Jump to content

Search the Community

Showing results for tags 'Super 8'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Cinematography Forums
    • General Discussion
    • Cine Marketplace
    • Cameras Systems and Formats
    • Lighting for Film & Video
    • Camera Operating & Gear
    • Camera Assistant / DIT & Gear
    • Grip & Rigging
    • Visual Effects Cinematography
    • Post Production
    • Students, New Filmmakers, Film Schools and Programs
    • Lenses & Lens Accessories
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • Directors and Directing
    • In Production / Behind the Scenes
    • On Screen / Reviews & Observations
    • Business Practices & Producing
    • Camera & Lighting Equipment Resources
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Cinematography News
    • Sound
    • Off Topic
    • Accessories (Deprecated SubForum)
    • Regional Cinematography Groups

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Occupation


Location


My Gear


Specialties

  1. Got some questions about pushing and pulling film stock after reading this fantastic article about shooting La La Land on film, and after a recent wedding I shot. I'm not a complete novice or anything but still only been shooting motion picture film for a couple years now. As I said, I shoot weddings among other things on Super 8 and sometimes, you just gotta deal with the light you're given. Last wedding I shot, the ceremony was EXTREMELY dark, I'm talking like, you could barely see the couple with your eyes dark... So I was shooting 500T on my Beaulieu 1008XL (f1.2 lens, 225º shutter) wide open then I had CineLab push it a stop in development. I DID get back an image amazingly but it is pretty darn grainy. It's ok but I'll have to work around it with my other footage. And it got me to researching it some... After reading about pushing and pulling online and on Kodak's website here it seems like pushing may not be the best idea for low light contrary to my thinking. Plus this quote "Push processing is not recommended as a means to increase photographic speed." I know pushing only increases light that's hit the film therefore more light gets brighter whereas little light get a little brighter hence more contrast. So why does Kodak speak against it so much? In low light should I just shoot at box speed and then fix in the scan. I know Phil of Pro8mm says on his site that pushing is largely unnecessary with the quality of scans these days. Thoughts from other scan labs like Gamma or CineLab? What's the point in pushing film then? Also... pulling film. In the La La Land article, they mention shooting 250 at 100 and 500 at 200 and then pulling in development. Does anyone do this? For film I've overexposed, I've always just done normal processing and fixed in post due to the large latitude of V3. Would it be better to pull? They mention finer grain and lower contrast in the article. I always just figured it was a fix for overexposure. A novice viewpoint, clearly. Also how they heck are they shooting nighttime at 200ASA!? Sorry for the long post but a bit confused and curious about more experienced shooters' thoughts.
  2. Hello cinematography.com friends! I just finished up my latest short film and I wanted to share it with you guys. Shot entirely on vision 3 super 8 stock (50D,500t) This was my first attempt at creating a narrative on actual film. The camera used was a Sankyo 40s xl and the process/2k scan was performed by Pro8mm in Burbank. Thanks! Happy New Years. - Hunter <iframe src="https://player.vimeo.com/video/197584631"width="640" height="486" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>
  3. Hey everyone! So I live in NYC and I've been shooting Super 8 as a fairly serious hobby since last summer. I love it. This forum has been a source of so much info. I've already bought several cameras, shot vacations, field trips, events, etc. Problem obviously is it ain't cheap! And even more of an issue is minimums. Given that I don't normally shoot 4+ rolls at a time, I've been forced to wait for weeks if not months while I slowly shoot more rolls until I meet the minimums. I've gotten developing from Spectra with their film+processing packs for ~$40/roll but that of course doesn't include shipping to/from costs then I have to ship it out for HD telecine unless I do it somewhere in NYC but to be honest, I prefer the pro places as their quality and turnaround is been way better than local in my opinion. Moving on, I've also just bought film locally at B&H/Adorama for ~$38/roll or Du-All for ~$32/roll then sending for processing/scanning at CineLab. That's probably my cheapest method I've found since Spectra scanning is pricey!! Anyways, even with that, I run into the minimum issue with CineLab and Spectra. With $ minimums around 200ft for processing and $150 for HD scanning, that's around 6 or even 8+ rolls before I hit the minimum. I've gotten as low as 6 rolls telecined at CineLab for around $125 which is below their minimum but I guess they just shrugged their shoulders and did it when I mailed the package. All in all, if done right and hitting minimums, I can get a roll bought/processed/scanned for around $70 if not a little less including all the shipping. I know Spectra has their "Rank-A-Roll" packages but those are pretty steep in price in comparison to doing it normally. (~$105/roll) And Yale has its "Reel Deal" packages which are $125/roll. I've also (early on in my tests) gotten 2 rolls developed and scanned as a "Test Roll" from CineLab for around $90 but I'm not sure they'd let me do that every time. So all that to say... you guys have any advice as far as best quality/price balance for low volume Super 8? Does no one else run into this issue? You guys just always shooting 10 rolls at a time? haha. Help a budget filmmaker/enthusiast out!! I know I'm kinda asking for the moon here with film costs these days but the cheaper I can get my methods, the more I will shoot! And I'm always itching to shoot more film! (Also I am very eager to hear more details about Kodak's new S8 packages in the fall. Seems like that would fix my issues if the price is right) Sorry for the wall of text. Slow day at work haha.
