Larry Wilson

Thank you. That tells me everything I need. If I'm going to have to shoot at ISO 40 with V3 500T in daylight, maybe I might be better off keeping that as a nighttime/low light only stock and load up with V3 50D or maybe even 200T. Think some experimentation might be in order... Looks like my math was actually pretty close. Thanks again.

I'm not exactly a beginner, but I am a little foggy on this particular area: I am planning to shoot Vision3 500T in daylight in both Super 8 and 16mm, and I am using a ND0.9 (ND8) filter as suggested by Kodak, as well as an 85B filter for daylight correction. The iOS light meter I'm using (Lux) has sections where you can set both the ISO of the film and/or the compensation, which I have set up for 1/3 stop increments. My question is this: I am setting the ISO to 320, as that would be the daylight speed for the stock, but I am unclear on setting compensation. Since the ND0.9 holds back three stops, do I set the compensation as +3 stops or -3 stops? Also, if I just choose to set the ISO directly instead so I wouldn't have to deal with compensation, would that final ISO be 80 or 40? Again, I'm really bad with math ? Any assistance would be most appreciated.

What people seem to be missing is that Kodak has said that that three grand price tag is for the initial run. Also, people are throwing away the same amount, if not more, for Pro8mm's Beaulieu refurbs, how would this be any different?

There's a pretty good chance it'll be highly overexposed. What would probably help a lot is if you use a neutral-density filter to cut down the light to something more manageable. I learned this the hard way by shooting both V3 500T and Pro8's Fuji Eterna Vivid stock in a Zeiss Moviflex S8, which is even less capable than the XL401. It's top ISO is 100, and AFAIK, nobody makes any kind of neutral density filters for it. The end result was not pretty with either stock. I suspect that if you go with the neutral density filter, you should be good to go. You want to go with a 0.9 ND filter; that's what Kodak recommends, although I was able to shoot with a 0.6 ND filter with no ill effects. One other thing you should be aware of. If you shoot Kodak-branded V3 500T, be advised that it doesn't have a filter notch, so you'll either need to make one on your own or use an external 85 filter. I would recommend that last one because they make combination neutral density and 85 filters, so you can kill two birds with one stone. Just ask for an 85ND0.6 or 85ND0.9 filter. Pro8mm's V3 500T is notched properly, but I'd still avoid using the internal filter until you know what kind of shape it's in.

I might have to take you up on that, Kirk. I have an 814E that has a sticky trigger. When you press it down, the only way you can get it to stop is to hit the side of the camera. Also, the camera seems to be stuck on manual exposure, and the exposure knob doesn't work, so it's stuck on f/32 (?). I also have a 518SV which doesn't seem to want to run, either when I push the trigger or use the cable release. The lightmeter and everything else works, though; if I could get the motor running again, it would be my new go-to camera.

I'm glad I found that out. I was wondering how to shoot manually. I wanna be able to shoot other stocks besides V3 50D without worrying about overexposure.

Where exactly does one apply oil and lube to a Moviflex? I have an S8 that is in virtually perfect condition except that it's extremely loud because the motor needs lubrication. Also, how exactly does one do manual exposure on one of these things? I tried it once on another one I had owned previously, and it seemed like you actually had to hold the aperture knob on the f/stop you wanted because the auto exposure would fight you. I refuse to believe an otherwise excellent camera would have such a screwy way to do manual exposure... I really wanna be able to use this as my go-to camera now that my 814's been stolen. It has a great lens on it, sharp and contrasty, but that motor noise...

Can this stock be processed at someplace like, say, Spectra Film and Video in North Hollywood? I'd like to use some of the stocks not offered in the US, but I don't know how compatible they are with the Kodak chemistry...

From what I gather, it seems to be selling fairly well/ I actually bought a roll when I was in LA last month. I shot some stuff in San Diego with it, but the camera I was using got stolen with the roll of Provia in it. I was not happy. Fortunately, Pro8mm is willing to transfer two rolls I purchase from them in the future in order to fufill my original order. I will definitely be getting another roll of Provia. I might save it for the fall or sometime in December. I'm hopefully heading back out to LA for the "Rogue One" opening; what better time to be shooting film?

I certainly hope they go ahead with this. It's a quantum leap over Agfa 200D, especially since that's going away soon.

Haven't shot any yet, but somehow given the results I've seen from others, I'm in no hurry. I have never been impressed with the color rendition or grain of this stuff. Surely there had to be a better stock out there to take E100D's place. I mean, didn't Wittner offer a stock based off of Fuji Astia or Velvia 100? They should have given us that instead...

Swapping the cartridges out is incredibly easy. The only thing that will happen is you will lose three or four frames and get one of those flashes you see with film. But yeah, that would be an excellent way to work. You've probably also noticed that there's a great deal of trickery involved with manipulating the exposure due to the entire EE Lock system. You actually have to trick the aperture into opening up or closing down to the f/stop you want, then hold the EE Lock lever while you shoot. Why Canon didn't give the camera a conventional manual exposure control like every other camera is beyond me. Fortunately, negative stock is so flexible that you can fire and forget, if you want. I actually got some excellent results with Vision2 200T in a shack lit by a single 60W bulb in the dead of night using a 514XL-S. It was my first roll of Super-8 that I'd shot in over ten years, and it got me hooked all over again. If I can remember the Youtube link to that footage, I'll post it.

Anyone of the portable memory card recorders out there would do the trick. Zoom seems to be the leader in that field. Not having used one myself, I suspect that you would use the same method as you would for MiniDisc if your camera's not sync-capable--keep your scenes fairly short. In fact, even an iPhone would work. Pro8mm has done several demos of Super-8 double-system material shot with iPhone-recorded audio.

You've probably gotten all the answers you could need, but here's another one: MD is a perfectly acceptable recording format. The one drawback, as I'm sure you've found already, is the lack of timecode on any of the more affordable portable units. But one of the tips I recall reading somewhere is that if you don't have any kind of timecode or any way to sync your camera and MD recorder, you should keep your shots as short as possible to minimize the possibility of sync drift. Admittedly, that's greatly dependent on the accuracy of your camera's motor, but I suspect that if at least the camera is crystal-controlled, you won't have issues. By now, however, you've probably found a more modern sound option. The other problem is that MD was a dying format when you originally posted, and it's even more so now. Media is going to be even harder to find than back in 2008. You might want to investigate the many flash-based recorders out.

I believe Agfa's still making it. The stock may be available in the US as Agfachrome RSX II 200, or (if they're still even making a consumer version) CTprecisa 200. I guess Pro8mm has finally made their version of it available, but you'd probably be better off getting it from Dwayne's Photo.