Erdwolf_TVL

I have recently made the plunge and invested in a all-in-one light meter. Just a couple of things I would like to confirm.

My camera's shutter angle is fixed at 155 degrees. The meter is designed for use with a 180 degree shutter.

To compensate for this, I recalibrated the meter to match the camera using the Ev adjust function.

- Is this a viable alternative to simply using a larger F-value?

(The results seem fairly consistent when compared to the camera's internal meter now.)

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Cine film invariably has both a daylight and tungsten rating.

- Should I set the light meter's ISO speed to match the lighting used?

- Or should I always leave the meter set to the larger value of the two?

- Will I get more accurate results if I held the 85 filter in front of the photo cell when measuring reflected light?

I found that the jump between tungsten and daylight ISO speeds have a very small effect on the F-Stop suggested by the meter. One stop in either direction was the biggest jump I saw in my experiments.

Any advice appreciated!

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BTW. Did search 5 pages back from present and saw no discussions to this effect.

B)-->

I shot a roll of 20-odd year old Kodachrome that I found in an old camera in an attic. (This film was obviously outside of its protective wrapper for quite a while.)

It came back from Kodak, processed, but completely transparent!

Now I've got 50 feet of leader.

Why don't you put it on E-Bay?

I'm sure someone will be silly enough to buy it.

why do people do this? it's irresponsible.

imagine that guy putting a 4kw on a stand thats 3 meters extended, with the legs (the stand's, not his) in that position.. uargh.

Please explain?

I'm presuming you are concerned about the contraption falling over?

Hi,

Ive shot 10 cartridges of super 8 Kodak Ektachrome VNF-1 process (The old stock, not the new 64t).

Ive shot my footage in July and I've kept it in my fridge till now.

Im gonne be sending it to a lab for processing and telecine.

Will everything turn out to be ok at proccessing?

Thank you..

VNF-1 Ektachrome can still be processed using E-6 Chemistry. The results can be average or good, depending on the amount of care taken by the lab. I did a similar experiment by having VNF-1 processed as if it were E-6. Some parts were satisfactory. In some other parts the blacks have a green undertone.

Hi im looking to buy a CANON 514XL-S. Any comments on that camera?

 

Also I noticed that super 8 film stock has a very low asa? Do these productions require a massive amount of light? Also how much time will one roll of film get me? Im guessing 11 min like 400ft of 16mm? And processing and getting telecine how much does that usally run for lets say like 45min of footage.

 

Thanks

David S.

 

Edit: I saw somewhere Walmart can process these is that true? and if so where can I get a telecine?

On movie cameras the shutter angle (normally) equates to a relatively slow "shutter speed" in still camera terminology. 1/50th of a second is a realistic number, I think. Most still pics I take in comparable light are 1/500th of a second.

Make no mistake, though. 8mm is available in up to 500 ASA in colour negative.

I have a question. I traversed the world by foot for 10 years with a backpack and a DV cam and now I am staring at 300 DV tapes which were shot carefully. Some of the footage is amazing, more because of where I took the cam. I even got it inside a communist prison cell where I was detained and shot footage! I want to now buy a 35 mm cam and shoot film, perhaps to re-inact some particular scenes (snow storm near Everest, shooting incident, chased, and perhaps to shoot some whitty dialogue in the present day. Then the DV could be flashbacks. I dunno, because how could I have *so* many flashbacks....does anyone have any good ideas on this...sorry to sound vague...

As you have alluded to, the nice thing about a mini-dv cam is that you can take it anywhere and everywhere. Even more so with cheaper cams that A. You don't give a damn about and B. Have Infra-red.

You probably won't have gotten half the shots you did, had you been carrying around a bulky film camera.

Re-enactment may be troublesome. Actors get paid good money to make something fake look real. More than likely re-enactments will live up to their name.

You probably won't stitch together anything apart from an amazing holiday video, but you are sitting on a pile of inspiration that will help you create a truly amazing screen play. When you have a finished script, get some cameras a shoot it!

"Books change when you read them a second time"

Do the cinematography mean " Taking pictures for apearance in cinema hall"?

Is the videography the section of cinematography?

Are the discussiones of cinematography.com reference to filmmaking?Containing: cinema,tv and other visual media.

latifian

There's an excellent book on this subject.

