Hi Marco, Can I ask what f-stop/t-stop you were working with? I find with these stocks it is very important to use the sharpest part of your lens. With both of these stocks I like to work with a 5.6 f-stop and use ND's when needed.
Roger D. Wilson613 324 - [email protected]http://www.rogerdwilson.ca Without failure you can never achieve success. I have based my process and my career as an experimental film artist on this statement; and I welcome it as it pushes me forward as an artist to try something different, something new. > From: [email protected] > Date: Wed, 22 May 2013 19:38:19 +0200 > To: [email protected] > Subject: [Frameworks] a question about negative film stock for s-8mm > > Dear Frameworkers, > > I have a question about film stock for Super-8mm. > > I am back from a scouting trip for a 16mm film project. I did all the > location filming in Super-8mm because I wanted to use the material in > the film as well. I worked with my Leicina Special with a Schneider > Optivaron 6-66mm zoom, which had just been revised, and with Kodak > Vision 3 200T and 500T, a stock that I well know and love when used in > 16mm. The material was scanned in AppleProRes422 on an Ursa Diamond in > a laboratory in Turin, Italy: Nova Rolfilm. People who were > recommended to me and do very good work. > > The result is very disappointing. The footage is super grainy, looking > kind of OK when I'm filming objects but terrible on skies: exploded, > saturated, not fluid. I know the problem is neither the camera nor the > lens. I have shot excellent b&w footage with this camera. > > The colorist said that my material was not excellent, but well within > the normal-to-good range for S8mm. He said I should have worked with > reversal film, because Super-8 cameras were never designed and > calibrated for negative stock and cannot thus yield good results on > negative emulsion. Add to this the fact of working at 200 and 500 ISO, > maybe I had a recipe for failure inside my camera. > > Since the sublime Kodachrome 40 is gone, this technician suggested I > should try Fuji reversal stock, which was Fuji's “response” to KR, and > with which other customers of the lab have excellent results in terms > of grain, “paste” (italian filmmakers use the same word for film grain > and spaghetti: pasta), fluidity. He also mentioned that in his > experience as colorist, the best S-8mm footage was produced with Nizo > cameras. > > I am now overcoming my disappointment and would like to do some tests > with reversal film before moving on with the project. So I was > thinking of Fuji Velvia 50 Daylight. > > Does any of you have a similar experience to mine, to share, and about > Fuji reversal stock? > > Many thanks in advance. > > Best, > Marco > > -- > > Sent from my computer > > > marco poloni > usedomer strasse 8 > d – 13355 berlin > gsm de +49.163.6294080 > gsm ch +41.78.6322028 > skype marcopoloni > _______________________________________________ > FrameWorks mailing list > [email protected] > https://mailman-mail5.webfaction.com/listinfo/frameworks
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