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  1. In good news for Australian Super8 and 16mm film shooters Rewind Photo Lab in Sydney Australia have begun Developing/Processing and Scanning super8 and 16mm ECN-2 film. https://rewindphotolab.com.au/services/motion
  2. Hello everybody, writing from Argentina. This weekend i'm pretending to shoot my first Ektachrome 100D super 8 cartridge on my Canon Auto Zoom 518 SV, i've been hearing that many cartridges from the last years and now days, are coming with factory failures (such as: film is getting stuck and not moving in cartridge). Wanted to know if anybody had the same problem or any issues with this type of emulsion. Heard that they used to sell like these metal plates to put on the cartridge to prevent film getting stucked but really I don't know if this problem is true and if it is, if the solution is also true. Think I read also that you can oil (with a specific liquid) the cartridge film part, so It can help that the film move correctly. Any info related to this or tips for shooting Ektachrome 100D or any emulsion, would help me a lot. Thanks
  3. Today I finished confirming that Ektachrome 100D (Super 8 ), is not a film to shoot until at least 2 years have passed, that no one has complained that the film got stuck. After a unique weekend shooting the ektachrome, the counter on my camera (Canon Auto Zoom 518SV) tells me that the entire film had already been exposed. Excited about everything I thought I had filmed, I take out the cartridge and see that it doesn't say "exposed", as it normally should. Just then, the various comments I had read about this emulsion in particular and the flaws with which it had been coming out of the factory fell into my head. I had never given it much thought because I had also read positive comments, so the only thing left for me was to try it myself and see how it goes. After noticing this, I re-marked it with a marker and the film didn't move, I tried moving it slowly with my fingers and it didn't move, I tried moving it hard with my fingers and it didn't move either. So I came to the conclusion that more cartridges are coming out of the factory with faults than in good condition. The first cartridge (Kodak Vision 3 50D) that I had shot, new camera, I accepted that something could go wrong because I was testing the camera (which at first glance looked in excellent condition). I also had problems (I didn't know about the care of the cartridges and made some mistakes) and the film was exposed only 1m of the 3m and cents at 18fps that should last. So I said, I'll take care of the next cartridge (Ektachrome) like gold, that's how it was, but what happened happened. What I have also read is that this camera in particular, over time the motor expands and that it is also quite weak (motor), perhaps it is one of the reasons that neither of the 2 cartridges exposed the entire film? The question that remains for me is whether to take my camera to do a service or directly buy a fully conditioned one with a service already done, and perhaps one with a strong motor to avoid that in the future, when I dare again to try to shoot an Ekta, don't be a problem. I don't want to make a discharge about Ektachrome, but more than anything to know what you guys think, to know your experiences and everything in general. Today I ended the day wanting to just put the camera back in its box on top of a shelf until the urge to shoot comes back. The truth is that I started 1 year ago with super 8 and I'm not an expert, but I do know that there are some in this group, so correct me if I'm wrong about something. Delighted to read your opinions on this, thank you very much and sorry for so much delirium.
  4. I still can’t believe why Kodak keeps making f*cked up ektachrome 100D cartridges, today I thought i’ve finished my cartridge of super 8 on my trip, and it resulted that it got stuck, i really can’t believe it… The first time I shot my first cartridge I knew something bad could happen because I was testing my camera (Canon Auto Zoom 518 SV), but results that my camera is in excelent conditions and works perfect. We will never know until 5 years go on with no one complaining about ektachrome super 8, when Kodak finally starts to make decent and fully funcional cartridges. It’s so sad to have spent for the 2nd time so much money on a cartridge, but it’s more sad that once again, I lost the movie I tried to film of my unique trip with my friends… I’m seriously thinking in stop trying to film super 8 and just leave my camera on my shelf… Sorry for the bad word, but i’m very disappointed…
  5. Hi there, I just got a Canon Auto Zoom 814 off of eBay and I noticed that it’s a little hard to see through the viewfinder in low light conditions such as in bedrooms at night, and outdoors after the sun goes down. Is this normal? Do Canon Auto Zoom 814 viewfinders run a little dark? I can barely see the exposure needle if I’m not in a well lit location. Just wanted to ask and see if this is normal when it comes to Canon AZ 814s or if there might be something wrong with my camera. Any and all advice or pointers would be greatly appreciated.
