Juergen wrote:No more Super 8 color reversal film made by Kodak. Vision3 50D color negative film will come in Super 8. More info on http://www.schmalfilm.de- in German language...
Ektachrome 100D will be canceled in any format: S8, 16 mm, 35 mm.
This is disappointing especially as I am gearing up for another feature. Was thinking of 100D but to be honest I found the reds to almost depressing for some reason. Still, I wanted to test to see how close it could get to the grey-green delight of 7240 :)
Juergen wrote:No more Super 8 color reversal film made by Kodak. Vision3 50D color negative film will come in Super 8. More info on http://www.schmalfilm.de- in German language...
Ektachrome 100D will be canceled in any format: S8, 16 mm, 35 mm.
This is disappointing especially as I am gearing up for another feature. Was thinking of 100D but to be honest I found the reds to almost depressing for some reason. Still, I wanted to test to see how close it could get to the grey-green delight of 7240
Mitch
Supply hasn't dried up completely. Some sellers now try to make the max pr ice for them. Others are a bit modest but decline large numbers to one customer. Depending on the number you want it still could work on E100d Maybe try to get a number of cartons from Kodak? To secure your project.
Juergen wrote:No more Super 8 color reversal film made by Kodak. Vision3 50D color negative film will come in Super 8. More info on http://www.schmalfilm.de- in German language...
Ektachrome 100D will be canceled in any format: S8, 16 mm, 35 mm.
This is disappointing especially as I am gearing up for another feature. Was thinking of 100D but to be honest I found the reds to almost depressing for some reason. Still, I wanted to test to see how close it could get to the grey-green delight of 7240
Mitch
Supply hasn't dried up completely. Some sellers now try to make the max pr ice for them. Others are a bit modest but decline large numbers to one customer. Depending on the number you want it still could work on E100d Maybe try to get a number of cartons from Kodak? To secure your project.
Happy that I went shopping and got as much 100 d as Euros would let me /when I heard the news in dec , made me feel very sad at the time , As I really like this Film and have done great stuff with it , E6 dev at Home as well !
I see it now going at one of my dealer for around 33 euros ? and he has around 6 film's left and more on Ebay ?
aj wrote:Supply hasn't dried up completely. Some sellers now try to make the max pr ice for them. Others are a bit modest but decline large numbers to one customer. Depending on the number you want it still could work on E100d Maybe try to get a number of cartons from Kodak? To secure your project.
I think now would be the best time to do some kind of feature on S8 when you can tie 3 Vision3 neg stocks together. I mean you've got 50 daylight and fine grain, 125D/200T with fairly tight grain, and 320D/500T that still looks great in low light. I'm really going to miss the 100D for what it was. but to be honest, it didn't compare to the V3 200T I had scanned last year. It was so much sharper and the colors were still amazing with a little overexposure and saturation request from the telecine.
Tscan wrote:I think now would be the best time to do some kind of feature on S8 when you can tie 3 Vision3 neg stocks together.
Could not agree more. Very excited. The key for me this time is to not even think about making money. Art for its own sake, put it up online. I was going to shoot 24fps for a possible future blowup, leaning away from that now..
Mitch
MitchPerkins wrote:. I was going to shoot 24fps for a possible future blowup, leaning away from that now..
Mitch
Hi Mitch - IMHO I'd shoot 18 fps and not worry about a blowup. Most theaters take digital projection nowadays so you're not limiting your "pro" angle by doing that, and in my experience, digitally-projected super 8 looks better than any blow up ever has. (key word =blow up, super 8 projected as super 8 is still the best)
MitchPerkins wrote:. I was going to shoot 24fps for a possible future blowup, leaning away from that now..
Mitch
Hi Mitch - IMHO I'd shoot 18 fps and not worry about a blowup. Most theaters take digital projection nowadays so you're not limiting your "pro" angle by doing that, and in my experience, digitally-projected super 8 looks better than any blow up ever has. (key word =blow up, super 8 projected as super 8 is still the best)
Agreed. There is something neat about having that can of 16mm....but, no money for that, no need either really, as you say.
And I really like the idea of content made for youtube and other streaming sites.
"Speaking of which, has anybody ever made a super-8 contact printer?"
We used to have one at Exclusive Film and Video, I made a couple prints on it. It had to be oriented base-to-emulsion though so the print was blurry.
I pulled it one stop -- not so much of an improvement. However, it looks really good @ 200 ASA. Grainy, but wonderful grainy (i Prefer its grain much more than that form E64T). Color Saturation is more on the mellow side, but perfect for mixed light conditions.
I don't have a Telecine, but http://vimeo.com/61079295 (taped with the iPhone of the wall) gives you some idea about its capabilities.
peaceman wrote:it looks really good @ 200 ASA. Grainy, but wonderful grainy (i Prefer its grain much more than that form E64T). Color Saturation is more on the mellow side
Looks very promising. Yea, I agree that the colours look quite subdued.
