mattias wrote: can you get ds8 directly from kodak? i get very good discounts from them that i wouldn't be able to get elsewhere.
/matt
It´s a product manufactured by Kodak for Wittner. Maybe they have the same stock in their catalogue? If you can deduct VAT the prices at Wittner seem also reasonable: 10,56 for 50 feet. (42,24:4) excl. dev.
And I have a Canon DS8 too and it delivers excellent footage and steady images. At least you don´t have to worry about jitter - and you can film up to 5 minutes in one take (at 24 fps)
mathis wrote:What's the subject matter of your film?
it's a dreamy and hallucinous (is that a word) journey of a man rediscovering the woman he once fell in love with. it takes place in the canaries.
/matt
To me it sounds like Super8 would be a perfect choice then. But I'd probably go for reversal. The negatives look "too" good. So good that I'm bothered by the softness of the format.
MovieMaker wrote:
It´s a product manufactured by Kodak for Wittner. Maybe they have the same stock in their catalogue?
It's not manufactured for Wittner, it is an inventory item in The States. Kodak catalogue number is 1861681, for Standard 8 it's 8679318. The official Kodak notice is in this PDF.
There is a hefty minimum order of 20 x 400ft on cores, so you would need to reload it onto 100ft spools. Whether or not you can get it is dependent on whether your local Kodak office chooses to supply it to you. There are ongoing logistical expenses for maintaining any item on their local inventory, so they may decide that it's not worth their while. If they will supply you, there will be a few weeks wait as it is a special order item from Kodak USA, and is not held regularly in the European distribution centre in Chalon-sur-Saone in France.
I know one guy here in the UK who has an H8 reflex converted to take 400ft mags, but at the moment Kodak UK won't supply 100D in Standard 8. That situation could change if enough people started to ask for it.
Why not shoot it on the a-minima: same size and noise as a super-8 but much better final product. If you want it dreamy and nostalgic shoot super-16 reversal or just grade the neg later to the look you want. You could even add grain if you have a particular fetish for the stuff.
isn't the 200asa-film too fast to shoot outdoors? (= Won't you have to use a ND-filter as soon as it's a little bit sunny?)
In this case choosing one of the slower negative-films would be better. But unfortunately they're only available by Pro8mm, hence will only work in a Lomo, Beaulieu or Leicina (that is if you don't want to use an external lightmeter and switch your canon to "manual exposure")...
Angus wrote:If I take a stock rated at 100ASA and expose it instead at 200ASA, it needs a change to the processing. This is known as "push processing"
correct, but you don't need to underexpose a stock in order to push it. in fact rating negative normal and pushing a stop creates a very nice look. pushing was commonly used to manipulate contrast, grain and tonality in the past, especially in still photography and when using the zone system, but now scanners and software have taking over much of that work.
npcoombs wrote:Why not shoot it on the a-minima: same size and noise as a super-8 but much better final product.
that's an idea, but doesn't that require a lot of loading too? i never loaded one so i don't know how long it takes, but since it's only 200' there's a lot of changing spools?
do you know how much they cost to rent per week? they're not listed in any of the swedish catalogs even though i know some houses have them. probably more than buying and syncing a canon?
also i'm not sure if the product would be "better", since the whole reason for shooting film for this project would be to create a unique and "artsy" look. i'm not ruling out anything at this point though.
isn't the 200asa-film too fast to shoot outdoors? (= Won't you have to use a ND-filter as soon as it's a little bit sunny?)
In this case choosing one of the slower negative-films would be better. But unfortunately they're only available by Pro8mm, hence will only work in a Lomo, Beaulieu or Leicina (that is if you don't want to use an external lightmeter and switch your canon to "manual exposure")...
jpolzfuss wrote:isn't the 200asa-film too fast to shoot outdoors?
not really. it's only rated 125 asa with the 85 filter, and i have no problem using nd filters, why would i?
unfortunately they're only available by Pro8mm, hence will only work in a Lomo, Beaulieu or Leicina (that is if you don't want to use an external lightmeter and switch your canon to "manual exposure")...
well, pro8 is also more expensive and have a bad reputation when it comes to quality. i think those issues are more important. i would never dream of shooting a feature using auto exposure anyway, not even a "docu style" one.
I would recommend you to shoot all your film on super-8, the interiors would work well with the "17" vision2 200T stock with proper light base level.
I have over-exposed this stock around 1/2 stop from my averaged light-exposure-readings (spot meter) with good results.
I also suppot the idea, that to make a long-feature in super-8mm means that you rather have two cameras (for back up). That's really important.
The two cameras would need of course to be tested in pre-production.
As you never know if this finally will be screened one day on 35mm, you should, I think, take care in the "film to tape transfer" step that the lab rolls are being transfered with including the initial hole punch (per Lab Roll), at a constant frame rate (25 fps I think in your case?) for securing the possibility to make Edit Decision Lists (EDL) for later eventual HD or 2K scanner stage.
The image aspect ratio is an important consideration, may be a 16/9 approach could be a good compromise for both SDTV-HDTV and eventually film-out distribution.
Great idea, I say go for it! (making super-8 feature that is - I'm late in the thread ^_^)
I like the idea of doing something creative with the old BBC thing of different film/video stocks. Love Gondry's reference to this in that Chemical Bros video where he reverses it, video outside and film in the studio...
Daniel wrote:As you never know if this finally will be screened one day on 35mm
yes that's the intended final format. i was gonna transfer to uncompressed sd though, technical grade, and use a digibeta master for the film out. bad idea?
The image aspect ratio is an important consideration, may be a 16/9 approach could be a good compromise for both SDTV-HDTV and eventually film-out distribution.
it's definitely very important, but i'm not so sure about 16:9. when i've shot hdv i've always matted it to 2.35 or 1.33, since whichever way you frame 16:9 it turns out weird, like a cropped version of something else. even 1.85 is much better despite being so similar. if i do it on super 8 it's probably gonna be 4:3, and on hdv 2.35.