  4. Hey crew, Hope this isn't against any rules but figured if there was ever an audience for this, it's everyone here. So I just wanted to spread the word and ask for help for an amazing cinema arts organization here in NYC. It's called Mono No Aware and its director, Steve Cossman, has been running really fantastic 8mm and 16mm film based workshops and screenings in NYC and honestly all over the country and world for 10 years now. Most of those workshops have been out of its directors apartment in Brooklyn as well as NYC-based community darkrooms. I just want to be clear... I don't work for Mono No Aware or Steve. And have only taken a few workshops from MNA (like the 500T reversal one I documented here or b&w caffenol non-toxic processing or b&w reversal) which I loved and made me really fall in love with the format and the tangible aspect of it. Anyways, Mono No Aware is running a kickstarter to start the world's first motion picture non-profit lab here in Brooklyn, NYC to help the artist community and grow that community as well. It will feature lots of capbilities like processing, 2k scanning, rentals and more workshop space. From projects like Impossible Project's film and camera, New 55/New55 Color instant film, Film Ferrania, Kodak's new camera/processing and other film based projects, a lot of really awesome things are happening in film now that things are leveling out in terms of digital adoption. Let's make it happen! (Also donate to New55 Color if you can! I don't even have a 4x5 but donated to help keep peelapart alive) Here's a bit of info directly from the kickstarter but check it out and donate what you can. If there was ever an organization that deserves some filmmakers cash, it's MNA and Steve Cossman. That man puts his life and soul into making it thrive. MONO NO AWARE is a cinema-arts non-profit organization working to promote connectivity through the cinematic experience and preserve the technologies of traditional motion picture filmmaking. In 2015 MONO NO AWARE Organized 38 Local workshops for 420 workshop participants in Brooklyn Traveled to lead 40 Classes and lectures at host institutions for 600 participants through outreach programs Facilitated 100+ equipment rentals Distributed 50,000 feet of film stock for 1,000's of filmmakers Presented 20 artist-in person screenings for 1,000 audience members Presented the work of 33 international artists at our 9th annual exhibition to an audience of 900 over 2 nights The MONO Lab will be unique because in addition to our strong educational initiative and active screening series, we will be able to offer the services of a commercial lab, affordable facilities for continued practice, and we will increase our ability to host international artists for production of new work and presentation opportunities. With the equipment donations from a major motion picture lab, professional animation studios, and several post-production facilities, we now have the ability to provide so much more--all under one roof. With our space we can become self sustaining in our efforts to engage and play a larger supporting role within that landscape on all levels. OUR GOAL The more that we can raise through this campaign the more we can make available to a greater number of people. Increased services and facilities will include: SUPER 16MM & SUPER 8MM LINEAR PROCESSING FOR B/W & COLOR NEGATIVE FILM SUPER 16MM CLEANING AND SCANNING SERVICES SUPER 16MM & SUPER 8MM CAMERAS / LENSES / PROJECTORS / INCREASED PRODUCTION EQUIPMENT ACCESS & SPACE DRY LAB SPACE - OPTICAL PRINTING / CONTACT PRINTING / FLATBED EDITING & VERTICAL EDITING STATIONS WET LAB SPACE - WITH 24 - HOUR ACCESS TO FACILITIES INCREASED PROGRAMMING / WORKSHOPS / SCREENINGS / RESIDENCIES This is a critical point in the history of the moving image. With your help, we can make this new space a reality. Mono No Aware is a 501©(3) organization, which means your donation is tax deductable. So ya. There's my plea. I'm donating. Hope you do too! And be sure and take a workshop if you're ever in NYC!
