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Super 8mm to HD/Film Out Workflow


Benjamin Kasulke

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I am looking into a feature film situation wherein we are generating on Super 8mm (TRI-X) reversal and looking to scan to HD. I realize this is a very non-standard procedure but I am looking for some advice on the way a "traditional" super 8mm post production workflow would look for two separate scenarios:

 

A:) originate on super 8mm - scan to HD - project the final color corrected online

 

B:) originate on super 8mm - scan to HD - generation of DI - project 35mm release print

 

I realize this is a very dense question but I am trying to gather as much information as possible in regards to:

 

Giving the lab what they need from the DP...

 

Exposing the best possible negative for the scanning, the medium of HD, the limits of a DI, aspect ratios ect, projectable mediums, ect...

 

Thanks for your time and expertise,

 

Ben

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Hello,

 

Just from the DI / HD point of view, you may wish to do some tests as to whether you even need to go via a high definition medium. Super 8 has a relatively low definition, and you may find that you are paying extra for your HD telecine and HD post / DI for very little visual difference from using a standard def telecine. Certainly when we are asked to make "video look like super 8" (!!) the whole process centers on reduction of sharpness and increase of grain - and thats from digi beta!

 

From your two scenarios, I assume that the "project online" refers to digital projection? If so, I would have thought that given the origination on super 8, the comparison between digital projection and 35mm projection is probably more to do with availability of theatres than a quality one?

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if you are using super 8 for the entire film, I would highly recommend shooting with a negative stock rather than Tri-X exclusively. Why? Because of sharpness and exposure latitude. Also, stick to as many close ups as possible. Like DV, Super 8 isn't that good for wide shots, great in CUs. As far as HD or a DI scan, I suppose what ever you are willing to spend. The DI will be expensive.

 

I would recommend a test. You could see what each method has to offer. Try Bonolabs.com, they have some great package deals where you could test both a black and white stock and a color negative stock. They also do a transfer straight to hard drive that is supposed to be great. I am going this route for a short and will post my results here first. Good luck!

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  • 1 month later...

I recently saw a feature shot with a combo of Super-8 and S16 as a blown up print and I have to say (though I was in the front row) - it crushed any ideas I'd ever had about shooting on Super-8 to blow up -- it looked like old Video-8 as a blow up NOT Super-8 -- the blacks had all kinds of colour grain artifacts -- which is likely to happen even if it's Tri-X unless they're going for B+W print stock? Sadly, the blow u lost all the grooviness and that beautiful feeling only Super-8 has as projected 8mm print .. sorry to say -- I'd go a different route altogether to achieve this look. Not to mention the HELL your post team will go through syncing sound (you'll most likely require front and tail slates for every take in order to post sync the dialogue) Arrrgh! And undoubtedly, the post team will say, "Who shot this piece of sh$#? The camera speed is all over the place"

 

PS. Please don't shoot the messenger!

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I recently saw a feature shot with a combo of Super-8 and S16 as a blown up print and I have to say (though I was in the front row) - it crushed any ideas I'd ever had about shooting on Super-8 to blow up -- it looked like old Video-8 as a blow up NOT Super-8 -- the blacks had all kinds of colour grain artifacts -- which is likely to happen even if it's Tri-X unless they're going for B+W print stock? Sadly, the blow just lost all the grooviness and that beautiful feeling only Super-8 has as projected 8mm print .. sorry to say -- I'd go a different route altogether to achieve this look. Not to mention the HELL your post team will go through syncing sound (you'll most likely require front and tail slates for every take in order to post sync the dialogue) Arrrgh! And undoubtedly, the post team will say, "Who shot this piece of sh$#? The camera speed is all over the place"

 

PS. Please don't shoot the messenger!

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"stick to as many close ups as possible. Like DV, Super 8 isn't that good for wide shots, great in CUs."

 

Zaefod, I don't find this to be true. While it's such a nice change to go to a long focal length and escape from the infinite depth of field I'm used to, I find myself slapping my wide-angle adapter on constantly. In fact, it lives on the lens unless I don't want it so if I see a shot I can whip out my camera and pull the trigger without having to focus (or sometimes view)...a helpful advantage in NYC. I guess that's more of a shooting technique without regard for quality, but again I haven't noticed anything wrong with my wide shots...actually I suspect they are sharper.

 

JK :ph34r:

Edited by jasonkollias
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I wouldn't judge any film print from the first row, I've seen 35mm that looked like crap from the first row. Second off, Tri-X should be fine because I believe that Plus-X Super-8 would can look spectacular.

 

When going to video, you gain 50 lines of resolution when you shoot Black and white instead of color, and if there was color fringing on a BW super-8 blow up, perhaps somebody did something wrong, I I I don't see why there should be color fringing if it's a black and white movie.

 

Although telephoto close-ups can look good, being up close to the performers and in wide or medium wide can also produce real good results, so I'm not surprised if wide angle shots look good.

 

My experience with blowing up Super-8 was done optically and was blown up to a 16mm internegative. The 16mm answer print was screened at foto-kem on a 16mm projector in their screening room, and the comment my sales person/rep made was, "this looks real good, I'm surprised it's super-8".

 

It was kodachrome and it was time-lapse stuff but it did look good and the screen was a decent size.

I'd be curious to know what film it was that was blown up that had the color fringing.

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