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Jose luis villar

Vision3 50d shot.

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Jose, that;s amazing! How are you getting this so grain free!? Are you using Neat Video to reduce the grain?

 

Your lighting and colorist (I assume you) are fantastic! Can you tell me the secret? I'm having a very difficult time with coloring my flat scans.

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Jose,

 

Thanks for the tips! I'm going to try re-coloring my shots later tonight with your technique. It looks simple and efficient! I also have Neat, so I'll be adding that in too!

 

Thanks again!

 

Dave

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very interesting ... the quality of the transfer seems very good , even tough from the specs seems to be a telecine and not even a data scanner ... nonetheless beautiful . I guess that the quality of the Beaulieu is an important factor too ...

 

i just shot some Vision 3 200T but i have not seen it yet because i was trying to get Pro8mm (considering that i got Film + processing + scan package ) to scan in LOG but they ended up saying that they cannot do it in LOG ... so i guess i have to look somewhere else ...

 

ps: was your telecine in HD , would you mind share just a couple of HD frames ? how did you get it back ? DPX or Qt?

 

thanks

g

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...i just shot some Vision 3 200T but i have not seen it yet because i was trying to get Pro8mm (considering that i got Film + processing + scan package ) to scan in LOG but they ended up saying that they cannot do it in LOG ... so i guess i have to look somewhere else ...

 

Technically, an uncorrected film negative is something of a log image. It still has a slight contrast curve to it, but its still flatter than rec709 or if you made a projecting print. You'll never get a flat curve from film like that of a digital camera. You don't need to. Film generally has a higher dynamic range than digital to begin with and still preserves highlights better than most of todays digital cameras.

 

If you still really wanted it, the only way you're going to get a LOG looking image is if you use a DI film.

 

Thanks for reminding me about this stock. I have a roll of it in 35mm staring at me every time I open the fridge. I never thought to consider it for super-8. The grain holds up extremely well!. That is one sharp piece of glass!

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Beautiful transfer. I've yet to try 50D now I really must buy a few rolls.I'm always put off by the scan costs. It would be really interesting to see a scan of 50D going through the new super8 film camera being worked on when it comes out. I know unsteadiness is a quirk of super8 but if this stock went through that camera with it's proper film feed it would effectively be 16mm!

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JL,

 

Both the 50D and mk-of look extremely good and the mk-of showed a lot of work went into the shoot. I'm assuming this is a client commission and if so I'm curious as to how you persuaded the client to let you shoot in Super 8 rather than 16 or digital or even 35?

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Hi Jeremy,

 

This is a good question, sorry for my English I'll try to explain, I have a Phaseone, that costs more than a Red, the reason that I shot in s8 is only because I think s8 good scan is the best way that people who do not understand film or digital, and see a difference today in the West is all vintage fashion.
For my shoot s16 or s8 is the same for costs in a production like this, I prefer the portability and customer s8, s8 or Alexa gives you the same.

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