  6. Hello, does anyone know if the Braun Nizo 156XL is able to tell the difference between tungsten vs daylight cartridges? Just curious if it’ll automatically remove filter out of the way when using daylight film and vice versa? According to the manual these are the film speeds/types the camera recognizes: 40 and 160 ASA [17 and 23 DIN] with artificial light colour film 25 and 100 ASA [15 and 21 DIN] with daylight colour film 40 and 160 ASA [17 and 23 DIN] with black and white film Judging from the text above it appears that the camera does recognize the difference between daylight and tungsten film…but just wanted to be absolutely sure, as there is a button on the camera to manually engage/remove filter. Not sure if I need to manually engage/disengage the filter before shooting… Would appreciate any guidance/help
  7. Hi all, i hope you’re well. I'm a little new to super 8 filmmaking and I was wondering if someone might be able to confirm something for me or maybe give me some guidance? So, I recently bought a used Canon Auto Zoom 814 from Etsy and everything seems to be working perfectly except for something peculiar I've noticed when looking through the viewfinder. Everything seems to be so, well, dark whenever I look through the viewfinder. It looks like there's a filter that cuts the light quite a bit when looking through the it. Is this normal? I can barely see anything in low light conditions and it's a struggle to see anything properly when indoors. I messaged the seller about this problem and they told me that these results are normal because of the mirror reflex system on the camera. Does this sound right? If you have a Canon Auto Zoom 814, does it run darker than usual when looking through the viewfinder? Is this a normal issue with Super 8 cameras? If not, should I expect to see something else, maybe something brighter, when taking a look? Any advice or guidance would be much appreciated. Thanks so much!
  8. Recently purchased a second hand Beaulieu 4008 ZM 2 and, on a technical level, it works great! However, a panel in the cartridge slot came loose. https://imgur.com/bb7U0O8 What should I do? Cheers! -Mike
  9. I've just been comparing the auto-exposure readings from my Canon 518 Auto Zoom to those taken with a Sekonic L-308B light meter set to 100 ASA and 18fps. Camera was loaded with Ektachrome 100D, so no filter engaged, and set to 18fps. In all the lighting conditions in which I tested and compared results, the camera's internal meter (set to auto) showed an aperture two full stops less than the external meter. So: if external meter read f/2, camera would say f/4. I understand that reversal stock has very little latitude for over/under exposure, so these results seem to suggest that using an external meter with this camera is not a good idea, as the film will be highly over-exposed. I wondered if anyone more technically savvy than me might be able to suggest a reason for this huge difference? I have to say that when I have exposed reversal stock in this camera on auto-exposure the results have been pretty spot on, but the difference between the two readings is very puzzling indeed! I wonder what Martin Baumgarten might have to say..? All replies welcome - thanks for reading.
