Re: [Frameworks] Which Super8 Stock Should I Use?
On Jun 20, 2013, at 8:14 AM, Roger Wilson wrote: Super 8mm Colour Negative film can look beautiful if it is exposed properly. A big problem filmmakers have is not knowing their super 8mm camera well enough. Exactly. I should have been clearer in my earlier response. Insa had specifically mentioned night scenes, which are often underexposed. You need a Super-8 camera that gives you either the ability for complete manual exposure control, or the ability to set the ISO speed of the film you are shooting in a way that ignores the notches on the cartridge. An underexposed color negative is a piece of clear orangish film. Underexposed reversal is very dense. It is possible to -- with the right scanner -- get enough light through a dense original to recover a good deal of the image. (I have done this with Kodachrome originals and Ektachrome originals that looked to the naked eye like black leader. Quite amazing.) But if there is no image on that nearly clear color negative, there's nothing to print up. You need to print it down, essentially, so you have a decent black, which often takes any image you might have with it. Color negative (with a couple of exceptions that aren't manufactured anymore) always benefits from overexposure, and a denser negative. (There are artistic exceptions -- see Gordon Willis and The Godfather -- of course.) If you can, overexpose by a stop or more. Overexposure actually reduces the appearance of grain in color negative. Reversal stocks do not take well to overexposure at all, and since most S8 cameras light meters (if still working) are designed for reversal stocks, they are not going to overexpose! So you need manual control, which varies from camera to camera. The cost of S8 color negative and a good scan is not all that much less than 16mm these days, and 16mm cameras have gotten relatively cheap -- I see Aatons for $2000 on eBay. But if you want to shoot S8, and there are aesthetic reasons to do so, do it -- but if you shoot color negative, overexpose it. Note: I have scanned a lot of Super-8 film for theatrical documentaries shown on very large screens, usually at 3.3K resolution (about 5x HD for pillar-boxed, uncropped HD) and resolution makes a big difference. HD is not enough. For tests, go to http://kinetta.com and go to the downloads page, and download the PDF about small format scanning resolution for actual tests of the same film scanned at different resolutions on the same scanner. Also look at the Range page for examples of the extreme dynamic range that can be captured. Forgive the Kinetta stuff, just trying to make a point. My other point, of course, is that the loss of color reversal stock (especially my beloved 7250) is a crime, and the idiots now in charge of Kodak will end up in a special ring of hell designed just for them. Jeff Jeff Kreines Kinetta kinetta.com j...@kinetta.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Which Super8 Stock Should I Use?
On Jun 19, 2013, at 5:40 PM, Insa Langhorst wrote: The film will have a few scenes which are set at night, so I´ll need to get stock with different sensitivities. I have looked at the VISION2 200T Color Negative Super 8 Film and the VISION2 500T Color Negative Super 8 Film - are they any good? I am also not sure whether to get negative or reversal film. Super-8 is a medium that was intended for reversal film. Color negative in S8 is usually quite ugly, and you probably could shoot 16mm for not much more money, with better results. Underexposed S8 color negative can be truly hideous, even when scanned on a great film scanner. However, Tri-X reversal still exists, and can be quite beautiful. Consider BW -- it's cheaper and looks better. Jeff Kreines Kinetta kinetta.com j...@kinetta.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] 16mm Animation Stand available in San Diego
A friend in San Diego tell me there's a 16mm animation stand with an Acme 6 camera available probably very cheaply at a university surplus sale. If you are interested, email me and I will forward it to my friend. Jeff Kreines Kinetta kinetta.com j...@kinetta.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] 16mm Animation Stand available in San Diego