Look for "How to Read a Film" by James Monaco.

I believe this is the new print...

http://www.amazon.com/gp/product/019503869...283155&v=glance

Yes,

I did that, the tubes were Ubent shape which suck...and the only palced I found rented them. The thing is that I had to do two things. For a bog dolly shot seeing a lot of hallways I just gelled the other units with 3/4 +green and with my digital cemera checked the color reference and then in kodak look managment I checked and printed out the green. I think I am good, but then for a cutting shot of the dolly with windows references I made the same light but all daylight balanced. Hope it turns out well.

 

David,

Thanks for all your imput. I ask a lot an dI understand what you said so Thanks once again!

Miguel

I have done some existing light still photography (read: I've been messing around) in the London Underground, using a violet filter. Hoping to cancel out the green bias. I thought of doing the same with film, until I saw the results. Not good!

Correct me if I am wrong here. The green appears to diffuse very quickly when the light is reflected off seemingly white surfaces. In my pics, I found some spots correctly balanced, and some with visibly pink / violet tints. I have never seen this happen with tungsten filters before.

Shooting at 24fps, I have only ever experienced noticeable registration problems with one particular cartridge... Ektachrome VNF 125. I've had major registration problems on all 3 test cartridges I've shot.

http://www.canon.com/camera-museum/camera/...uto814_sp8.html

All other films, including Vision2 and the new Ektachrome have given me superb results.

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Is this because of the age of the above stock?

Is the film thicker?

Or is it just a fluke?

Eyeballing, measuring or both? which is the best way to focus 35mm being that focus is so much more critical than 16mm?

Why do you say that focussing is more critical in 35mm than 16mm?

Hi all

 

I'm going to be shooting some motorcycle action at our international grand prix race circuit.

The intention is to create some different products from this.

 

1. To create a web video (and possible tv) commercial for a product for motorcycles (which a friend has

based a business around).

 

2. To create another web (and possible tv) commercial for the organisers of the event - I figured this would also help to get into positions around the track that might usually be not allowed, and the footage used would be the same sort of coverage.

 

3. To have some good material to cut together for a reel

 

4. To produce a very cool DVD for all the people involved - as they love watching themselves race around the track on their bikes.

 

My experience with a camera (Sony PDX10P) is shooting interviews only. I've never done anything outside and certainly have never done anything sport, or high action / speed.

So this is the first time I'll be shooting something that moves and getting funky with the camera. I really have only a vague idea on what sort of coverage to get and even less of an idea on angles, positions etc....

There will be other cameras around on the day and some people do have lipstick lenses etc.. so there will be some onboard stuff to work with.

I'm not scared to get in close and experiment, but I was hoping to have some guidance so I don't come home with everything experimental and nothing useable.

 

The plus is I have a practice day at another track about a month before this one happens so I'll have 1 day of experience to reflect upon and review.

 

Could anyone who has any advice to offer please chime in?

What sort of coverage / angles / ideas etc.... do I need to make a fun, high energy, funky motorsport type video?

How should I behave with the camera? Should I get in close and try to get some cool angles and close ups without much experience or should I be a little conservative and just make sure the compositions are not completely horrible?

Any sort of guidance would be great.

 

I am an editor so I have seen plenty of good and bad shots, but capturing them myself is a whole other thing.

- Arrive EARLY and take lots of shots of the empty track and stadium. Especially if the track is scenic.

These are useful for creating contrasting scenes to the chaos to follow!

- Shoot lots of behind the scenes stuff. Preparations, bikes arriving, bar talk, the stadium.

Everyone will be watching the bikes. Show them a bit of the action they missed out on.

- Mix ample tracking and stationary shots for variety when editing

- Use neutral, subsued music in the background if you plan to use music at all

- Try to get as close to the bikes as is safe (zooming will loose the engine noise!)

- Try to get some tarmac-level shots (if safe)

- Use a tripod

- Don't stand in the crowd!

Hi Erdwolf_TVL can you post some pics of your test?

 

thanks

Will do at some point.

Not very high on my priority list right now, since I've already telecined the colour negative.

Would be an interesting comparison.

I doubt whether it would look any better than the direct from neg, though.

Where did you get this done? I'd always heard that it wasn't worth anyone's while to offer print services for the negative stocks.

