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Found 4 results

  1. 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.
  2. Hey everyone, Recently I shot a student film with 16mm Kodak 200t 7213 stock. It recently came back from telecine and it looks much more grainy than the footage I've seen previously online of 7213 or even 7219. A Spirit Data cine was used for the transfer and I got the footage as HD pro res 4:2:2. We rated the film at 200 and underexposed -1 stop. My question is, is this the noise from the telecine or is it just 16mm grain? I attached some screenshots below. Thanks in advance Best Regards Yunus
  3. Hello, I'm wondering if the slight ghosting of the previous frame is inherent in the Spirit transfer process. In the screen grab, you can see it around the eye and cheek of this snowman. The lines are where those were on the previous frame. Is this found with use in Arri scans, etc.? Thanks
  4. Anyone can look into their film scanner and tell me what light source they are using? Seems like the Spirit Datacines and the Kinettas use either a short-ark Xenon lamp or an RGB tri-LED. But who manufactures these lamps? What are their models? Please help!
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