More details: The stand is an SOS single column with a beefy compound, upper and lower acme pegs and a rotating light box. I modified the stand and camera with follow focus in the early 1980's and it works well. The motor is an Acme 120 volt with single frame, 3 frame and continuous forward and reverse. Around 10 feet tall. There should be a picture on the surplus web site in a week or two. Email sgeo...@ucsd.edu if you want more information. Good luck. It would be a shame if this went for scrap metal. Jeff Kreines Kinetta kinetta.com j...@kinetta.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] self-promotion department
On Jun 12, 2013, at 10:34 AM, Scott MacDonald wrote: Unfortunately, the book is over-priced (the Press tells me $39.00 is a normal price for a book of this size, but it seems extravagant to me)--I'm sorry about this. If $39.00 seems extravagant, how does the actual price of $75.00 strike you? Jeff Kreines Kinetta kinetta.com j...@kinetta.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[Frameworks] [cml-chat] Fwd: [AMIA-L] News: Kodak To End Production Of Acetate Film Base
Begin forwarded message: From: Greg Schmitz gr...@acsalaska.net Subject: [AMIA-L] News: Kodak To End Production Of Acetate Film Base Date: June 12, 2013 2:43:15 PM CDT To: ami...@lsv.uky.edu Reply-To: Association of Moving Image Archivists ami...@lsv.uky.edu http://rochesterhomepage.net/fulltext?nxd_id=394722 Financial expert George Conboy says the 60 jobs and manufacturing savings won't have a major financial impact on the bankrupt company. He believes it speaks more to the future of camera film. Clearly, beyond the couple of years worth that they have stored, Kodak doesn't expect to need very much more film base. A Kodak spokesman declined to go on camera but says they plan to buy acetate from other manufacturers once their supply runs out. It's certainly a blow for the Rochester community to have that capability go away and the jobs associated with that, Shanebrook added. -- Greg Schmitz Alaska Moving Image Preservation Association (AMIPA) Anchorage, Alaska greg /at/ amipa.org The Alaska Moving Image Preservation Association is a 501(c)(3) non-profit dedicated to media preservation and education to ensure long-term access to Alaska’s moving image heritage. Jeff Kreines Kinetta kinetta.com j...@kinetta.com 2387 confirmed members of CML-chat on the 1st January 2012 Copyright 2012 CML --- We'd like to thank the following sponsors of CML: Gold sponsors * Lemac-Oz * Kodak * Aaton * Element Technica * Codex Digital * RED * Tiffen * Band Pro * TCS/Technological Cinevideo * MK-V * Cooke * Photon Beard * AbelCine * Solid Grip Systems * AJA * JVC-Pro * Cam-A-Lot * 24-7 Drama * Gear Head * LVR Rental * SIM Digital * * Convergent-Design * Blackmagic-Design * K5600 * LitePanels * Solid Camera Inc.* Arri * Canon EOS-C * FJS International * Sony Silver Sponsors * DSC Laboratories * Schneider Optics * ZGC * Formatt * South Coast Film and Video * Double Data * Hive Lighting * Oppenheimer Camera * VMI * Barger-Lite * V3 * Mole Richardson --- If you find CML useful and would like to help with the costs then please subscribe:- http://www.cinematography.net/subs.html If you want to share files the use the CML-FTP site. Site: ftp.geoffboy.myzen.co.uk User: upload-8z6...@geoffboy.myzen.co.uk Pass: B!ll-Brandt2 Note the exclamation mark. By not leaving this list you agree to the T C's of the list and the general membership rules. --- You are currently subscribed to cml-chat as: j...@kinetta.com. To unsubscribe click here: http://ls.cinematography.net/u?id=33632731.bb3da9a54b94db5323b1235f2ff564f9n=Tl=cml-chato=10657840 or send a blank email to leave-10657840-33632731.bb3da9a54b94db5323b1235f2ff56...@ls.cinematography.net ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] Liquid Light onto clear 16mm - any tips?
Turns out that getting emulsion to stick to different bases is a problem for Kodak, too. I had a long talk with an ex-Kodak person (soon all of them will be ex, I'm afraid) and he said the reason some stocks weren't available on Polyester (ESTAR) base is that the emulsions formulated for triacetate don't stick. There are actually different base types and emulsions and only some combinations work. Who knew? Jeff Kreines Kinetta kinetta.com j...@kinetta.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] 35mm BW Release prints
Alpha Cine in Seattle. On May 13, 2013, at 4:04 PM, ch...@signaltoground.com wrote: Hi all, Any suggestions of where one could make feature length 35mm BW release prints nowadays? best Chris ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks Jeff Kreines Kinetta kinetta.com j...@kinetta.com ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