  10. I'm currently filming a western, shot in the west (Colorado), on film. It's called THE LAST RESORT. Shooting with a Canon 1014XL-S. Filming it on Kodak Tri-X 7266. On location. So far, the film looks amazing! This is a Warehouse 9 Production. I wish I could post a picture, but the image requirements are too small... I don't have a teaser yet, but check out my other film projects. https://vimeo.com/user2463860
  11. Hey there, I work on 16mm and super 8 film and have a pretty sufficient editing setup in my home studio -- rewinds, splicers, etc. However, I really need to get my hands on a film trim bin (big standing bin on wheels with the muslin bag to catch tails, and rack of pins for organizing clips). I've searched google a million times and can't find any for sale, just posts by filmmakers talking about having one in their studio. I know they have to come from somewhere! I emailed Dwight Cody and he doesn't have any at the moment, though I'll keep checking back. I've been looking for about a year. I'd also love to hear if anybody has made one of their own, and how you did it - I'm just tired of pinning my strips to the wall and would love a more long-term solution (plus, I miss my old school's darkroom). Anybody have experience on this or a tutorial, or a resource to purchase/make one? Thanks so much! E
  12. Hi everyone, Did some shooting a few weeks back, three rolls of 7219, all from Pro8mm. First two rolls worked great, but the moment I loaded up the third roll, the problems began. As I started rolling with my Beaulieu 6008s, I kept getting an error light after a few seconds of "rolling". After some trial and error with the sharpie trick, I figured out the cartridge was jammed. I tried multiple times the slap trick to loosen the film, to no avail. Eventually, I watched a Pro8mm video that suggested pulling some of the film out gently, then rolling it back into the cartridge. This appeared to work, and I continued the next day shooting, finishing out the roll. I got the footage back, and everything came out wonderful, besides the last half of that final 3rd roll. It was more or less blurry, and would pop in and out of focus. I've attached a clip where you can see this happening (both graded and log). https://drive.google.com/file/d/1Ai1fvD82pZL5i7mGggdKIkt07RwXcE9P/view?usp=sharing Is this an issue with the cartridges pressure plate and the film being previously jammed, or could it be an issue that is coming from the camera? Wondering peoples thoughts....
  13. Hey everyone, I recently got my hands on this camera. From what I understand, it takes six AA batteries. I have been unable to find any manual for this camera. From what I believe, the battery compartment is in the handle. I opened up the handle and I definitely see two contacts for what could be one big battery, but certainly not for AAs. In fact, if you put AAa in there they just roll around. Can someone please help? What kind of battery should I be looking for? The chamber looks cylindrical but I'm not sure. Thanks
  14. I bought a 1014xls in awesome condition last summer. I've put about 5 carts through it with no issues. Now my counter is stuck at the end and won't return to zero so the camera won't run. Is this something I can fix easily? Or is it a major repair?
  15. I just found out I can get access to a Nizo 156 XL, figured I could do something with film once. I have a few questions regarding certain details since there's no manual online to be found. - Is there real manual exposure with the 156 XL? Since there's no manual, is the green switch actual an aperture control? Since there is a manual setting it might as well be the case, otherwise there's just the +1 switch, I get the function of this. - Any point in trying the SLR Magic Anamorphot 1.33 40? Stepping it down from 49 to 52 could still work I guess. Would be even better to be able to get Super8 anamorphic. - Accompanied by the camera are two (sadly can't geht more information) 100D Kodak stocks. Probably way too old to be of much use. According to the infos I found the camera only meters for following speeds in Auto exposure mode: 40 and 160 ASA [17 and 23 DIN] with artificial light colour film 25 and 100 ASA [15 and 21 DIN] with daylight colour film 40 and 160 ASA [17 and 23 DIN] with black and white film If there's a way to avoid auto exposure I guess the last point doesn't matter that much, but how about if that's not working, just use 50D and always hit the +1 switch during exposure? Any help much appreciated!
