What's been the best example of Super 8

Post by **bouncybabybucket** » Mon May 10, 2004 11:28 am

It's use in big movies, or on national television.

It just seems to me that whenever I see super8 used by professionals they're not getting the best out of it. It's only used when they want a dirty, grungy look.

Post by **S8 Booster** » Mon May 10, 2004 11:40 am

Part of this has been discussed earlier: What bugs me about "professional" S8

R

Post by **T-Scan** » Mon May 10, 2004 12:33 pm

Not a bad topic to revisit. interesting to read Roger's point on how S-8 is made to look like crap for an effect. some examples seen, I would have to be piss drunk filming in a wind storm and it still wouldn't look as bad. this bug represents part of my mission and show what it can really do.. as many others are doing. i'd still like to see this David Arquette and Courtney Cox show on cable that uses S-8 200T.. as i'm told by Kodak. supposedly they like the look and may be using it for its real potential.

Post by **S8 Booster** » Mon May 10, 2004 1:29 pm

T-Scan wrote:.... i'd still like to see this David Arquette and Courtney Cox show on cable that uses S-8 200T.. as i'm told by Kodak. supposedly they like the look and may be using it for its real potential.

Are your sure about this?

May it be for "pilot" episodes only?

According to (previous) info on PRO8Ã‚Â´s WEB site (not related to yoru info) S8 was used for pilot shooting as it was much cheaper and could give result equvalents for examination prior to starting it all off.

R

Post by **Scotness** » Mon May 10, 2004 1:33 pm

Blowing my own trumpet a bit here but alot of people have said some of the scenes in In My Image have some of the best looking super 8 they've seen - we did under expose some scenes too (got to be very careful with K40 I found) -- but the outdoor stuff looks fantastic and like 16mm on a TV - check out http://www.mango-a-gogo.com/inmyimage/image.htm

Scot

Post by **Commodore** » Mon May 10, 2004 4:50 pm

Wow, how many rolls did you have to go through to reach an hour and thirty two minutes of usable footage?

Post by **Scotness** » Tue May 11, 2004 4:12 am

Ouch you don't want to know -- there were a fair few deleted scenes -- abot 240 rolls shot

Scot

Post by **DriveIn** » Tue May 11, 2004 4:34 am

Scotness wrote:Ouch you don't want to know -- there were a fair few deleted scenes -- abot 240 rolls shot
Scot

Is that a few hours of K40 for an hour and half of finished film. That might be a better ratio than some big ticket box office flops.

Post by **Scotness** » Tue May 11, 2004 4:55 am

Yeah the shooting ratio was pretty good in terms of how much footage to shoot the original script - but once I edited it down that's where I learnt a bit.

I'll check into the ratio figures and post them here - it was about 4:1 or so for the footage to the original script - but because I cut out about 45mins in the final edit the effective ratio actually went up -- this all should of been cut at the the script editing stage - it wasn't until I actually went to the trouble of shooting a feature that I realised how important it is to get the script as tight as possible before you shoot -- sure you can shoot it all if you want - but it's going to cost lots of time and money!

Scot

Post by **soundboy** » Tue May 11, 2004 5:01 am

I would say the best footage I have seen is in Natural Born Killers.

Post by **escubria** » Tue May 11, 2004 9:39 am

The T.V. show Cold Case has some excellent use of Super 8.

Post by **matt5791** » Tue May 11, 2004 4:34 pm

soundboy wrote:I would say the best footage I have seen is in Natural Born Killers.

Absolutely.

I think the results are incredibly high quality and intercut brilliantly with the 35mm.

I never saw this on the big screen, but would love to - if anyone knows of a cinema screening this film anywhere in the uk at any time - post it here!

Cheers
Matt

Post by **sunrise** » Tue May 11, 2004 6:07 pm

Here's some. Photographed by the same guy who did my Loopy video.

(16mm followed by super8)

http://www.filmskolen.dk/media/Mellem%20os002.mov

http://www.filmskolen.dk/media/Mellem%20os002.wmv

sunrise

Post by **sunrise** » Tue May 11, 2004 6:11 pm

Oh, here's the trailer for the film:

http://www.laurits.com/film/mellemos.mov

(shows more great shots).

sunrise

Santo · Post by **Santo** » Tue May 11, 2004 6:13 pm

NBK is a good example of what you can do with a true professional grade lens (Ang 6-90) and even a less than great film stock (Ekta) in super 8.

As far as B & W super 8 goes, the best example is playing right now (in Toronto, anyways). Guy Maddin's THE SADDEST MUSIC IN THE WORLD.

To be honest, I have a hard time sitting through any other Maddin feature -- though his shorts like HEART OF THE WORLD are truly fantastic and deserve Oscar consideration -- but when you see SADDEST MUSIC, you'll get a pretty good idea of what black and white super 8 can do under professional conditions. And certainly it's the most accessible of Guy's films. Except it doesn't have Greg Klymkiw in it. What the fuck's with that, Guy?

Anyways, seeing Isabella Rossellini in super 8 is worth it. There's a cool documentary now being shown on Canada's Independant Film Channel called TEARDROPS IN THE SNOW. From what one of the producers of the project told me (at the time they were shootiing it) Guy was there with his Bolexes, he had something like 6 super 8 cameras going (the documentary reveals they were Bauer A 512s mostly used by a cinematographer from Argentina whose name escapes me, dammit) and of course the 35mm "camera A". And they were delivering something like 2 hours of raw footage to the editors a day which was driving them nuts. Maddin doesn't care about continuity.

So if you get a chance, check out the film.