  5. For Sale: 2 cartridges of Kodak Super 8 Ektachrome 100D film. Has been kept in freezer since purchased from Kodak. Asking $120.00 US plus shipping.
  6. Appreciate any suggestions, please be candid. When I put effort towards a project, people tend to get silent. What am I doing wrong?
  7. I would like to officially introduce the amazing optical-mechanical work of Marco Kroger of the former East Germany. He is not a member of this forum and may be contacted on Facebook. Marco studied at the Technische Universität Chemnitz and he is actively adapting, modifying, converting, retro-fitting optical-mechanical R8/S8/16mm/35mm lenses/cameras. He has also created SLR/stereo ultra-widescreen 35mm photography systems. He also has built controllers, strobe/flash systems, photo-cell triggers, etc. He also utilizes the term Panascope to describe his ultrawide modifications to Regular 8, Double Super 8 and Standard 16mm transports. He alternates between the two terms but the aspect ratio is identical to UP8 based Regular 8, i.e. 3.7 x 10.3mm. He was originally inspired by my numerous UltraPan8 films online. Here is the current list of his Panascope/UltraPan8 projects, i.e. 1. Zenit Quarz Double Super 8 camera converted to Regular 8 based Panascope/UltraPan8 C-Mount w/ Newton parallax viewfinder matched to 10mm Zeiss Jena Tevidon C-MOunt lenses (APO). He rejected a Double Super 8 based transport on account of the more common availability of Regular 8 film stock, i.e. 2. Panascope/UltraPan "8 Regular 8 based projector, i.e 3. Panascope/UltaPan"8" scanner, i.e. https://www.youtube.com/watch?v=4XHSn_H ... e=youtu.be 4. Panascope/UltraPan "8" directors viewfinder w/ C-mount. It appears to have a dioptre. To be confirmed. He recently suggested that it may used as twin-reflex C-Mount parallax viewfinder on his conversions. 5. Presently converting a Meopta Admira A (Czech Republic) 16mm electric to Panascope/UltraPan 8, i.e. His choice of cameras is based on weight (light), low cost and their general availability in Germany (common). All built over the last two years in addition to his multiple format camera projects. The year 2016 is shaping up with many options for film enthusiasts. Nicholas Kovats Toronto
  8. Hi everyone, first post here. Glad to be in a forum like this. I have a project due in a few days (Super 8 B&W reversal roll 200T) and my camera (Nikon Super Zoom 8) isn't showing what the automatic exposure is. I'm sure it works, it's just the dial isn't moving in any direction when I check for the exposure (it's stationary between stop 2 and 4). ​I really need to do this project, but it really is too late to rent a camera tomorrow. What do I do? Can I ballpark the exposure? More or less what would the exposure be (outdoors) from bright light to under the shade of a tree to dusk? Just need at least something to show up.
  9. I would like to protect the lens of my Nizo 561 Macro. i have been trying to find a lens cap for it, but I do not know what size I should I get. I read somewhere that it's a 52mm size. I ordered a screw on lens cap, but its way too big. Does anyone know what size I should get? I would like to get one that either screws onto the lens thread or goes over the lens. Thanks.
  10. Ok, I'm new to super 8, but I'm learning something new everyday. You guys have been a tremendous help. I do not own a projector, but I'm in the process of getting one. I currently own 2 cameras. I own the Nizo 561 Macro and a Kodak Brownie model 2. Both are in near mint condition. I have yet to use either camera. I foresee using the Nizo much more than the Kodak, though. Still, I've been looking into getting a projector that will play both super 8 and standard 8mm film. I want something small and inexpensive, but still good quality. A part of me, however, wants to get a projector that only plays super 8 film. I'be read that such projectors are much more reliable than the duo type. Well, I narrowed it down to 2 projectors, the Elmo FP-A and the Bolex 18-5L. Both are rather inexpensive and seem well-built. I like the built quality of the Bolex much more than that of the Elmo, though. The downside of it is that it only plays super 8 film and it does not have variable speed control. The Elmo, on the other hand, plays both types of films and has variable speed control. Assuming having the ability to play both types of films is not a big deal to me, my only issue with the Bolex will be the lack of variable speed. Everyone says I need a projector with variable speed if I plan to capture the image with a digital camera. My question is, do I really need to have a projector with variable speed? If I have the projector playing at 18 fps and I get the flicker problem when I try to capture the image with my digital camera, shouldn't I be able to correct the problem simply by adjusting the shutter speed of my digital camera? Your opinions will be of great help to me. Thanks.
