Jump to content

Search the Community

Showing results for tags 'Super8'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


  • 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


Last Updated

  • Start


Filter by number of...


  • Start





My Gear


  1. Hi All, I can't seem to get to the bottom of these issues. I've posed the question(s) on the forum for Sony Vegas, but no answers were really helpful or solved my problem... Also, I would truly appreciate any advice on how to take a good scan of Super 8 film and get it on to YouTube or Vimeo with accurate and faithful color representation, no compression artifacts, and best HD quality. Ok, here goes: I've shot both Tri-X 7266 and Vision 50D with my Nikon R8. I've had the Tri-x scanned at two separate facilites (one west coast, one east coast). The Vision 50D was scanned at the west coast facility. All scans were done at 2k to the Apple Pro Res 422 .mov format. This .mov format can be handled by Sony Vegas Pro (version 13). However, when ever I render to any .mp4 file type (different resolutions, frameserving to Handbrake, etc.) the reds shift from fire engine red to a cranberry red. Look at the image in my Dropbox account below. The upper window is the Vegas timeline preview, where the colors are correct after tweaking brightness/contrast and color balance (the scans were "flat" scans). (You will also see that the Computer RGB to Studio RGB fx is disabled in Vegas. Typically you use that when sending a file to YouTube, but just ignore that, since the color shift is very apparent whether the render is done with or without that effect.) The lower window is the .mp4 file being played back on the same (calibrated) monitor. Notice the big color difference in the red truck. https://www.dropbox.com/s/1mdsudkgyo2d1ps/Vision_50D_colors.jpg?dl=0 Any ideas if the issue arises because I'm using an Apple Pro Res PC on a Windows PC? I've read forum threads elsewhere where people claim that renders on Apple computers (with Final Cut Pro) keep colors true without a hassle. Another issue is that no matter what my workflow or render type (frameserving from Vegas, Avisynth, Handbrake, etc.), the grain in the Tri-X scan is really just mangled and the compression artifacts are just unacceptable. I finally just pushed the original scan file to YouTube (which it accepts, btw), but it's no where close to the beautiful projected image. Here is that scan: https://youtu.be/JWfcbewW1O4 Any advice here? How do you get high quality, true-color scans on YouTube or Vimeo? What is your workflow? Do you ask the scanner facility to scan to a different codec? I feel like I'm missing something.... Thank you for any help!
  2. Hello, I am new to this forum and this is my first post. I will be reading amongst the other posts to understand better the format and its possibilities, but for beginning I am wondering if a Super8 Camera exists that has a video out, for instantaneous screening of the observed? I would also like such a camera to posses auto and manual focus modes and film speed adjustment. The Bolex 5120 has a 'Mon.' input jack, is this for the output of a video signal to a monitor? Kieron.
  3. 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.
  4. Not a very uplifting update from Ferrania. It's beginning to sound like there was very little pre-planning from the start. http://www.filmferrania.it/news/2015/the-domino-effect
  5. I read about it but was not sure it would happen, until I saw this on their site.
  6. 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.
  7. Hey everyone, I bought a Minolta Autopak 8 K11 super 8 camera a few months ago in Mexico City. When I first shot a roll of color, everything was fine. But after a while the camera would randomly not shoot, the mechanical zoom wouldn't work, and the battery checker on the back couldn't recognize the batteries. But then the next time I picked it up, it would work fine! I assume the connection from the batteries in the handle to the body of the camera is faulty somehow, but I wanted to ask here if anyone has had an issue like this with a Minolta. I hope there is just dust between the connecting points but I'm also not sure what the best solution is for cleaning connections like that. Anyone have any advice? Thanks a bunch. Allegra
  8. Hello Everyone, There is no catch in the title, I have 8 rolls of Kodachrome super 8 from about 1999. You could still develop those rolls as B&W film. I'm just asking anyone that is interested to pay for shipping and shoot/use the films! I really want someone in this community to pick them up and make good use of them. I'll ship anywhere in the world, shipping cost will be payed via paypal only. Please PM if interested. Best, Oron.
  9. I've never done this before but I completely understand the theory. So I want to collimate a lens and in particular a C-mount Optivaron (6-66mm), originally collimated for the Beaulieu, but for repurposing on a standard C mount camera (the Logmar). I can follow the theory of what's going on in the following guide - basically it's using a camera and lens already understood to be correctly collimated, and focused at infinity, to image the image plane on the other camera, with it's lens also set to infinity, but in an unknown collimated state: http://elekm.net/zeiss-ikon/repair/collimate/ This I can manage quite well using a DSLR as the imaging camera - or rig up some alternative setup with diode lasers etc. Can do all the required levelling, making sure it's all parallel etc. What I don't know, but would love to know, is what I need to do with the Optivaron lens in order to modify it's collimation setting. I understand it will need to be partly disassembled. I'm perfectly fine with that. Just don't know what rings/notches/or whatever, inside the lens, need to be rotated/moved in order to tweak it's collimation setting. I can certainly open it up and experiment (and will eventually work it out) but if someone knows how to do it already, that will certainly save me some anxiety. Any advice much appreciated. Carl
  10. 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.
  11. Hi guys, I want to share with you my last documentary short, shot on tri-x super 8. MINUTERA Minutera is a reflection about photography, about what we lost. vimeo.com/k3films/minutera Enjoy!
