Vision3 50d shot

[Jose luis villar]

Another shot fashion with Bealieu 4008 and Vision3 50d, the development Andec (quite dirty) and scanning, Ochoypico.

 

[James Compton]

Looks good. What part of Spain is that?

[Jose luis villar]

Is Las Bardenas reales, a small area of Spain, in Navarre near the Pyrenees, that looks like a desert.

[Anthony Schilling]

Very nice!

[Julien B.]

Hi !

 

There is a listing for Lab who develop the Vision3 ? Specially in Canada or US.

 

Thanks!

[Josh Gladstone]

Check the Kodak Lab Directory to find labs near you. (Make sure to check off Color Negative to find labs that process Vision 3)

 

http://motion.kodak.com/motion/Support/Laboratories_Directory/index.htm

[Julien B.]

Thanks !

[Anthony Schilling]

Who did the color correction them or you? Looks sharp, any grain reduction?

[James Compton]

NIAGARA Custom Lab

 

http://niagaracustomlab.com/

 

They are a Canadian lab that can process Super 8 color negative VISION3 film.

[Julien B.]

Thanks James !!

[Jose luis villar]

Who did the color correction them or you? Looks sharp, any grain reduction?

The transfer gives me Ochoypico is a 10 bits very flat file, after I corrected the post through RGB curves. It has some grain reduction, but less than at other times. If you download the .mov can see some grain.

[christophernigel]

Jose Nice DS there one of my fave cars also uses of vision 3 and what super 8 can do in this Age , Have not got into shooting 50d neg film as have found costs work out to high for me , Has any one done home cooking with this film in a lomo tank ? All for keeping cost down and Diy cooking, Never say never but for now have loads of 100d/ B/W to keep me going !

[JB Guillot]

Really nice and crisp pictures. Just wondering about the final format (16:9 ?) did you crop in post or use anamorphic lenses ?

[Bill DiPietra]

Very nice footage! Super-8 has come a long way since I last shot it!

[Matthew B Clark]

Hi Jose. What kind of post work are you doing to this film to make the colors pop and add sharpness to the image?

 

You show examples of some software treatment you are applying. What is this exactly?

 

[Matthew B Clark]

Just curious if you had an answer to how you did that. What program/recipe makes the image that much sharper. No reply, so maybe someone else can chime in to help me out. There are certain things that I like about Super8 that 16mm cannot give me (and vice versa), but the one major drawback at times with Super 8 can be the "seeming" sharpness of the image, and if I could surmount that obstacle sometimes, I'd definitely choose to shoot more of it. Just looking for a little help on that front. At least the knowledge of who to go to, so I can reliably enter a workflow using Super8 and know the results won;t be confined to the blurred version of it...just need to know where to go/what to do.

[Kenny N Suleimanagich]

It could be Neat Video? Or correction and sharpening in Resolve. Maybe a blend of both.

[David Cunningham]

Jose does use Neat on a low and fine setting. He does grading in Premiere pro and uses flat Prores 4444 scan from a proprietary scanner at Ochopico. They do a great job.

[Kenny N Suleimanagich]

I bet if you got an overkill 2K data scan at Cinelab and did light sharpening with Neat Video you could come close. Far more economical to shoot 16mm at that point if your aiming for sharpness on a small gauge.

[Anthony Schilling]

His shooting skill is a big part too. Focus is critical and often soft in S8. If you have critical focus, you can keep most of your sharpness by only having to do a slight clean-up of a film like 50D. Neat Video also has some decent sharpening tools.

[David Cunningham]

Yes, shooting skill is also a major advantage... as well as primarily using a Beaulieu with fantastic Angeniuex optics. Also, he is using a pressure plate in his carts:

 

http://www.andecfilm.de/en/e_s8_pressureplate.htm

 

This keeps the film sliding smoothly through the cart and the film right up against the gate. Without it, the film in a Super 8 cart actually moves freely and can move back and forth away from the gate. That contributes to softness in most other people's experience with Super 8.

[David Cunningham]

This footage is Vision3 50D 7203 for outdoors and Vision3 7219 for indoors (you can see the drastic increase in grain). I do not use any sharpening or Neat Video grain reduction in my wedding films as I don't want to take away from the look. If I wanted less grain, I'd shoot 16mm (which I do offer).

 

 

Very bright lighting is also a major advantage as you can set your F stop in the "sweet spot" range of your lens (usually around in the f4 to f8 range) and then use an ND filter if you need to cut more light... although over exposure of any Vision3 stock is usually VERY forgiving and sometimes advantageous.

 

Although you can get lenses that are very sharp when wide open, pretty much no Super 8 camera ever was. My Canon 814 AZ is about as close as I've seen to "sharp" at wide open. My Canon 814 XL-S and 1014 XL-S are my sharpest cameras at f8 but HORRIBLY soft wide open (f1.4).

Edited January 8, 2015 by David Cunningham

[Matthew B Clark]

Thanks for all these informative replies! The pressure plate is an interesting idea. Also, I had never looked into Neat Video, so that's nice to see. I think what intrigues me about whatever he did (in particular) is that his results capture a sort of best of both worlds. You can clearly see the vibe of super 8 is retained, but all the nasty stuff and pitfalls have been lopped off, "rounded-off" highlights, diffused details almost, but still sharp, and still with that particularly vintaged look. I was just really curious about how he got this because I myself have a really strong tendency toward 60's and (early) 70's filmmaking. The problem is, most people tend to think "yeah I'll grab some super 8 and that'll do it", which is clearly not the magic bullet solution to getting those vibes. So any time I see something that exudes that special magic, I feel like I have to pick at it. It's important to figure out! Thanks.

[Matthew B Clark]

There's something cool about the magic of a great camera operator, great lighting, great models, great stock, great lens......all piped down into the microcosmic rendering of 8mm film guage. Maybe it's all those factors that make you forget you're looking at super 8 (which is typically amateur shot and shows). But when it's a full production, it kinda automatically does this sort of "in-camera aging process" for those looking to get the look of weathered, antiquated, but QUALITY older 16mm films. It's very interesting to me. Also the push/pull of this process interests me a lot. You are willing to fight back against the stock limitations and also dive into it knowing its limitations are going to need to be twisted and bent to your needs. I like that quality about it overall.

Edited January 8, 2015 by Matthew B Clark

[David Cunningham]

Thanks for all these informative replies! The pressure plate is an interesting idea. Also, I had never looked into Neat Video, so that's nice to see. I think what intrigues me about whatever he did (in particular) is that his results capture a sort of best of both worlds. You can clearly see the vibe of super 8 is retained, but all the nasty stuff and pitfalls have been lopped off, "rounded-off" highlights, diffused details almost, but still sharp, and still with that particularly vintaged look. I was just really curious about how he got this because I myself have a really strong tendency toward 60's and (early) 70's filmmaking. The problem is, most people tend to think "yeah I'll grab some super 8 and that'll do it", which is clearly not the magic bullet solution to getting those vibes. So any time I see something that exudes that special magic, I feel like I have to pick at it. It's important to figure out! Thanks.

 

A lot of this is the film stock used, Vision3 50D 7203. It's an amazing film stock with very tight grain and amazing latitude (somewhere between 12 and 14 stops). You could never get this same look and texture with color reversal (traditional super 8).