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Found 54 results

  1. 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
  2. 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
  3. 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
  4. 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!
  5. 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
  6. 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!!!
  7. 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
  8. 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
  9. 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
  10. 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.
  11. 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.
  12. Hey all, hoping someone can give me some advice. I've just purchased my first super 8 camera...a Nizo 801 Macro. I shot my first film on it over the last few days whilst in Namibia. I've read everywhere that shooting at 24fps I should get a run time of around 2.5 minutes but as I was shooting I realised it was going down way faster. I was shooting 24fps the whole time. Ive just tested the camera without any film in and my run times going by the dial are: 18fps 1.38 mins 24fps 1.08 mins 50fps 0.34 mins Has anyone else had this issue? Is there a fault with the camera? Will the motor run quicker when there is no film in it? I also realised after getting back that I had 1.2v AA batteries loaded rather than 1.5v AA's that the user manual recommends. Also I had 1.5v light meter batteries rather than 1.3v whilst shooting in Namibia. Though when testing the motor I had changed them to 1.3v batteries. Ive just sent off the film for processing so hoping something comes out. Would really appreciate if anyone can shed some light on this! Thanks Joe
  13. Hello, (I don't have much experience in filmmaking). For a project, I am planning to make some 3d animations mixed with some digital footage. My plan is to then shoot the projection of this video in film (either super8 or 16mm). My questions are: is this doable? what kind of digital projector do you recommend? is there going to be any flickering problem? what about color balance? thanks.
  14. Hi everyone! First topic here at the forum! So I bought a really cheap and beautiful meopta camera, the Ag1 supra model. It cost like 6 € in a store in Czech Republic, so I just thought "This is almost free", and bought some film also. Been searching for a while and haven't found any info on how to load the film. Don't want to risk it because I don't really know anything about it and I was wondering if any of you guys know anything about this Here some info about the camera: A8 G1 SUPRA Amateur movie camera for 2×8 mm Super film. Lens: Mirar 2.8/12.5 mm Frontal attachments: Mirar – 0.65x (Wide angle), Openar – 2.4x (Tele) Drive: spring-loaded Counter: contact-type Speed: 18 fps, single frame Viewfinder: Galilean Manual exposure control Film sensitivity: ASA 25-400 Year of production: 1968 -- https://www.youtube.com/watch?v=iFs2XrEPcko Beautiful right? Thanks in advance
  15. Braun NIZO 6080 Super 8mm Sound Movie Camera + Original Case + Accessories Top of the line Nizo Super-8 Camera in original flight case with accessories. Comes with compendium filter kit for special effects, sound kit, uv filters, two nicad rechargeable battery packs plus charger. Schneider Macro Variogon f1.4/7-80mm lens, very sharp, has always had a protective UV filter on so no scratches. Can be used with the Schneider Ultra Wide Lens Type III. Accepts all Super 8 cartridges, silent or sound, 50ft or 200ft. Features a choice of gradual or abrupt fades and dissolves, double exposure, advanced exposure compensation metering and manual control. Fully working. Check out more images here: www.dewshi.com/films/forsale.html £250 + PP
  16. Hello I was wondering if anybody had any advice on this combination. Should I leave the filter at sunlight, I had a blue negative in the past, but I think that was from tungsten film.. Also any advice on external meter usage, would I have to make changes to it, keep it at 50 or rate it at a different iso? Thanks for looking
  17. Hi I have a canon 814 autozoom electronic and i would like to know if my camera will read a vision3, 500t as 400 asa or 250 asa ? Thank you
  18. Hi There, I recently bought a Canon Auto Zoom 318m camera from eBay. Everything on the camera works and functions as normal, however when I got some film back from development & scanning I noticed that the film was very warm/orange tinted. I wondered if it had something to do with airport security scanning as I tested the camera out while on holiday, however when I tried another reel of film the results were pretty much the same; it was as if I had put a very rich orange/red filter over the lens. The film I used was reversal Wittnerchrome 200D film which I understand is daylight balanced, so I wondered if that had something to do with it? I'm also aware that cameras have an 85 filter and I wondered if that was the issue somehow? (If it's also worth mentioning, I shot different scenes during both day and night). I'm a student and I'm fairly new to using super-8 and analogue filming and so I'm still getting to grips with the functions of the cameras and the differences between daylight and tungsten etc.; I'm basically just curious as to what might have made my film come out very orange and if its a technical problem with the camera that might need fixing. I've got some Kodak Vision3 200T film which I'd like to use soon and I was wondering if I'd see different/less orange results when shooting on tungsten; I'd like to know before I end up spending more money on another orange reel!