  16. Hello guys and gals, So, yesterday, while processing some Tri-X Super 8, something nightmareish happened during the second developpement after re-exposure : after 1 min in the 2nd developer (where the emulsion properly reacted and darkened), it slightly started to lift from the plastic and then it litteraly disloved into the developper : no floating gelatin flakes, just a plain black developer... The weird thing is that I already processed Tri-X this way, here is an example : https://vimeo.com/326184819 Here is my protocole, I have included as much info as I can : 1 – Soaking in a 25°C water bath. 2 – 1st Developer : Ilford Multigrad 1+9, 20min (continuous agitation on 1st minute, then 10sec each minute), 25°C. 3 – Hardening stop bath : Adox EcoStop 1+29 + 40ml/L of Tetenal Hardener. 6 min, 20°C, continuous agitation. (https://www.fotoimpex.com/chemistry/tetenal-hardener-to-be-added-to-the-fixer-or-stop-bath-1000-ml.html?cache=1564733928) 4 – Washing, runing water, 2 minutes. 5 – Bleach : Potassium permanganate 0,4% + Sulfuric Acid 10% equal part, 6 min, 20°C, continuous agitation. 6 – Washing, runing water, 2 minutes. 7 – Clearing bath, Sodium metabisulfite 6%, 2 min, 20°C, continous agitation. 8 – Washing, runing water, 2 minutes. 9 – Hardening stop bath : Adox EcoStop 1+29 + 40ml/L of Tetenal Hardener. 6 min, 20°C, continuous agitation. 10 – Washing, runing water, 2 minutes. RE-EXPOSURE : 2x1min 80W 1m in a white tank filled with water. 11 – 2nd Developer : Ilford Multigrad 1+9, 4min (stand), 25°C. The same solution I used as 1st developer. And that's where the emulsion dissolved.... Usually, after that, I use an hardening fixer for 5 minute, washing 10 min on runing water, rinse with distilled water, let it dry and digitalise with a Retroscann Universal. It's fastidious, but cheap ! Side notes : - Processing in Lomo Tank. - I know Ilford says not to use Ilford Multigrade for processing film (Universal PQ is recommanded instead), but through my test phase it was the only thing I had on hand, so I tried and it worked as you could see on vimeo. - I've never found any information about the shelf lif of the Tetenal hardener. As it is supposed to be mixed with Stop or Fix, I mixed it with the Adox Eco Stop to be sure I won't use an hardening bath tha is no longer working. Anyway, I mixed a new solution and it was still a disaster. - I use the hardener to compensate the softening of the emusion by the bleach. One bath before to strenghten, one bath after to reinforce. I thing the bleach isnt to blame, otherwise it the continous agitation in the clearing bath would have the same mechanical effect, so I guess it is a chemistery issue. The film is perfectly fine during re-exposure, bleaching is complete, after touching the film, the emulsion is normal. - I dont know why the developper is dissolving the emulsion on second use but work perfectly fine on the first one. So that's it, if anyone have an idea, i'm all ears ! Thanks ! Jérémy
  17. Hello folks, I'm new on cinematography.com, i'm getting into super-8 as a member of an analog associative Photo/Cinema called ZebraLab based in Geneva : https://zebralab.info/. I am also a photographer by job. With the guys from the lab, we are/have built two machines to cut reels of Fomapan R100 DS8x30,5M to 4x S8x15M to be loaded in Lomo Reloadable Cartridge. That make it really affordable as we buy from Foma factory shop, we are around 7€ for the film and around 3€/film for processing (detail below). According to Super8Wiki, Lomo Reloadable Cartridge acts as 64T/40D -> http://super8wiki.com/index.php/Super_8_Cartridge_Notch_Ruler (down of the page). We would like to turn them into ASA 100, but we don't know wich notch ruler we should trust : - The one from Super8Wiki : super8wiki.com/images/6/6f/Cartridgenotchruler.pdf - Or that one who says the Super8Wiki notch ruler is not that good : http://www.peaceman.de/schmalfilm/super8/S8_Notch_Tools_v1.0.pdf We asume that : as the Fomapan R100 is black and white and that the contrast change induced by the CCA filter is not that big of a deal for us whe should turn the ASA 40D to an ASA 100T, thus cuting a filter notch down on the cartridge and enlarging the upper notch, correct ? Also, as several of us own (and ZebraLab also) a Canon 814 XL-S in working condition, we would like to give