  12. Hi people, I am currently managing an exhibition in London that will run the whole month of Feb, and we need a projector that supports super 8 film, and can play on loop... i have done a bit of research, and am starting to understand that this is no easy task, and only very few people have information, advice and knowledge that might help us out. The film itself is 3 minutes long, and was processed out of the country, does anyone out there have some advice for me, or perhaps a projector that I can borrow/ rent/ buy that might suit our needs? Any information and tidbits will help, I am such a novice! Looking forward to hearing back from some of you, fingers crossed! Cheers, Olivia
  13. Hi there! This morning I received some awesome footage from Friedemann, who has been out filming with our original prototype camera. I think it's worth sharing even though the camera used, is not the final production model which we are still waiting for our subcontractors to deliver parts for. The footage has been 2K scanned by the good folks over at GammaRayDigital in Boston. Head over to our webpage at www.Logmar.dk and visit our sample video section to have a look, but please bring your comments back here for everyone to view and enjoy! we would like to thank the following people for their support: The users of Cinematography.com and Filmshooting.com for their endless amount of good ideas and valuable feedback Friedemann Wachsmuth for writing the great article at Filmkorn.org, and volunteering as a beta tester. Perry Paolantonio from GammaRayDigital for providing us with sponsored 2K scanning. Jürgen Lossau for writing the inspirational Super8 books as well as an article about our camera. As well as all the people out there who has shared our story on Facebook, twitter and other social medias! Best regards The Logmar Team
  14. Hope I'm not overstepping here, but I just wanted to let folks know that we've upgraded our Lasergraphics ScanStation and can now handle both mono and stereo Super 8 sound. While mono was most common, since that's what most cameras recorded on the wider main stripe, it was/is possible to record audio to the balance stripe on the opposite side of the film, using certain projectors and viewers. The custom mag head can read both stripes, in perfect sync with 2k scans, at any of the frame rates that the scanner works at. The scanner compensates for pitch changes due to the faster (or slower) scan speed, automatically. Thanks! -perry
  15. Well, the market continues to shrink as a number of places that developed or transferred reversal have closed shop. In particular, places that offered inexpensive transfer/scans ($25 a roll or less) with no minimum have ceased to exist. As you may know I received my camera back from Willard Engineering after much wrangling and will have to do some tests. I shot one cartridge of Tri-X already and will shoot another this weekend. But these are test rolls. I just need to see if the camera is working properly. I do not have access to a projector so I will need them transferred. Any recommendations? Other than cvsprofessionals (who may no longer be in business) the places I see have minimum requirements or want you to buy a hard drive. It cannot be anywhere that has minimum time or roll requirement. 100ft wouldn't come close to making that worthwhile. Thanks in advance.
  16. I wish I could get this camera: http://www.logmar.dk/
  17. February Scanning Special For the month of February, Gamma Ray Digital is offering the following special rate for Super8 and 16mm 2k scans to DPX or ProRes files on our Lasergraphics ScanStation. This is only for members of the Cinematography.com forums: 2k DPX Log scans from negative -OR- 2k DPX or ProRes flat scans (ungraded) from prints/reversal: 16mm, 16bit DPX: $0.43/foot 16mm, 10bit DPX or ProRes 4444 or ProRes 422 HQ: $0.35/foot Super-8, 16bit DPX: $0.54/foot Super-8, 10bit DPX or ProRes 4444 or ProRes 422 HQ: $0.50/foot No extra fees for optical audio capture. Low minimum order size. No fees for file copy if you follow the hard drive guidelines below. The fine print: 100' minimum for Super 8, 200' minimum for 16mm. You supply the hard drive: eSATA or bare Internal SATA in NTFS format required for DPX; eSATA, Firewire 800 or USB3 in HFS+ or NTFS for ProRes. Does not include return shipping costs. Order must be placed and film must arrive at our office before Friday, 2/28/14. Payment by credit card, PayPal or wire transfer (cash is ok if you're picking up in person). A small setup fee may apply if you have lots of short reels (50' for S8 and 100' for 16mm). Let us know how many small reels you're sending and we'll let you know the setup fees, if any. Turnaround time is typically two business days, depending on how much film you're scanning. Let us know if you've got a deadline and we'll make it work. To place an order, use our contact form (http://www.gammaraydigital.com/contact), and include the code "CINEMATOGRAPHY" in the Subject line. Let us know your cinematography.com username if it's not your real name, how much film you've got, and what gauge/type.
  18. Hi! Im collecting stock for a new project that will be B&W. Most of the stock I have is 16mm color. Im not a DP by the way. When im start shooting B&W super8 I remember using a yellow filter to "add constrast". Because the final result will be B&W I need to consider some camera filetring? To have better results when turning color to B&W. Because of the low budget the stock will be transfered directly to HD Pro Res, no grading at that step. Bests! Andrés
  19. I'm considering adding Super-8 (MAX8) camera hire to my small format transfer company's services. The cameras would be purchased from Pro8. What I would like to know from cinematographers is what equipment they would require in a rental package. The other question is wether UK customers would require crystal sync at 24, or 25 FPS. Any thoughts and advice will be much appreciated. Grant Bennett
  20. Never heard of that brand. Anybody knows about them? Are they any good? Thanks!
  21. Hi Everybody, I'm shooting some of Pro8mm's Ektachrome 100D on my Canon 514 XL-S. My question is about the daylight/tungsten filter. I've heard from almost all people that I need to have the filter switched to the lightbulb tungsten setting. As counterinuitive as it seems, I've heard that it actually correectly exposes the Ektachrome that way. I just want to be positive about this, and would really appreciate any personal experience shooting on Pro8's stock on this camera. Thank you!
  • Create New...