50D looks great!

[Tscan]

I've only used the V3 200T so far and it was still finer grain than 100D, not to mention a whole lot sharper. If you want grain there's still 500T and TriX. 3 awsome negs in Super 8 is pretty cool, now all we need is Roger and his people to get that new scanner doing neg stocks and order will be restored to the universe!

[nikonr10]

I've only used the V3 200T so far and it was still finer grain than 100D, not to mention a whole lot sharper. If you want grain there's still 500T and TriX. 3 awsome negs in Super 8 is pretty cool, now all we need is Roger and his people to get that new scanner doing neg stocks and order will be restored to the universe!

Yes Roger the fate of super 8 and order , a heavy burden for one man and his scanner !

[MitchPerkins]

I've only used the V3 200T so far and it was still finer grain than 100D, not to mention a whole lot sharper. If you want grain there's still 500T and TriX. 3 awsome negs in Super 8 is pretty cool, now all we need is Roger and his people to get that new scanner doing neg stocks and order will be restored to the universe!

Yes Roger the fate of super 8 and order , a heavy burden for one man and his scanner !

Flip it on your NLE. Assuming you have some sort of xfer system, a camera w/white balance is nice - pure white = pure black. That is, you can white balance on the neg image, and [definitely] colour correct from there.

Super 8 neg footage attracts dust and scratches if you even think about it - you don't have to handle it. Thus continuous [20fps] xfer w/some sort of wetgate is kinda key for me. Frame by frame is fine too - you can still capture and flip - just for me the base scratches and dust are the *only* drag about Super 8 in a narrative context - I'm fine with the resolution and even the poetic jump and weave.

Ain't competing or trying to sell anybody on anything - very recently found out that 50D is available ~from Kodak~ close by and relatively cheap. Processing too. I have to make another movie on this format before it's gone. 50D is the Kodachrome of S8 negs - thinking of using it for the whole shoot, blue practicals and gels for interiors and all, I think it night be worth it.

Mitch

[MitchPerkins]

So you can take this as a compliment if you wish,
Roger

Welcome to a world of consternation, José Luis Sanz.

[Tscan]

I've only used the V3 200T so far and it was still finer grain than 100D, not to mention a whole lot sharper. If you want grain there's still 500T and TriX. 3 awsome negs in Super 8 is pretty cool, now all we need is Roger and his people to get that new scanner doing neg stocks and order will be restored to the universe!

Yes Roger the fate of super 8 and order , a heavy burden for one man and his scanner !

Flip it on your NLE. Assuming you have some sort of xfer system, a camera w/white balance is nice - pure white = pure black. That is, you can white balance on the neg image, and [definitely] colour correct from there.

Super 8 neg footage attracts dust and scratches if you even think about it - you don't have to handle it. Thus continuous [20fps] xfer w/some sort of wetgate is kinda key for me. Frame by frame is fine too - you can still capture and flip - just for me the base scratches and dust are the *only* drag about Super 8 in a narrative context - I'm fine with the resolution and even the poetic jump and weave.

Ain't competing or trying to sell anybody on anything - very recently found out that 50D is available ~from Kodak~ close by and relatively cheap. Processing too. I have to make another movie on this format before it's gone. 50D is the Kodachrome of S8 negs - thinking of using it for the whole shoot, blue practicals and gels for interiors and all, I think it night be worth it.

Mitch

Been there, simply inverting it leaves a lot of correction to be done just trying to eliminate the mask which uses all of your bandwidth.

[MitchPerkins]

Been there, simply inverting it leaves a lot of correction to be done just trying to eliminate the mask which uses all of your bandwidth.

Oops! Forgot to mention the insertion of a turquoise filter in front of light source, behind the projector gate, during transfer. You need to get the whites [blacks] white [black] using the camera's white balance.

Even reversal requires "a lot" of CC to get it where I want it, so the negs are no big deal. We shot, xferred and CC'd much beautiful neg for weddings in the recent past.

