, this camera takes 25 feet of film, which is split in half after processing to yield 50 feet of projectable footage.

I've gone through a similar excercise recently. All I can say is : 1. Allow extra time - Manual scans take time (half the time is used to convince them that it is needed) 2. They will tell you that film up to 3200 ASA can go through the machine. You have to insist the contrary. 3. Ion scanners scan for explosives and nitrates. Keep your film away from fire-works and amunition! 4. They will take the film out of the foil wrappers. Only send the film when you intend to use it.