 

Can this be used for workprinting purposes so that I could actually edit on film instead of on video?

The lab that did the works was "ANDEC Filmtechnik" http://www.andecfilm.de/html/start_english.htm

The Wide Screen Centre in London act as their agents in London (to my understanding).

Processing took about 10 days (from drop off to collection) and cost around 30 pounds for 100 feet.

!!! Sorry, I said feet in my previous post when I actually meant meters... !!!

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As for editing this film, I think it's more than possible, provided you have the tools to work with polyester film. Though it may be worth splicing the negative (which is acetate) and then having the finished negative printed.

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I'm by no means an expert in this regard, though, so any comments would be appreciated!

I had 30 feet of colour negative film "printed" to positive by ANDEC Filmtechnik.

And honestly, it blows Ektachrome 64 out of the water for what I would like to use film for.

I will be doing 99% of my work on colour negative from this point onwards!

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The first 15 feet was shot on 500 ASA film. Inside a dark pub with a non-XL camera and some shots on a gritty tube station. The grain was average, but the results were good, considering the light that was available. The few seconds I shot in daylight with this film is almost indistinguisable from 200 ASA.

The next 15 feet was shot with 200 film in daylight with a +2 Neutral Density filter. The grain of this one is so subtle, you have to squint your eyes to see it.

The colours are very lifelike. Perhaps not as saturated as reversal, but the blacks are solid, and the whole thing oozes quality. And it's only a one-light print!

From shoot to projection, the cost is about double that of reversal.

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I wonder what kind of stock they used for this?

As far as I know there are no super 8mm print films available from Kodak. Perhaps they use cut down 16 or 35mm stock?

The film is definitely polyester based. Very difficult to cut and film cement has NO effect on it. Better get myself a tape splicer...

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Either way, a most recommended excercise!

This may be a stupid question, but I am a big time newbie.

 

Do they sell super 8 film at camera stores (like Wolf), or do I need to order it somewhere on line?

 

If so, what are some good websites for buying film and other super 8 accessories?

 

Thanks much.

Are you located in the USA or Europe?

who processed it?

www.super8.nl

Resolution is truly amazing!

The colour is vibrant. Perhaps a bit too saturated in places. I can live with that, personally.

Though clearly more visible than that of Kodachrome, the grain isn't nearly as bad as I was lead to believe. Grain is most visible on smooth surfaces (sky, for example) on grass, concrete and tarmac you hardly see it.

I'm curious to see how much grain is smoothed out during MPEG compression.

I have a lot of overexposed sections. Need to get myself a good light meter!

Aggghhhhhhh.......... poop happens for an amateur!

A few months back ...

 

I splashed out on 4 carts of KODAK Vision 2 500T from the Widescreen centre here in London

 

kept it refrigerated until i could rope some friends in

 

shot some footage for a Demo

 

had it processed/graded telecine to minidv by the same company

 

and what do I get back this week for my expense and efforts.

 

An ugly huge scratch runs like the river thames right across the central part of the frame - runs from start to finish and ruins some nice images i acheived (IMHO). I've shot a fair amount of super 8 reversal and understand the grainy/scratchy beauty of it but this idea is new to me.

 

A swift moaning call to the guy at the Widescreen centre then followed, he sounded a bit peeved about my complaint and pointed out that it had happened during processing which they outsource to a lab in germany, and definitely not by their telecine machine - only a small particle in the machine could have caused the scratch.

 

Because of the nature and volume of super 8 processing that goes on I have to accept my loss and move on - if i couldnt do this he suggested leaving S8 alone and stick with 16mm or higher - sounds like a shakey sales philosophy to me (maybe im too small fry). In the end to give them credit they did refund the cost of the processing (£51 out of total of £230 wasted)!!!!

 

should i think myself lucky i got some money back at all or am i right to be a bit annoyed??????? any feedback or similiar experiences would be appreciated - id be especially interested in finding out if anyone's any experience with Todd-AO, the only S8 neg lab in UK?

Unfortunately, you can only increase your odds by going to a more expensive lab and a more experienced technician. You can never garuntee your results with film.

Have you considered that it may be a cartridge fault?

I personally have had no problems with the above shoppe and lab.