  19. Hello everyone I have recently owned a Nizo 4056 (so even series that 2056-3056-4080 ...) I try once and for all to interpret results for different dandruff. I will expose them and if you could guide me ... Indeed I am a little lost (and French that translates everything) The probe of the 6-pin camera reads in this order: 40, 40/64, 64/100, 100/160, 160/250, 250/400, 400/640. I can also add photos ;-) So here is what I found: Kodak Tri-x: read 250 ASA tungsten position (thus underexposed by 1/3?) Kodak 50D: read 64 ASA tungsten position (so under expose 1/3?) Kodak 500t: 400 ASA tungsten (so on display? Do nothing?) And for the Kodak 200T (vision 3) I'm less sure ... It is read 160 in tungsten so to change in daylight I do not know (correction of +1/3?) Wittner Chrome (I modified the notch to make it read like 160 otherwise it is read 250 ASA) So if you know this type of camera and have results with these dandruff or other I'm taker! thank you in advance and sorry for my english
  20. Hi I have a Nizo under the eyes with an oxidized battery (batteries) it is a 3046 and I wonder if I can see its operation with only the power cable because only a diode of the filter in the eyepiece lights up . No diode on the outside and no camera action. Maybe you have to go through the batteries? Thank you
  21. Hey guys, I recently bought a Bealuieu 4008 ZM II . It looks very nice but I havent found a cheap external battery so it´s not powered yet. But U did some modifying on it (longer zoomstick, b+w filter etc.) I als deatached the automatic diaphragm system to get a more "pure" and manual feeling. But now when I look into the viewfinder the picture is not very sharp and when I try to focus with the focus ring nothing changes --- still the same unsharp image. Also when I look into the lens an move the focus ring nothing seems to move. Its kinda sad because the Schneider Optivaron 1.8/ 6-66mm is such a good lens and i reall dont want to buy a new one or send it to repair yet. Is this normal? Has anyone of yo had a similar problem with the lens? Help would be very great Lee
  22. Hello folks :) , I recently bought a beautiful Beaulieu 4008 ZM II from the german camera museum. It´s in a great shape and was also tested by the seller, but now everytime i look in the viewfinder i see the lower half very milky and the upper half very dark, almost black. I have read in an other forum that its maybe a shutter problem , but I can open and close the shutter on the lens so thats strange.´But on the other hand i havent bought an external battery yet so i couldnt run the motor actually. And also When i look into the viewfinder theres a crooked stroke coming out of the right hand side, which also looks quite wrong for me. I´m quite a newbie in S8 cameras so any help would be SO great !!! Thank you in advance !!! Here some pictures of my beauty. ( I just removed the auto diaphragm on the lens) http://i.imgur.com/0I5tnr6.jpg http://i.imgur.com/V3EI3F9.jpg LeeHe
  23. Hi friends, I'm reversal processing Tri-X Super8 film using Dokumol (paper developer) and Dichromate/sulphuric acid bleach. My first attempts were good, but I mixed up a new batch of chemistry and now it seems that there is no shadow detail. The highlight areas are good, but the shadows all fall to complete black. I'm not sure what part of the process might be causing this. Maybe if the bleach is too strong, would that have this effect? I used a different source for the sulphuric acid, perhaps of a different concentration than previously.
  24. 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
  25. Does anyone know how this camera will expose 100d and 50d? It's new to me and I can't afford a test reel right now. Thanks! - Hunter
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