Re: [Frameworks] a question about negative film stock for s-8mm
Hello, 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. Sorry for my language, but you've been told utter bullshit. Of course, Super 8 cameras can perfectly expose negative stock - just like any analog photo camera can expose negative stock. After all, analog photography and cinematography are about a lens, a shutter and film emulsion, and your Schneider is optically better than many photo camera lenses! Negative stock is much more difficult to scan because of its orange mask and high dynamic range. You need a scanner whose sensor chip has deep color resolution and a high dynamic range - 13 f-stops for Vision3 50D, for example. Otherwise, there won't be enough color information to filter out the orange mask without muted colors and clipped highlights/shadows resulting. Which is what you got. Most low- and mid-end film scanners (such as MWA Flashscan and Müller HM73) that are typically used by affordable film scanning service providers use industrial video cameras such as the Pike F-145 for the scanning/digitization. The Pike is equipped with a Sony ICX285 CCD sensor that has a dynamic range of about 67db, the equivalent of 11 f-stops. So you'll lose at least two f-stops when scanning Vision3 with one the above scanners. Reversal film has a much lower dynamic range - 100D about 8 f-stops - so scanning it on these systems is unproblematic. I'm no expert on good scanning services for Super 8 stock (AVP in Munich has an outstanding reputation and works with a Rank Cintel), but here's an example (not exactly my cup of tea of film) of Vision3 Super 8 scanned relatively inexpensively by Ochoypico [http://www.ochoypico.com] in Spain, a company whose scanning results always struck me as very filmic: http://www.filmkorn.org/scharfe-vision-200t-und-500t-in-super-8/ (You could still criticize the result for having a green tint, but probably this could fixed with run-of-the-mill digital color correction.) The difficulty of projecting and scanning color negative stock is the reason why the discontinuation of 100D is such a blow for amateur and no budget analog filmmaking. ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] a question about negative film stock for s-8mm
Dear Florian, Your post is very inspiring and helpful, as was Buck Bito's. The guys at Nova Rolfim, the lab that was recommended to me, had indeed said that scanning negative would be more difficult and expensive then reversal film. Maybe they should have been more upfront and state that they could not do a good job with negative material. I might take this issue up with them. I did not know however the specifics of scanning neg vs reversal, that is, the orange mask and the need for a “deeper” scan. Your email is very informative, thanks! What I don't get though, is that my material was scanned on a Rank Cintel Ursa Diamond, a machine that should, in principle, be able to encompass the full dynamic range of the images, and not deliver what I got, clipped skies that look like blown up electronic noise. So maybe they tried to apply a profile for reversal film, rather than trying to fine-tune it for negative? A video made ochoypico was indicated to me by Buck. I had a look again. Indeed the video of the two models is impressive, and humbling since what I got with the same film stock is much worse. I am willing after reading you to send my material to another lab and ask them to scan a sector before committing to rescan everyhting. So there would be ochoypico, AVP that you seem to recommend, and cinelicious in LA of whom I only heard good things. Do you have personal experience with AVP? Many thanks again for your help. Marco ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] a question about negative film stock for s-8mm
The difficulty of projecting and scanning color negative stock is the reason why the discontinuation of 100D is such a blow for amateur and no budget analog filmmaking. This is indeed the dreadful blow that has been dealt to low budget film enthusiasts, film students (as opposed to students of digital video) and experimental filmmakers everywhere. From: Florian Cramer flrnc...@gmail.com To: Experimental Film Discussion List frameworks@jonasmekasfilms.com Sent: Saturday, 25 May 2013, 15:34 Subject: Re: [Frameworks] a question about negative film stock for s-8mm Hello, 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. Sorry for my language, but you've been told utter bullshit. Of course, Super 8 cameras can perfectly expose negative stock - just like any analog photo camera can expose negative stock. After all, analog photography and cinematography are about a lens, a shutter and film emulsion, and your Schneider is optically better than many photo camera lenses! Negative stock is much more difficult to scan because of its orange mask and high dynamic range. You need a scanner whose sensor chip has deep color resolution and a high dynamic range - 13 f-stops for Vision3 50D, for example. Otherwise, there won't be enough color information to filter out the orange mask without muted colors and clipped highlights/shadows resulting. Which is what you got. Most low- and mid-end film scanners (such as MWA Flashscan and Müller HM73) that are typically used by affordable film scanning service providers use industrial video cameras such as the Pike F-145 for the scanning/digitization. The Pike is equipped with a Sony ICX285 CCD sensor that has a dynamic range of about 67db, the equivalent of 11 f-stops. So you'll lose at least two f-stops when scanning Vision3 with one the above scanners. Reversal film has a much lower dynamic range - 100D about 8 f-stops - so scanning it on these systems is unproblematic. I'm no expert on good scanning services for Super 8 stock (AVP in Munich has an outstanding reputation and works with a Rank Cintel), but here's an example (not exactly my cup of tea of film) of Vision3 Super 8 scanned relatively inexpensively by Ochoypico [http://www.ochoypico.com] in Spain, a company whose scanning results always struck me as very filmic: http://www.filmkorn.org/scharfe-vision-200t-und-500t-in-super-8/ (You could still criticize the result for having a green tint, but probably this could fixed with run-of-the-mill digital color correction.) The difficulty of projecting and scanning color negative stock is the reason why the discontinuation of 100D is such a blow for amateur and no budget analog filmmaking.___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