I say get a k-3. It's cheap, well designed, the lens is pretty good, it's cheap, and it's fun to play with.

K3's haven't quite become the lomo cameras of cinema yet, so you can get one for under 200 dollars I think off of ebay usually.

 

I also have an NPR... Some love NPRs and others think it's too old. I will just say that as long as it is quiet, has proper registration and timing I can handle the other headaches involved with it. Just remember that lenses will cost 1000-10000+ to buy 100-300/day to rent

Krasnogorsk - 3 it is!

This is exactly what I was looking for. No-nonsense, low maintenance.

Thanks!

I was actually a friend of the girl getting married, and was not a hired videographer. I had no previous camera experience, and I don't know much about non-linear post-production editing either. However, I'd very much like to learn more, and if you could critique my small video, that'd be great. Shouldn't be more than 4-5mb.

 

http://www.hirethisguy.com/temp/helenweddingtracked.mov

 

I have thick skin. I know it's bad. With that, have at it :ph34r:

My advice is to invest in a good tripod :)

Even if you never intend to shoot for money, this is an excellent investment.

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Keep in mind that to shoot a wedding with any degree of professionalism, one needs at least two cameras and two tripods. Two camera operators also helps!

I usually set up one stationary camera either in the back of the church or on the gallery and stand in front near the altar with another.

It takes longer to edit, but a lot of errors can be masked this way.

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When shooting a wedding, you should always be at the venue a few hours before hand. Picture the bride and groom. Ask yourself "What will they do and where?" Pick your shots before the first guests arrive.

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You should allow yourself more freedom of movement than the other guests. Don't be affraid to stand closer to the action by the altar. Otherwise people's heads and shoulders will always get in the way.

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Never, ever underestimate the entertainment value of behind-the-scenes footage!

Scouring E-Bay, though, I am a bit confused.

It would appear that most cameras out there are either very old or very expensive.

Is there such a thing as a decent entry level 16mm camera?

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It would appear that most cameras are Standard 16mm as apposed to Super 16mm. Which should I be looking out for? Is my assumption correct that Standard 16mm is more common?

I appreciate the aesthetic difference between video and film, the greater tonal range of film, the pleasing frame rate of 24 fps film, etc. However, does super 8mm film really produce a better image than, say, an XL2 when used properly? What about super 16?

Super 8 can be equated to anywhere between 1 and 2 megapixels depending on the film and shooting conditions.

Considering that DV is just short of 1 megapixels, 8mm should (in theory) have much sharper image. Grain, however, eats away a lot of the "resolution" of film. Video has virtually no grain.

On a TV screen, I prefer digital video over telecine. When projected side-by-side on any surface larger than the average "big screen" TV, however, I'd choose film.

16mm is a whole different ball game.

hello all,

 

I was wondering if anyone has shot 500 speed film with a Canon 1014 super 8 camera. I am want to do some shooting of a wedding using the auto exposure but am unsure if a 1014 has the ability to recognize the way super 8 cameras read film speed off the cartridges. When these cameras were made I don't know if they ever thought of the possibilty of 500 asa film.

 

Anyone have any thoughts or experiences with this? Do I need to check it out with a test or just shoot and don't fret?

 

Thanks you in advance.

 

Tim

In a similar situation... My 814 only reads notching up to 250 ASA. I'm seriously considering buying a separate exposure meter. To this point, I've merely guessed and shot with manual apperture.

Hi thanks for your efforts and show us your test :)

 

The pics are a bit underexposed for my taste and they have a greenish tone, why?

If you gime permission I have corrected the greenish tone and I overexposed a bit.

Thanks for that!

Actually, the underexposure doesn't bother me that much... The lion was rather dark :)

This is a one-light telecine, so I am not too concerned about intermittent over / underexposure. Should I do something of consequence, I would have a supervised telecine done. And I probably wouldn't work on Mini-DV :P

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I'm surprised about the green, actually... My eyes obviously aren't as well trained as well as yours to spot colour shifts. I can only guess that the green tint was have been introduced during the telecine. I'll let the lab know so they can correct this in future.

I recently shot a test cartridge of the above film.

These are some of the highlights (or should I say low-lights!)

The film performed exceptionally well considering it's a 200 ASA.

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FYI : Telecine performed by the WideScreen Centre in London.