a shot at turning one of the cartridge to ASA 400, as the film stock can be pushed 2 stop during processing : we are processing black and white reversal with a mix of two method : Potassium Permanganate + Sulfuric Acid bleach and using a photopaper developper, as the emultion if soften by the bleach, we do hardening bath before to the bleach and one hardening fix bath after second developpement. The hardening concentrate is the Tetenal one (Aluminium Sulfite + Acetic Acid but that need confirmation). You can watch the result here on a Kodak Tri-X 200. (i found the result to be a bit too much contrasted...) But, according to the Super8Wiki notch ruler we are not sure that the Canon 814 XL-S can read ASA 400, even if it say so on different website (that would mean not a notch is pushed by the cartridge, 6 notches without the filter notch, and we tried cuting into an old K40 to make it ac as a ASA 400T but it doesn't seem to make a difference for the exposure sensor, that same camera read and exposed correctly the Kodak Tri-X 200 that you can watch on vimeo...). So : is it possible to turn a cartridge to ASA 400T (or around like a 500T), and would a Canon 814XL-S be able to read it, it can read Vision3 500T, so i guess yes, but how ? That's it for the moment, if you have solutions and/or questions, i'm up for it ! Bye, Jeremy
  18. Im new to the forum and have a long question, but I have read a lot of posts here before so I am turning to you all for help! I bought my first super 8 camera, a Canon 310xl a couple of months ago, and in January, I bought two cartridges of Tri-X reversal to shoot with. I am a college student, so I did not have a chance to shoot until last week, so until then I kept the two carts in the fridge to keep cool. So last week, I finally opened my first box of Tri-X and loaded it into my camera. I notched hack the cart so I could control the built in filter as well! I turned the camera on and pulled the trigger, and the film ran for about 30 frames before the film transport indicator in my viewfinder stopped running, indicating that the film was not moving. So i opened my camera and pulled the cartridge out and the film had snapped! The whole cart gone. So I chalked it up to maybe a faulty cart, so I loaded my second one. And you guessed it, the exact same thing happened! Both my catridges with snapped film. So my question: Why did this happen and what can I do to fix it? I don't know enough about yet to be able to figure out whats causing the film to just break. Did the film get brittle from being in my refrigerator too long? Or is something wrong with my camera, is it too fast? Is something wrong with the takeup hooks? I just don't know. I have called Kodak about getting replacements, but scared that the same thing will happen again. If you may know anything about why my film is breaking after 30 frames I would appreciate your help. Im a college student, I can't afford just buying more film if I will never be able to shoot with it. Thanks!
  19. Posted Today, 05:48 PM Hello everyone, I am very fascinated by the anamorphic lenses and the effect obtained with them. Looking on the internet for a lens that would not cost too much I found a person who sells an anamorphic projection lens. The lens is an Optical Iper16 2x Anamorphic, I do not know if any of you own it or know it. I would like to use the lens with a Canon 518 AutoZoom and I wanted to ask you: Is it possible to use this lens with my Canon 518? What kind of adapters should I take to fix the anamorphic lens on the camera lens? This is the link forse the Image of the lens: https://www.google.com/search?q=optical+anamorphic+iper+16&client=ms-android-xiaomi-rev1&tbm=isch&prmd=sinv&source=lnms&sa=X&ved=0ahUKEwiY4cG06e3fAhVC3RoKHX4mBr0Q_AUIECgC#imgrc=b-12YfnxFQr0dM&imgdii=q-i_a1AxHWdY1M
  20. Hello, It's that time of the year again! I'll be shooting outdoors, in color. I'm not sure what the Daylight/Tungsten filter setting should be. 1. Does the camera automatically detect that 7203 is a Daylight stock, therefore effectively pushing the 85filter out of the way? 2. Does the user have to set the filter switch to Tungsten to make sure the 85filter is out of the way? 3. Should I just always keep the filter switch set to Tungsten (light bulb), so that the 85filter remains out of the way? Thank you!!!