[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 bw 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 FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] a question about negative film stock for s-8mm
Hi Marco, I've never been happy with Super-8 neg. and the loss of Ekta 100D spells the end of color Super-8 for me. Even on the most serious Super-8 scanner I know of in the U.S. at Cinelicious I see what you are complaining about when it comes to the skies and other areas that should be 'fluid'. I love reversal grain in 8 and Super-8, but the grain from Vision when blown up from Super-8 looks mostly like dust or sensor/video noise to me. Here is a piece on Vimeo that was scanned at Cinelicious using Vision3 200T and 500T and the skies in particular look terrible to me... http://vimeo.com/55509028 Perhaps Vision3 50D 5203 would be worth a try... To my knowledge I haven't had any clients bring us this stock on Super-8 yet and it is supposed to be the finest grain for Vision3. http://motion.kodak.com/motion/Products/Production/Color_Negative_Films/5203.htm R.I.P. Ekta 100D... Here's a search return from Vimeo for Super-8 100D that looks a lot better in the skies although I've seen even much nicer 100D footage: http://vimeo.com/4530359 -Sorry I don't have better solutions for you, but I'll wish you good luck with your project! --Sincerely, ---Buck Bito Lawrence Buck Bito Movette Film Transfer *NEW LOCATION* 1407 Valencia St. San Francisco, CA 94110 (Valencia at 25th St.) 415-558-8815 Open Tuesday - Saturday Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4 www.movettefilm.com On Wed, May 22, 2013 10:38 am, Marco Poloni wrote: 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 bw footage with this camera. ...SNIP... Best, Marco ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] a question about negative film stock for s-8mm
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 - 7504rogerdwilson@sympatico.cahttp://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: mar.pol...@gmail.com Date: Wed, 22 May 2013 19:38:19 +0200 To: frameworks@jonasmekasfilms.com 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 bw 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 FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] a question about negative film stock for s-8mm
Hi Roger, I was shooting mostly between F/4 and F/8, but sometimes at full aperture at dusk (clearly not the best condition). You have a point, regardless of the lens which is one of the best made for S-8mm. The skies look terrible regardless of aperture: day shoots, sunny or cloudy, dusk shoots. It really seems to me that the issue might be beyond aperture value. What Buck Bito says in her reply is totally consistent with what the technician at the lab I worked with told me about negative film in S-8mm, and with the look of my material: “like dust or sensor/video noise.” Best, Marco On 22 May 2013 23:52, Roger Wilson rogerdwil...@sympatico.ca wrote: 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. Wilson 613 324 - 7504 rogerdwil...@sympatico.ca 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: mar.pol...@gmail.com Date: Wed, 22 May 2013 19:38:19 +0200 To: frameworks@jonasmekasfilms.com 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 bw 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 FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- 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 FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] a question about negative film stock for s-8mm
Hi Buck, Thanks so much about your reply. Sharp and really informative. I will wait for more replies but already want to react to your email. I had a look at the footage you linked. Yes, the sky looks terrible when shot with 200T and 500T, even when scanned at Cinelicious. Consistent with what I got. I heard many good things about Cinelicious and was thinking of re-scanning there but after reading you it's clear I will only get marginally better results. I am now keen on making a side-by-side comparison between Fuji Velvia 50D, which is a reversal film available in Europe (but also in the US I believe, through Spectra Films), and Kodak Vision3 50D. If I do so, I will upload the results. Yeah, R.I.P. Ekta 100D indeed. Thank you again, Marco ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] a question about negative film stock for s-8mm
