I have an old Revere88 camera, projector and the family movies. I always thought it would be neat to get into this at some point. Sean, could we get a new forum up and running for film movies and gear and processing and such? Or is this better for other sites?
We've thought of setting up a cine forum. I think when the issue has come up in the past, we've decided that it's pretty much a hybrid topic once you scratch the surface, and there are a few other really good forums for this.
for a little while i was having fun shooting
8mm, not super 8 .. if you go the double run
( shoot it one way, then the 2nd side and when i gets processed
they slit the 16mm film down the middle and splice it together )
prepfilm sells ( or used to sell ) the film. if you shoot color, and have
a walmart or sams club near you, it is cheep as dirt to have it processed.
it is a ton of fun shooting moving pictures, instead of stills, but
i had the hardest time remembering to treat the film like CHROME film,
instead of negative film. needlesstosay, i shot a lot of over or underexposed
maybe you won't have that trouble, since you shoot a lot of polaroid
i agree with ic-racer, the bolex cameras are pretty amazing!
and you can get a bh8 (or an h8 /h8 rex!) for not too much money, and d (or is it c) mount
lenses are not too expensive either
a couple more links
martin baumgarten is another person
who processes film + fun stuff like that ... his website seems like it is down
but i think he is still around in plattsburgh photo services ...
Oof... Not arguing that you should set up a cine forum (I agree there are other places) but the idea that it's a 'hybrid' topic seems nuts. When I do get down to using my Nizo properly it'll be film, developed chemically, hopefully by me, edited with a knife and tape, to be viewed using a projector against a wall.
Originally Posted by David A. Goldfarb
Much like the rest of my E6 shooting.
What's hybrid about that?!
Another day goes under; a little bourbon will take the strain...
I agree that Super-8 can be 100% analog, and I'm doing it that way so far, but if you look at the other forums that discuss Super-8, you'll see that the main reason that people are taking up Super-8 at all is because of the possibilities of combining the look of film with the convenience of digital editing and digital sound sync. Particularly with the new Vision 2 color neg stocks, it's just too expensive for many independent film makers to shoot color neg, print dailies, edit the dailies using equipment they'll probably have to rent, sync them with the neg, and edit the neg for the final print, and for some formats, like Pro8 widescreen, which is a modified Super-8 format, I don't know that its even possible to go from neg to print without Telecine in between. Of course one can shoot reversal film, and that's what I've been shooting, but it's considered something of a beginner's medium, in part because you can't keep the film clean if you're always editing and projecting the original, and also because neg has more latitude as we all know.
Originally Posted by tim_walls
We could try to have an all analogue cine forum, but I think it's just going to take too much policing to keep it that way, because as soon as the question is opened, and new participants join the forum, the big questions are about the interaction between film and digital. On the other hand, there's no resistance to all analogue film making on forums like filmshooting.com or to questions about film processing, splicing and projection, so it's probably best to leave the better part of this discussion to the forums where it's already going well.
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Movie making requires team work and I am a loner so I never got around to do any movies. I bought a Canon 1024XL-S at a garage sale in 1989 for $110, shot a roll, never saw it as I never got a projector. I recently sold the camera for $350.
This isn't technical so much as aesthetic but I think it may be of help for those who want to explore Super-8 further...
Check out the works of Guy Maddin - a true original and artist from my home city of Winnipeg. His latest release is out on DVD now and it's called My Winnipeg. But his earlier works -- Tales from the Gimli Hospital, Careful, and The Saddest Music in the World among the best examples -- have a weird beauty about them and have a patched-together hand-made quality that goes well with Super-8.
His 'look' and techniques could be a good inspiration for anyone here.
By the way, for those who are curious about E-6 stocks for Super-8, here are a couple of frame grabs. The first is Ektachrome E-100D, cut down and respooled for Super-8, available in the U.S. from John Schwind (who generally has good prices on Super-8 film). The second is Velvia 50D, cut down and respooled for Super-8 from Spectra Film and Video. I should have used a warming filter for the Velvia in the shadows there, but the film is very saturated and fine grained. I'm not a Velvia fan in larger formats, but for Super-8 for projection it's excellent.
That's what I would do I think. There's that legendary Tri-X appeal.
-Of course one can shoot reversal film,-
The hybrid process seems the most logical at this point. One could go back and splice the film later after the getting a satisfactory digital edit, but like David said, I think it would be hard to keep the master clean and pristine.
What's the spiel on cameras? Seems like the high-end Canons are favored. What about the Super 8 Bolexes? How did they fair?
It seems to me that I have some Kodachrome in this format. I'd have to look and see how old it is. Let me know if you are interested, Alex.