  11. Hi, I'm a photography student and I recently bought a Canon 1014E. I mainly shoot 35mm photos (I can work a film camera easy for stills) but I wanted to get into film making so I decided to start out with Super 8 because I assumed it would be pretty easy because of the role it used to play in home video making. I guess I was wrong! I've read the manual online a ton of times but all its done is confuse the hell out of me. I'm up to speed with the majority of the camera's functions but some of them still baffle me so I would appreciate some help! Being a student I have hardly any money so there's not a lot of room for error. This photo came from a previous post (so please ignore the arrows)!! I have 2 main queries regarding operating the camera and I expect that they'll sound incredibly stupid to someone with experience but I am COMPLETELY new at super 8 so I have no idea - Please forgive me! here is a link to the manual for reference - http://www.manualslib.com/products/Canon-Autozoom-Electronic-1014-3015685.html 1. The film i have is Vision 3 50d but the camera's automatic system does not recognise this. This problem has been answered here: http://www.cinematography.com/index.php?showtopic=61842 however I am not sure about what it means to over exposing by a 3rd of a stop. In more basic terms, how can I shoot on my 50D so that is not over exposed? 2. When I look in the viewfinder and the camera is in full automatic mode there is a meter with an aperture scale at the top., and red at both ends. Is this the light meter (ie when the needle is over to the right it is over exposed, left under exposed etc?)? Or does this simply show me what the auto aperture is for a correct exposure, meaning that even when it is far to the right but not in the red it is still a mid range, correct exposure? I usually shoot with a Canon AE-1 within my photography and its meter is very different, hence why i'm confused. 3. I feel so silly even asking this question (it pains me so hard as a photographer) but in auto mode in cloudy daylight the needle on the meter inside the viewfinder is ALWAYS in the red as far as possible on the right side of the spectrum. How can I change the exposure without making everything too technical? I understand that the switch with the dot, 2 and 4 next to the FPS have something to do with exposure however the manual conveyed this section in a way that was very confusing to me. How do I correct the exposure? If anybody could help i'd be so grateful! I've been waiting to get my hands on this for ages so i'm eager to get shooting ASAP. Thank you so much!
  12. Hello, I have the Beaulieu 2008 Reflex Control model with the single contact in the center and the ground contact on the side. It was supplied with a wire to connect it to a battery. I'm not sure where it's from, but it does say "Made in Germany", so I'm thinking it could be an old model from Chambless or Wittnauer. The other side of the wire has a 6-pin DIN connector with the center pin broken off. There are a red and yellow wire each soldered to a separate contact, and a green and blue wire soldered together to another contact. I'm wanting to make a battery pack for this, either by using a female DIN plug or cutting off the DIN output and connecting the red/black wires from the battery pack directly. I've already figured out that I need two separate 2.4v packs, with 4.8v going to one contact and 2.4v going to another. What I need help with is figuring out what each wire from the dummy battery represents. I am thinking that the green and blue wires soldered to 1 contact are for 4.8v, and either the red or yellow is for 2.4v and the other is ground, but I can't find any corresponding information when I'm looking up wire color codes for Germany.
  13. Hello, I have been looking for a good month now but found nothing in regards to the Eumig Nautica, would like to buy one as soon as possible for final major project work at university, thanks very much for your time will pay to get here as quick as possible!
