Voodoo Swing, "Keep on Rollin'" super 8mm album promo

[Steve Wallace]

Here is a promo I did for the band, Voodoo Swing's new album "Keep on Rollin'" shot entirely on super 8mm. I drove with them in their '69 Lincoln Continental from Phoenix to Flagstaff then Lake Havasu along with some cutaways in and around town. Please "like", it's in a contest right now.

 

tech specs:

cameras: canon 310xl , minolta 401xl

film: vision 3 200T, tri-x, plus-x

telecine: pro 8mm millennium HD

fps: 18

 

[Justin Donoghue]

I really enjoyed this. Great subject matter. How did you get the sound to sync up with the film so well?

[Alessandro Machi]

You could do a really great spoofumentary with this group. They fund their music by robbing banks. Show them playing as they go into a bank to rob it. Have them talk about how they don't think they'll be caught because the music is so well liked....

[Steve Wallace]

I really enjoyed this. Great subject matter. How did you get the sound to sync up with the film so well?

I'm glad you enjoyed it. I used the time remap tool in Final Cut 7. Syncing was by far the most laborious part of the editing.

[Chris Burke]

I'm glad you enjoyed it. I used the time remap tool in Final Cut 7. Syncing was by far the most laborious part of the editing.

 

why? did you use sticks to sync to? Some of my Super 8 cameras, Nizo 6080 in particular, hold sync very well, almost for two minutes. I always use a clap sync with sticks or someone's hands, top and bottom of the take, works like a charm everytime. I can sync in Final cut very easily.

[Steve Wallace]

I wasn't using cameras designed for sound and I shot at 18 fps, a decision that allowed me to use 2 low light pocket cams (the canon 310xl f1.0 and the minolta 401xl f 1.2). The interviews where a series of cartridge long takes. I did not use "second sticks", but I synced to words / phrases at the end of the takes and sync drifted throughout.

 

Everything was shot in available light. For the exteriors in wasn't a big deal, but the interiors in the studio were lit by sunlight pouring in through a window and the night time footage in the clubs was all practical lighting in the venues. The Vision 3 200T really pulled the details out of what I would consider under lit environments.

 

That said, the next question I anticipate will be "why 200T and not 500T?". I wanted a stock that I could use for both exterior daylight footage, and interior night club performances. I was very happy with V3 200T's flexibility.