Thanks Dickie, the footage is very beautiful indeed. I can also confirm that Fuji Velvia is amazing in 35mm slides. On 22 May 2013 22:38, Dicky dickyvann...@gmail.com wrote: The Fuji Velvia looks quite nice as Super 8. If you want to see what it looks like, watch some of Paul Clipson's films. I am pretty sure he said that Another Void was mostly shot on Velvia... I've personally shot very little of it on Super 8 but shoot a good deal of Velvia for 35mm slides... On Wed, May 22, 2013 at 1:35 PM, Buck Bito - Movette b...@movettefilm.com wrote: Hi Marco, I've never been happy with Super-8 neg. and the loss of Ekta 100D spells the end of color Super-8 for me. Even on the most serious Super-8 scanner I know of in the U.S. at Cinelicious I see what you are complaining about when it comes to the skies and other areas that should be 'fluid'. I love reversal grain in 8 and Super-8, but the grain from Vision when blown up from Super-8 looks mostly like dust or sensor/video noise to me. Here is a piece on Vimeo that was scanned at Cinelicious using Vision3 200T and 500T and the skies in particular look terrible to me... http://vimeo.com/55509028 Perhaps Vision3 50D 5203 would be worth a try... To my knowledge I haven't had any clients bring us this stock on Super-8 yet and it is supposed to be the finest grain for Vision3. http://motion.kodak.com/motion/Products/Production/Color_Negative_Films/5203.htm R.I.P. Ekta 100D... Here's a search return from Vimeo for Super-8 100D that looks a lot better in the skies although I've seen even much nicer 100D footage: http://vimeo.com/4530359 -Sorry I don't have better solutions for you, but I'll wish you good luck with your project! --Sincerely, ---Buck Bito Lawrence Buck Bito Movette Film Transfer *NEW LOCATION* 1407 Valencia St. San Francisco, CA 94110 (Valencia at 25th St.) 415-558-8815 Open Tuesday - Saturday Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4 www.movettefilm.com On Wed, May 22, 2013 10:38 am, Marco Poloni wrote: 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 bw footage with this camera. ...SNIP... Best, Marco ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- 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 FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] a question about negative film stock for s-8mm
PS Andec FIlm here in Berlin sells Wittner Chrome V50 D (reversible) cartridges (the Material inside is Fujchrome Velvia 50 Daylight): http://www.andecfilm.de/en/e_s8_e6-ec64t.htm As I said I should make a test Kodak Vision 3 50D vs Velvia 50D... Thanks again Buck! M On 22 May 2013 22:35, Buck Bito - Movette b...@movettefilm.com wrote: Hi Marco, I've never been happy with Super-8 neg. and the loss of Ekta 100D spells the end of color Super-8 for me. Even on the most serious Super-8 scanner I know of in the U.S. at Cinelicious I see what you are complaining about when it comes to the skies and other areas that should be 'fluid'. I love reversal grain in 8 and Super-8, but the grain from Vision when blown up from Super-8 looks mostly like dust or sensor/video noise to me. Here is a piece on Vimeo that was scanned at Cinelicious using Vision3 200T and 500T and the skies in particular look terrible to me... http://vimeo.com/55509028 Perhaps Vision3 50D 5203 would be worth a try... To my knowledge I haven't had any clients bring us this stock on Super-8 yet and it is supposed to be the finest grain for Vision3. http://motion.kodak.com/motion/Products/Production/Color_Negative_Films/5203.htm R.I.P. Ekta 100D... Here's a search return from Vimeo for Super-8 100D that looks a lot better in the skies although I've seen even much nicer 100D footage: http://vimeo.com/4530359 -Sorry I don't have better solutions for you, but I'll wish you good luck with your project! --Sincerely, ---Buck Bito Lawrence Buck Bito Movette Film Transfer *NEW LOCATION* 1407 Valencia St. San Francisco, CA 94110 (Valencia at 25th St.) 415-558-8815 Open Tuesday - Saturday Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4 www.movettefilm.com On Wed, May 22, 2013 10:38 am, Marco Poloni wrote: 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 bw footage with this camera. ...SNIP... Best, Marco ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks -- 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 FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] a question about negative film stock for s-8mm
Hi Marco, I just did a quick search and found a very promising test roll of S8 Vision3 50D on Vimeo. It seems to show that the fluidity you're looking for is possible with this stock: http://vimeo.com/62358313 -I'd love to see the comparison with Velvia you propose. --Good luck! ---Buck Lawrence Buck Bito Movette Film Transfer *NEW LOCATION* 1407 Valencia St. San Francisco, CA 94110 (Valencia at 25th St.) 415-558-8815 Open Tuesday - Saturday Tue+Thu: 8-6, Wed+Fri: 9-6, Sat: 10-4 www.movettefilm.com On Wed, May 22, 2013 4:54 pm, Marco Poloni wrote: Hi Buck, Thanks so much about your reply. Sharp and really informative. I will wait for more replies but already want to react to your email. I had a look at the footage you linked. Yes, the sky looks terrible when shot with 200T and 500T, even when scanned at Cinelicious. Consistent with what I got. I heard many good things about Cinelicious and was thinking of re-scanning there but after reading you it's clear I will only get marginally better results. I am now keen on making a side-by-side comparison between Fuji Velvia 50D, which is a reversal film available in Europe (but also in the US I believe, through Spectra Films), and Kodak Vision3 50D. If I do so, I will upload the results. Yeah, R.I.P. Ekta 100D indeed. Thank you again, Marco ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
Re: [Frameworks] a question about negative film stock for s-8mm
On May 22, 2013, at 3:35 PM, Buck Bito - Movette b...@movettefilm.com wrote: Even on the most serious Super-8 scanner I know of in the U.S. at Cinelicious I An old Spirit that only does interlace? Not so much. Ever hear of Kinetta? :-) ___ FrameWorks mailing list FrameWorks@jonasmekasfilms.com https://mailman-mail5.webfaction.com/listinfo/frameworks