  14. I'm going to be shooting a Super 8 horror short with the Canon 1014XL and Kodak TRI-X B&W Reversal Film 7266. I did a pre-light at the location using an external light meter with specs of 160T and shutter 1/30. I got readings 2.0-2.8. We will be shooting at 24fps for digital transfer. My question is what is, what is a good shooting stop for Super 8, which will be transferred to 2k? <_< Nate
  15. Dear Cinematographers, I have tried splicing super 8 film many times but am nevertheless relatively new to it. Every time, to varying degrees, the presstape or cement splices exhibit a slight perturbation or glare; and so I am wondering, from the need to achieve a moderately professional splice, what is the best method for diminishing this effect? Sincerely Grateful, Kurt Cassidy-Gabhart
  16. Hi folks, I own a Porst 650 XL and Porst 1500 XL Microcomputer and was wondering about the the precision of the split viewfinders on each of them. I read the instructions which instruct me to zoom in all the was, focus zoomed in, the zoom out to a desired wider angle. When I zoom in to focus, the split finder lines up, but the split finder lines do not stay aligned upon zooming out and I guess I thought the lens should be parafocal upon zooming. Does this mean my split viewfinder is not accurate? Any guidance is appreciated. Thanks, Greg Lytle
  17. Hello! I have two fantastic Super 8 camera for sale. 1) Leica Leicina Special. High end Super 8 movie camera. Mint condition. Including the ST1 Leica interval for time lapse and remote control, original leather bag. Leica Optivaron Lens 2) Beaulieu 5008 S Multispeed. Including battery, charger, leather bag, Scnheider Optivaron Lens. Message me if you are interested. I have shot a music video with both cameras recently. These cameras never let me down. The Eken and the Lumix did on the shoot...blurred, SD card crashed, battery out... I would ship it to EU. USA or overseas is maybe possible if its worth it...
  18. Dear Cinematographers, For a silent short film on which I am working, I desire a grainy and dark texture. I am using Tri-X super 8 black and white film. I thought perhaps that, to my unguided reflection, it would be best achieved by underexposing two stops and then using a one-stop push in processing. Would any untoward complications arise in doing so? Would there be any superior alternative? Thank you in advance. Sincerely, K. Cassidy-Gabhart
  19. I have a regular 18fps Nautica, I would really like a fully working 24fps one too. :)
  20. 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
  21. So I recently picked up a Bolex 551 that has a broken battery holder. I'm wondering if either someone here has a spare holder from a similar model that I could purchase or if anyone has some suggestions on how to power it. I was able to test it with the holder from another Bolex so I know that it works but I don't have access to that holder anymore. I picked up a 6AA holder from a hobby shop with the thought that I might solder the leads to the contacts inside the camera which are in the handle. Unfortunately the holder is slightly too big to allow the handle latch to close. I was thinking maybe I could stick the holder on the outside of the camera but the handle is made of plastic so I'm reticent to try drilling a hole through it the feed the wires through. Has anyone tried something like this? My other thought is that 6AA batteries produce 9 volts so maybe I could buy a holder for a single 9v battery which might have a better chance of fitting inside the handle. Might that work? Is there any reason not to try that? Sorry for a lengthy post on what is kind of a dull subject but any help would be appreciated. Thanks!
  22. Dear Cinematographers, The problem pertains to the Vivitar 733A super 8 film projector, which has been serviced, but has also been sitting in my closet without proper attention for several months. When I project a roll, and focus for the sharpness thereof, the projector's frame is out of focus - noticeably blurred around the border; - and when I focus for the projector's frame, the film is out of focus. Is the problem mechanical, thus requiring me to have it serviced again, or purchase a new one; or simply the result of my own ignorance? I would be sincerely grateful for any assistance in this matter. Kindest Regards, Kurt Cassidy-Gabhart Would that it were so simple!
  23. hello!! after a 3 year hiatus straight 8 is back and open for entries we invite anyone, anywhere to make a short film on one cartridge of kodak super 8mm cine film you send the cartridge back to us unprocessed and upload a soundtrack we'll take care of processing and hd telecine at cinelab london if it's great, you'll see your film for the first time at its packed premiere at cannes film festival in may 2016 we'll be organising further cinema/festival screenings later in the year too, showing more films entry is open until feb 29th and you'd need to get your finished film back to us in london by apr 4th more details, past films and entry is at www.straight8.net we're really excited to be back and can't wait to see a brand new crop of straight 8 films
  24. Hi! I am a student filmmaker looking to shoot some experimental films with a super 8. I've been eyeing a couple of Canon 814 xl-s and zooms. Because these cameras are so old, are there a lot of chances for mold in the lens? Also, are there any other good affordable super 8 cameras for a film student? Keep in mind I'm a freshman in college so anything more than $120 would considerably put a dent in my wallet. Thanks for taking the time to read this!
  25. I just bought a Bell & Howell Filmosonic Director Series super 8 camera and have been having some issues with it. I've never owned one of these cameras before and am a bit new to using film cameras in general, so I apologize if the resolution was glaringly obvious. I put batteries in and it ran well; the lights turned on when I tested it, but for whatever reason I can't see anything through the viewfinder. It's just black. Could something be blocking it from the inside or is it broken?
×
×
  • Create New...