  21. Hello everyone, I am very fascinated by the anamorphic lenses and the effect obtained with them. Looking on the internet for a lens that would not cost too much I found a person who sells an anamorphic projection lens. The lens is an Optical Iper16 2x Anamorphic, I do not know if any of you own it or know it. I would like to use the lens with a Canon 518 AutoZoom and I wanted to ask you: Is it possible to use this lens with my Canon 518? What kind of adapters should I take to fix the anamorphic lens on the camera lens? This is the link forse the Image of the lens: https://www.google.com/search?q=optical+anamorphic+iper+16&client=ms-android-xiaomi-rev1&tbm=isch&prmd=sinv&source=lnms&sa=X&ved=0ahUKEwiY4cG06e3fAhVC3RoKHX4mBr0Q_AUIECgC#imgrc=b-12YfnxFQr0dM&imgdii=q-i_a1AxHWdY1M
  22. Hello... I have a cart of the new Super8 Ektachrome 7294 (100 ASA). I would like to shoot some film at night of the christmas lights in the yards and houses on my block. I have never tried to shot film in the dark before and I am looking for any tips you can give me. My camera is a Canon 1014 XL-S. The shutter in my camera has a variable opening angle. Usually it is set to 150 degrees. But I can change it to 220 degrees for filming in dim light. I have not used this shutter setting before but I thought I would try. I can set the camera to 9 fps, 18 fps and 24 fps. The manual says that if the fps is set to 18, the shutter speed is about 1/40th of a second. If I change the shutter angle to 220, then the shutter speed would be at about 1/30th of a second. I am unsure what fps to use. I normally shot everything at 24 fps. I also have a exposure dial on this camera. I can increase or decrease the exposure setting by one F stop. I am guessing I need to increase the exposure setting by one F stop. (?) I worry that the depth of field will be so greatly reduced that the christmas yard displays would be in focus but not with the lights in the background on the houses. I know to pan slowly. Can someone of you give me a few suggestions on how to shoot christmas lights in the dark? I am completely new to this kind of filming. Thanks in advance. mraroid Oregon, US
  23. Hello everyone, If this has been covered in a previous post please link, I was unable to find much on a few cursory searches. I am requesting advice or suggestions for a good lab who I can send Super 8 cartridges to for processing, telecine, and most importantly good quality post and colour grading. I am based in the UK (London). Normally I rely on someone local who hand-process the film and does all the post for me. I have always been very happy with his work, but I'm interested to see what kind of results I can get from a 'lab'. I am aware of Andec in Berlin ( andecfilm.de ) and the S8 Reversal Lab in the Netherlands ( super8.nl ). Though I have no experience with their service or even if they provide a Grading/Post service. Anyway, I am requesting suggestions, based on experience, of good labs. I'm happy to ship internationally NY, LA etc. for good results. Ideally it would stay EU though. Keep in mind, I am not seeking cinematic quality, for me the decision to use Super8 has always been a point a shoot, in camera, portable film format, so I am not seeking perfection. My main concern is over levels of noise and uneven exposures which I feel might be remedied with a higher quality transfer and greater attention to detail in the grading process (never mind my lack of attention to these details during the filming). I sincerely appreciate your advice, suggestions and shared knowledge. All the best
  24. Hi, this is Pablo Secaira from Laboratorio Abierto de Fotografía Ecuador. We are in South America. We have a project that use ten super 8 Ektachrome 100D reversal film and we need to develop this. We own an Analogue Laboratory. So we need some advises to begin the process. Is there any thing that we have to take care, or prevent before we start. And where we can purchase this chemistry near our location. If you have experience / anecdotes on this topic please share with us it would be great.. Thank you so much for your help. Pablo. LAF Ecuador.
  25. Hello everyone. I accidentally left the Wratten (85b) filter on while I was shooting with a Vision 50D in daylight. anyone could tell me what to expect? I am sure that the color temperature will be much warmer with red/yellow/orange overcast over the image. If so, there's any chance that i can slightly correct the "problem" in post prod? i've also used the automatic exposure of the camera and my biggest fear is that the image will look too much dark and underexposed to be used. Anyone with the same experience? Thanks for the attention.
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