Maulubekotofa

i think I will simply stop posting in order to abide by the rules...too much junk mail and everything else when it comes to real names and all that. It's been swell fellas (and gallas). Enjoy the forum. And get out there and shoot more film. Its the only way to keep Kodak making super 8 film cartridges. Have a good one! Catch you on the flip side. Just consider me on a permanent 10-200 break. :ph34r:

300 bukkers...not bad...not good but not bad.

But is there not another forum for this video vs film dialog? I tend to think most people on here just talk about ideals and not about actual filmmaking, be it home movie making or serious film festival content with dialog and whatnot. Seems most people like to talk more than actually filmming. How many feet of super 8 film have people shot so far this year? I think I am up to a thousand but I have lost count. Anyone else ACTUALLY shoot super 8 film on this forum?

This topic is about as far away from super 8 as you can get. Super 8 - the format for home movies - and you guys are arguing over whether 35mm looks good compared to video. Wow.

I bet someone could post some 18fps footage and label it 24fps and we would have 5 pages of ramblings about how great it is over 18fps. Someone with bandwidth should do that.

1: Nizo pro - macro and AA batteries 2. Nizo 560 - Schneider 7-56 lens, light weight. 3 S800 - older style 7-80mm lens, no macro, crappy 1.3 volts batteries required... 4 None - the Canon is not in the same league as the above 3.

In ye olden days, 24fps was used to obtain better quality sound due to the faster ips of the filmtrack over the recordning head (speaking of super 8 filmmaking only, not other issues wrt 24fps). Therefore, 18 fps was used to economize on film and still maintain adequate image and sound quality. In the real world now, it makes no difference if you film at 6, 9, 12, 18 or 24 fps since on the computer, it all looks the same. Just add you soundtrack and enjoy. Also, 18fps has been proven scientifically to give you all the human brain requires to enjoy motion picture technology. Faster frame rates are only used due to historical convention as well as making FAST MOVING scenes appear more natural (since 18fps will become too slow).

18fps is like classic coke 24fps is like new coke or: 18fps looks just like 24fps on the timeline, just fewer frames per second. Also, if you can afford to shoot 24fps in super 8, you should consider 24fps in 16mm instead. Let's not forget about regular 8mm. That format is best served with 16fps. They all look great. Since you have the B&H camera, your wish for information on 18fps is kind of a waste of resources don't you think? The camera should work fine and all of your worries will go away once you are on the computer in NLE.

I believe most all of the "stories" from issue 3 can be had for free. I assume you miss out on the letters to the editor and new developments and the like. Still, I think it is inherently flawed thinking. I can easily set my printer to print only what I want and not the ads. Well, as long as he has made up his base subscriber numbers, that's what counts.

How come can you download the full length full color articles from the smallformat.de website for free? Seems to me they should only offer the first page and not each AND EVERY article in its entirety. Can someone explain? :(

That may be, but the 50D/40t PlusX I have means that if you expose this film in daylight, set your ASA to 50. If the light is predominantly tungsten, set the light meter/ASA to 40. You do not use a 85 filter with this film. You can, but the internal meter will naturally change the ASA from 40 to 25 effective ASA since it is TTL. Heck, put any filter in front and you have changed the effective ASA. No need for the orange filter unless you like orange filters. The nice thing about plusx and b&w in general is that you can be fairly lax with setting the ASA and make most corrections in developing or in post NLE. Not so with color reversal films.

All of these Sears/JC Penney/B&H sound cameras only offered 18fps sound filming. :D

For cryin' out loud: 50D/40T - B&W films always have the Daylight set at a higher ASA than when exposed in Tungsten light... Post a picture of the box that states 32...I am sure 32ASA is not a SMPTE valid ASA for super 8 cameras.

Clerks would still suck in super 8mm. Sorry. The subject of this post is lame too. Please close this thread.

ebay Item number: 150028854314 Item number: 250023943696 Cameras like this appear all the time.

Clerks would be hideous in super 8, sorry. Clerks is a clean, well done film. Super 8 would have certainly reduced it to amateur status. No detail on the boombox belting out berzerker that's for sure. And the cat's crap on the counter...would have had no detail. Agreed - get out there and shoot some film and stop global whining about super 8, It really is boring on here. By the way, anybody NOT buying 750GB hard drives these days really ought to consider themselves a past generation... Now, get out there and shoot. Or at least continue more interesting threads!

just zoom the lens to see the filter in it. you want to zoom so that it looks liek the internal elements are moving closer to you...than you can see the filter in place as it is pink/red - when you insert the 10 cent or 25 cent piece in the top slot you should see the filter move AWAY from the elements as you insert it...meaning it is ALWAYS in place until you insert someting in the top...

I was curious if you considered shooting tri-x or plus-x for the wedding in super 8. I realize that you mention there "are no UK labs that process super 8 reversals" but for a wedding, the B&W reversals would have been one of my first choices under consideration. Also, could you have shot 16 using reversal stocks? Sorry to hear about your poor experiences with 200T. Sounds like a lot of money was spent with "so-so" results. Looking forward to seeing a few stills of your project. You can sometimes use "PrtScn" on your keyboard to capture images from your Premiere video preview. Hosting the images is the trick though.

that s just the way i type i think it gets the messatge over you think?

so are suggesting depth oif field changes infixed focus fixed aperature setting interesting just shoot a chart and then worry about whterher the tungstan fiulter changes the focus when camer a is on a triupod

you only need to do the 2d charts since your proejctor or tv is only 2d to unless you have a hollargram matrics proejctino system in mind

use 2 carts and shoot bandw and then send the film to a chepa prosessor and project the final video to see what it looks like then your can rent you camersa ouit with noi problems.

1100 posts in s8 and you cannt buy more thn 1 roll of film what up iwth that?

why dont yu just look in tht e lens and see what is going on ?

what kinbg of film are you gonna shoot with