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Showing results for tags '8mm'.
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18k = IMAX 15-perf (or 36K?) 12-13k = 70MM 5-perf 6K = 35MM 4-perf 3K = 35MM 2-perf 1.8K = S16MM 1.5K = 16MM 720p = S8MM 480 = 8MM I had to share this with someone. I found so many people including myself looking for these numbers I had to compile this list. I cannot find anything close to this on the internet all in one place. Digitally, IMAX is referred to as being three times better/larger than 35mm (18k / 6K). On Film, IMAX is three times larger then 70mm and 70mm is twice as large as 35mm therefore it should be six times as large. This is of course the best possible scenario of each format. These are all comparables, they cannot be absolutely perfect. I'm comparing category to category. So much in the real world changes these numbers, for example cropping 16mm to a release format reduces the frame size and corresponding resolution or finding a camera and lens that can shoot S8mm or 8mm and come close to 720 or 480 quality.
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Hi everyone, I'm a writer doing research for a character in my novel, set in 1971. I'm wondering if there were any home movie cameras in existence during that time that had reels that filmed longer than 3-4 minutes at a time. Basically, I'm trying to write a scene where the character leaves a camera running on a table (somewhat inconspicuously) and it captures a rather shocking event. But in order for this scene to make sense, the camera would need to be recording for at least 20 minutes. My initial research has revealed that there were several popular handheld 8mm movie cameras that year, such as the Kodak M22, but most of them used standard 50 ft reels that could only capture 3-4 mins of action. I did see that there are 7" reels (400 ft) that could record upwards of 25 minutes. But these reels are huge, and I imagine not many consumers owned cameras large enough to run these reels, right? They were more film studio cameras? (And such cameras certainly wouldn't be very inconspicuous in a room, I'm guessing). Thanks in advance for your help! Cheers, Sarah
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I recently purchased some Kodak Vision3 re-cans and short-ends film stock. I’ve read differing opinions in regards to refrigerating versus freezing the film. Some have recommended to not freeze the film as it may be damaged from the process. Is there any general consensus as to the best practice for storing film? Kodak literature states that freezing film is an appropriate step for longer term storage (more than six months). I don’t know when I may use it and if the time period will exceed six months. Can I promptly freeze the film to slow the degradation process? With my film stock being re-cans and short-ends, I feel I should be more mindful of degradation, but with it not being in factory-sealed cans anymore should I avoid freezing? What are the best techniques to safely store new and opened film stock? Fridge or freezer? Should I place the cans in zipped plastic bags? Should I insert selica gel packets to reduce moisture? Any tips or suggestions would be helpful. Thanks!
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I recently had a couple of my Canon 814 XL-S cameras converted to Super Duper 8. I've been reading about it for some time. When you file down the left side of the gate, this exposes the area of film on the opposite side of the perforations (where the sound strip would have been). When you are looking through the viewfinder, the extra area attained through widening the gate is on the right side of the viewfinder. Why? I know it is a simple answer. But intuitively, it feels confusing. I have yet to shoot Super Duper 8. My experience is based on reading about people's experience with this format. But I have seen multiple instances of posters stating that the extra area is on the right side of the viewfinder, but you file the left side of the gate. Please help my poor little confused brain. Thanks.
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I apologize if I'm posting in the wrong section but I've just received a mint Bolex p3 and I was hoping for some tips/information on using the camera. I see that it takes 25 ft reels of 16mm film and it's my understanding than it exposes one side (8mm) then it is flipped and the other side is exposed? Does this mean special processing instructions? Any sort of workflow insight would be appreciated. Thanks! - Hunter
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Hi all, Just posting this here having previously received some invaluable insight on diffusion filters from the forum before. Please forgive me if this request is inappropriate for general discussion, I will post in a different section if that's more suitable. I am primarily a photographer, but wanted to do an image series based on stills from old (but not necessarily ancient) Camcorder footage. I was looking for possible second hand equiptment options, and came across the Sony Digital 8 cameras, and noticed they have an option for 'stills' - seemingly to take single shot photos as opposed to continuos filmed footage. Being of the digital camera era I have a lot of gaps in knowledge of analogue filming specifics, particularly this sort of technology that seems to be a bridge between the analogue and film eras, so I am curious - do these 'still' images have the sort of analogue softness typical to camcorder filmed footage (examples of I guess what I mean below, although I am sure it would be possible to get slightly better clarity than seen in these), and am I along the right lines looking at Sony d8 cameras etc, or are does this 'still' functionality simply very primitive digital photos like you might have got from a mobile phone a few years back, and is not directly relateable to the continuos filmed look produced of the cameras? The use of tapes etc in these cameras has me very confused! Any help very gratefully received!
