Those of you know know me might have been aware that I left NYC 18 months ago and haven't shot any film in over two years. In fact, I sold all my film stock/camera/gear a few months back. I was done.
Whoops. It seems I may finally be doing something I have long wanted... Shooting Super8 for a feature.
Now it's not like we have the entire feature funded. Nope. But at this point I am tired of waiting and instead am funding (with a partner) the section of the feature that will be shot on film. Super8 film to be exact. The film essentially has three sections and each section has a distinct look.
We are looking at very late September for principle photography in Manhattan.
Needless to say, I will soon be looking at scanning options. While I want to shoot B&W we will likely shoot color and convert to B&W in post. Note I say "Likely." I am not yet certain. Tri-X shot right can't be beat. Look at this as an example...
The project is an 85 to 90 minute film and around 20 minutes is planned as B&W film. I will be shooting on a Nikon R10 as well as a few other cameras that will be provided and manned by one of my favorite 8mm shooters (I'll announce who once this is all set in stone). It's going to be so cool to collaborate with this guy. He's an 8mm master.
Anyway, just want to let everyone know film is still viable. It's an option. You just have to work at it to make it happen. God help me in pulling this off.
Don't let the absence of glossy publicity in the website fool you. This lab has been servicing all Super8 processing in Australia for a decade and is handled personally by Richard Tuohy who knows everything there is to know about photochemistry and much more. The lab included 16mm processing as part of it's operations, but has recently become focused exclusively on 8mm and Super8.
I doubt it will improve over the R10 Although the Logmar has some feature which aren't available on other S8 cameras.
The R10 has very very good optics. Even admitted by diehard Leicina Special users with their Cinegon or 6-66 Optivaron.
The R10 has a stop pin which keeps the film from being transported too early and also the filmgate has two small ramps (also on Nikon R8 and Super-Zoom) which force the film to the rear of the filmchannel and thus in the focusplane of the far superior Nikon lens.
Bear in mind that with cameras like the R10, Logmar, Beaulieu, Leicina, some Canons (and even the lowly Quarz) that have very steady transports, you'll either have to use a scanner like the ScanStation or do post-scan stabilization, assuming you use a scanner that does optical pin-registration. To my knowledge, the ScanStation is now the only one that properly handles Kodak's messed up perf placement on Super 8, which causes jerky back and forth motion on film shot on high end cameras, when the scanner uses the perfs to digitally pin-register the scan.
You can see an illustration of the perf issue here:
...basically, they're not consistently placed, relative to the edge of the film, but the problem only really shows up when the film is shot in a pin-registered camera like the Logmar, or a camera with a very stable transport, like the others mentioned above. That, in combination with a pin-registered scanner results in an annoyingly jittery image that requires post-scan stabilization, and that can have negative effects on the image quality if not done correctly (blur, pixel interpolation, etc).
The footage above was actually scanned on our ScanStation a while back. It's from one of the very early prototype Logmar cameras. Lasergraphics recently released a recent fix to address this problem in their scanner - the perf is still used for vertical registration but now the edges of the film are used for horizontal, and that all but eliminates the jitter problem. Now, you see the opposite effect, which is more representative of what's actually happening on the film: the film is steady (left to right), but the perf jitters back and forth in the pattern seen above). I don't think the Kinetta, Flashscan or others that use optical registration are doing this, so your mileage may vary with those machines.
Edited by Perry Paolantonio, 17 July 2015 - 09:30 PM.
Sombody ought to attempt to take the lens of a dead R10 and fit it in a C-mount holder. Difficult as the rear lenses are fit in the camerahousing and possibly leave not enough space to have C-mount distance.
Then see how good it really is in comparison with other old and new C-mount suitable lenses.
The Angenieux 6-80 1.2 can be had in Beaulieu Reglomatic holder which can be easily be taken off.
The Schneider 6-66 from the same source.
Edited by Andries Molenaar, 18 July 2015 - 05:19 PM.