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The AWARD WINNING super 8 short film THE LAST RESORT


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Amazing things are happening with super 8.  What started as an experiment, and then turned into a production, was my short western film THE LAST RESORT.  I acquired a CANON 1014 XL-S.  I primarily shoot film, so i knew that I was going to shoot something, but I didn't know what, until I took a hike at Castlewood Canyon in Colorado. I ran across this amazing ruin and immediately made a decision to shoot a western there.  After I staged a test shoot on location using a roll of Kodak 7266 Tri-X, had it processed and scanned, I fully released the possibilities of super 8.  The film looked amazing!  I completed the film in 2019 and it has been making the rounds in the festival circuit since.  The film won the BEST IN PRIZE and the AUDIENCE AWARD at the UNITED STATES SUPER 8 FILM & DIGITAL VIDEO FESTIVAL, the biggest and oldest super 8 film festival in the country, if not the world.  We are very proud of our cool little western film!  Although I'm back to shooting 16mm, I have to shoot more super 8.  Who else out there is producing projects on super 8...?

THE LAST RESORT teaser:

 

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Thank you.  The Canon 1014XL-S can record sound, but I did not record any sound while filming.  I shot the film at 24fps and recorded all dialog in post production.  I "looped" the footage and had the performers say their lines about three times each and synced what worked to the proper take.  All sound effects are canned.  The complete mix and sound design was manufactured at Warehouse 9 Productions, Ltd.  It was really fun!

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Very cool! I've been shooting some super 8 recently to compare modern stocks to 16mm for my new YouTube series. Doing Ektachrome first and then come color negative. Trying to convince people that shooting 16mm isn't much more money per finished minute of film @ 24fps, but you get WAY more information. I personally haven't shot a narrative on super 8 before, it seems tricky to me due to the camera limitations like being able to run sync sound and such. However, I envy anyone who is willing to take the risk and make a project like this, so bravo for that alone! 

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Thanks!  I'm trying to convince new film/movie makers as well that super 8 an 16mm is more cost effective than people think...  It's hard fighting the HD invasion... 

Super 8 is not as limiting as you/people might think.  All the dissolves in my short film THE LAST RESORT (except for one) were done in camera withe the lap dissolve button.  My Aaton LTR can't do that.  Plus, using a separate sound unit is common in film/movie making and super 8 cameras that have sound capabilities are "blimped" enough to record while shooting.

As far a 16mm, I have been shooting it again.  My latest film is called THE UNMENTIONABLES and it is in the festival circuit at present.  I used the same film stock as did for the last resort, 7266 Tri-X reversal Film.  Man, I love both formats!

Here's a the teaser for THE UNMENTIONABLES:

 

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6 hours ago, Lance Lucero said:

Thanks!  I'm trying to convince new film/movie makers as well that super 8 an 16mm is more cost effective than people think...  It's hard fighting the HD invasion... 

Oh I wasn't trying to say that film was cost effective against digital cinema, no comparison. Digital cinema is practically free compared to film, especially with longer projects and good cinematographers. For instance, my last short (mind you it was 35mm) cost us around $6k to produce on film. Our next short is going to be shot with an Alexa Mini LF with anamorphic lenses and our budget is half that, for a more complicated shoot. If cost savings is your thing, digital is the only way to go really. 

My comment was about super 8 vs 16mm and cost per finished minute of film @ 24fps. A lot of people shoot super 8 because they don't know that 16mm can be shot for basically the same price cost per finished minute @ 24fps.

6 hours ago, Lance Lucero said:

Super 8 is not as limiting as you/people might think.  All the dissolves in my short film THE LAST RESORT (except for one) were done in camera withe the lap dissolve button.  My Aaton LTR can't do that.  Plus, using a separate sound unit is common in film/movie making and super 8 cameras that have sound capabilities are "blimped" enough to record while shooting.

I mean if you're shooting "in camera only" meaning not editing anything, then yea I can see how a dissolve in camera could be nice. But nobody really shoots that way. You really can't when you're doing multiple takes of a scene. Plus you don't want to bake in your edit, so you can't make changes later, that's how you get stuck with lousy product sometimes. 

Yea, you can blimp the super 8 cameras, but the sound will fall out of sync because they aren't crystal locked. It's kind of a problem with all non-sync sound cameras of any type/format. Motor's generally don't run at a perfect 24fps unless they have that crystal sync module. This is one of the reasons sound on film was developed, that and of course ease of use. 

6 hours ago, Lance Lucero said:

As far a 16mm, I have been shooting it again.  My latest film is called THE UNMENTIONABLES and it is in the festival circuit at present.  I used the same film stock as did for the last resort, 7266 Tri-X reversal Film.  Man, I love both formats!

 

Nice! You sure like reversal! I had to use it when I was younger, but haven't in over 20 years. I have shot some B&W negative, it's so nice and smooth, without the sharp bite of contrast from reversal. It's hard to go back to reversal after shooting that stuff. Watch 'The Lighthouse" just amazing beauty captured in that movie with Kodak 5222. 

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5222 Double_X is awesome.  RAGING BULL, 1980 and BROADWAY DANNY ROSE, 1984.  I considered it for my last short, but you're right, I wanted the contrast.

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11 hours ago, Lance Lucero said:

Thanks!  I'm trying to convince new film/movie makers as well that super 8 an 16mm is more cost effective than people think...  It's hard fighting the HD invasion... 

How much was all the film to shoot your short?

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