Again, this works for me, and really well too. I share it on the chance it will work for others. If you have difficulty with the orange mask, you in fact have not "been there", if by "there" you mean where I am....:)

Mitch

[metaT8]

Oops! Forgot to mention the insertion of a turquoise filter in front of light source, behind the projector gate...

Is that an 82a filter?
I'm wondering why you chose to place the filter in front of the light. Don't you have temperature problems that way?
Any reason not to place the filter at a different place in the chain?
thanks

[MitchPerkins]

Oops! Forgot to mention the insertion of a turquoise filter in front of light source, behind the projector gate...

Is that an 82a filter?
I'm wondering why you chose to place the filter in front of the light. Don't you have temperature problems that way?
Any reason not to place the filter at a different place in the chain?
thanks

Behind the gate/in front of light source keeps it from having any adverse effect on the image - the less glass in the path the better. Plus I use these gel swatches from a booklet I got years ago, definitely can't put those in the image path. I lost the ID cards that came with the swatches years ago too, so unfortunately I can't tell you exactly what I'm using, but it's pretty much turquoise, although blue is actually the "opposite" or complimentary of orange.

A little experimenting is perhaps in order - see if you can get one of these booklets from your nearest camera rental house, or from Lee or Roscoe etc.
Some of our xfer projectors have enough room to fit standard 40/60 watt bulbs, we've also used 14 watt fridge bulbs too - these could possibly be tinted with a paint that can hold up to a bit of heat; since the light is going straight into a video camera, it usually doesn't have to be too hot. Just a thought...

Mitch

[MIKI-814]

I know the man behind ochoypico.com. Have been a customer for years now and can assure he's a very fair person with no intention of autopromoting his own telecines, which I am recommending in this forum for years now...

BTW give a look at his prices on his website :o The results worth it

[MitchPerkins]

I know the man behind ochoypico.com. Have been a customer for years now and can assure he's a very fair person with no intention of autopromoting his own telecines, which I am recommending in this forum for years now...

BTW give a look at his prices on his website :o The results worth it

Well the sample looks just great. I never doubted it was Super8 for two reasons

1) A couple of hairs flash by which are too big for it to be 16mm.

2) The idea of this guy trying to pull a fast one here is too stupid to entertain.

Mitch

[lealar]

I know the man behind ochoypico.com. Have been a customer for years now and can assure he's a very fair person with no intention of autopromoting his own telecines, which I am recommending in this forum for years now...

BTW give a look at his prices on his website :o The results worth it

I second this as well. I've had some work done from Speed and what I most remember is that each and every time I spoke to him and his staff I was asked about my expectations without feeling rushed. Also, any subsequent changes I asked for (which weren't many), were addressed quickly and with no additional charges.

[Tscan]

Ahh! I have one of those swatch booklets with every shade of gel there is. I've been planning to try that next.

[MitchPerkins]

Ahh! I have one of those swatch booklets with every shade of gel there is. I've been planning to try that next.

Cool! I think you'll find it makes a big difference.

Light source intensity is another key parameter. Generally you're supposed to bring the negs in a bit milky, add the contrast [crush blacks] in post. But I plan to experiment with cranking the light and "zebra-ing" the whites [blacks] which tightens them up, gives a whole different look. It might be hard to CC though....we'll see...50D is a new animal to us, only ever worked with 200/500T.

Premiere Pro has an effect called "cineon converter" that we've found useful with the negs too - with that route it's definitely better to bring the negs in milky.

Happy experimenting - it's a blast eh?

Mitch

[Tscan]

I'm going to experiment filtering the light source on the Retro8 when it comes. But your right about the milkyness.. in fact most DIY neg transfers that I see are very flat looking in comparison to the richness I get from a pro telecine. I'm really hoping to tweak out the density and saturation that I like, if I can get past the color issue and have the band-width.

[Tscan]

http://www.moviestuff.tv/

Looks like they did it! Don't think i'll be sparing on ordering up some 50D for my trip in 2 weeks! Then when i get back i'm going to construct a statue of Roger Evans in the town square!