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Hello all! So i recently started working with a local artist for film photography. We got to talking and we want to film a short film using 8mm format. Camera wise i was thinking a Bolex D8L. I know you have to use double 8mm with this camera, and to be honest its one of the reasons that drew me to it. I plan on developing, splicing and editing the whole thing my self, i just had a few questions. 1. whats the chemistry should i be using? (same chemistry i use for developing my 120 film?) 2. whats the best way to split the film? 3. what projector should i be looking for to debut the film. 4.also if anyone could point me in the right direction to which film i should be buying that would be rad! We plan on premiering it at a gallery were putting together. Thank you!
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I just purchased a Canon Cine Zoom model 512 8mm camera off ebay and the spring driven mechanism makes a clunk sound and locks up. Is this camera worth fixing? Who would you recommend if it is worth it. Thanks
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Dear Friends, i am Michel From india and i would like to SHOT with mini DV and then covert into TELECINE into 16mm / 35mm kodak stock.
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I'm looking to sell it but unsure of its value or where best to sell it? Its in mint condition but it's original box has obvious aging (slight scuffs). Any advice or offers are welcome, it's been real difficult to find much info on it.
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I'm just getting back into 8mm & 16mm filming. I stopped doing this back in the 70's. I'm wondering, are projection lamps still available for all projector brands....even the old hand crank versions? If so, where? Thanks
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Hello Recently purchased a Kodak Instamatic M22 off ebay for £10 with some new film, the listing stated it was not tested but i took a chance anyway. So it came and didn't work, turns out the batteries had corroded so i cleaned it out and popped in some new AA's, pressed the exposure and sure enough the motor buzzed away like a bee. However having opened up the catridge slot i could see that even though the motor was working the film cartridge turner thingy wasn't moving, after a browse online i found out these things have weak gears that break so i got out the screwdriver and took it apart, all the gears are in great condition so i don't know what could be causing this to not work. Any help much appreciated, thanks
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How many professional film labs are left?
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Film scanner - current manufacturer Open topic....
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As I mentioned in the Super8 thread, I have a long dreamed of project in the works: A feature that will be partially shot on Super8 film. We are shooting all of the 8mm scenes first and will edit and then see where we are at. Never mind the fact that prices for stock have gone up by 50% or more in the last 18 months :angry: there is also the issue of not receiving responses from the labs or scanning facilities I have contacted. I don't want to be rude and mention which ones, but it seems like maybe some just don't care about 8mm at this point because I am receiving replies to my emails inquiries. That would not have happened 2 or 3 years ago. Some of these places are big names and well known here. Maybe I'm just too small-time for them to bother? We intend to shoot on Tri-X, Vision3 200T and a little bit of 50D. Anywhere from 15 to 24 rolls, depending upon how well (or poorly) we do. 24fps of course. Most MOS. There are two sequences with sync sound. The most likely camera used is a Nikon R10, though I am trying to find someone with a Leicina Special or the new Logmar in the NYC area. I am in the process of acquiring an R10 right now and would have to shoot one or two test rolls. 1080p would be the minimum for scanning for the project and frankly 2K might be smarter since I really want to retain that all important film grain. That is so important. I don't want it to turn to mush. We are shooting in the NYC area late September and hope to finish no later than October 5. I would need some immediate turnaround since I have to leave for China on October 18. Getting everything in place ahead of time is important, not just for me but I am sure for whatever lab and scanning house we use. That's the situation. We have an insanely limited budget and certain people involved are trying to get me to switch to shooting this stuff digitally, but it's imperative to me that these portions of the film be shot on film. I do not want to shoot this stuff with a digital camera. The rest of the feature will be digitally captured so dammit, this material which is designed for 8mm needs to be shot on 8mm. But if I can't get answers to my questions or find a place willing to work with me... I will be forced to go digital. :( I'm all ears. Thanks. -
I have 2 Moviola film rewinds for sale. They are in good working condition and works with 35mm, 16mm and 8mm film reels. Some surface wear but does not affect the operation of the equipment. Comes with 2 spring locks and 6 spacers. Asking $45.00 US plus shipping.
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http://www.ebay.com/itm/261990236273?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 Please ask questions through ebay as I check that account more frequently
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Those of you know know me might have been aware that I left NYC 18 months ago and haven't shot any film in over two years. In fact, I sold all my film stock/camera/gear a few months back. I was done. Whoops. It seems I may finally be doing something I have long wanted... Shooting Super8 for a feature. Now it's not like we have the entire feature funded. Nope. But at this point I am tired of waiting and instead am funding (with a partner) the section of the feature that will be shot on film. Super8 film to be exact. The film essentially has three sections and each section has a distinct look. We are looking at very late September for principle photography in Manhattan. Needless to say, I will soon be looking at scanning options. While I want to shoot B&W we will likely shoot color and convert to B&W in post. Note I say "Likely." I am not yet certain. Tri-X shot right can't be beat. Look at this as an example... Wow. The project is an 85 to 90 minute film and around 20 minutes is planned as B&W film. I will be shooting on a Nikon R10 as well as a few other cameras that will be provided and manned by one of my favorite 8mm shooters (I'll announce who once this is all set in stone). It's going to be so cool to collaborate with this guy. He's an 8mm master. Anyway, just want to let everyone know film is still viable. It's an option. You just have to work at it to make it happen. God help me in pulling this off.
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We shot some key pieces of this short film using super 8mm. It was pretty seamless but helped add to the effect that you were watching someones real home movies: http://redd.it/34bi0f
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Salutations, I'm very new to this whole Super 8 craze. I'm going to shoot some video with expired 8mm Kodachrome 40 and I need it both processed and digitized. There are tons of services online for this. Does anyone know what the most reliable and cheapest option is? I'm not looking for uber quality, just decency. Thanks, Liam
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Hello, I am photographer and am new to shooting Super 8. Purchased a Gaf ST/84, but have not been able to find out the exact focal plane of the camera. Need to know how far from the camera the subject should be, in order to be in focus. It is a fixed focus camera with f/1.7. Any help is much appreciated! Thanks! Leslie
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Hi, I recently acquired a Minolta XL 84 Super 8 camera. I have some Vision 3 Kodak 500t already so I wanted to use it with this camera. The instructions for the Minolta says it takes Daylight ASA 25 or 100/Tungsten ASA 40 or 160. If I shot on Auto, in low light with the 500t (let's say on the street at night or in a dark theatre) do you think it will be okay? If not, any recommendations for Manual mode? Thanks.
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Super 8 kit for sale. All carefully serviced, film tested, with clear lenses and in fully working, near mint condition. Minolta XL-84 - £149.99 (RL button intentionally removed) Canon AF514XL-S - £124.99 Canon 514XL-S + 43mm C8 wide lens - £99.99 Sankyo XL-620 - £99.99 Sankyo XL-420 - £74.99 Bolex Aspheron 4mm (55mm thread) Wide Lens - £34.99 Canon 43mm C8 wide lens - £49.99 Canon 67mm C8 wide lens - £99.99 Prices in GB Pounds Sterling. Based in London UK. billrodgersfilms@hotmail.com -
I write this with a very heavy heart. Back in January I sent my beloved Canon 1014 XL-S to Steven Willard of Willard Engineering for a clean/lube/service with an agreed upon price of $200. The camera was shipped insured and delivered on January 30th. Up to that time Steve was lightning fast with all his communications via email and text. But once my camera was in his hands all communication stopped. He would not answer me to verify he had the camera. Not until I left a forceful voice-mail in mid February did he finally return my call and explain the camera was in his hands, but that he had been ill. He promised all was well and he would get to my camera in a week. Okay, I can accept that. Two weeks pass and nothing. I start emailing. I hear nothing. I text and hear nothing. I call and eventually leave a vm explaining I fear he has stolen my camera. The next day he calls and says his wife is ill. Okay, but I have NOTHING via text or email stating he has my camera. He agrees to send me an email stating he has the camera and also explains he will do the job next week. I receive the email on March 12. Since then, silence. Nothing. No response to any methods of communication. This camera is very important to me and it cost me big bucks. I cannot just eat the cost. Has anyone had an experience with Steve Willard? I have only heard good things about the man, which is why I sent the camera to him. But it appears I may have made a terrible mistake. Should I not have this situation settled by the end of the week I will probably have to look into filing charges of mail fraud. That's a felony. I'll also have to go to the BBB. I'd rather not do that to the man if it can be avoided, but fact is HE HAS MY CAMERA and will not fix or simply return it to me.
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I'm shooting a short film this summer using a Super 8 for the first time and was hoping someone could give me a bit of advice as to which film I should look for. I'll be shooting most shots outdoors during the day, and I'm trying to get a kinda lo-fi feel. things get a bit tricky though as I'll also have take some shots at night near a campfire, I feel like a different kind of film might be more appropriate for a shot with such low light. I might also want some sunset shots. Is there any particular film I should look into? Thanks!
