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New trailer for Emil Ink's "THE HEIST" shot on Super-8


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#1 Samuel Berger

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Posted 06 February 2018 - 12:53 PM

Negative Super 8 stock is radically improved over past iterations in terms of grain. Check out this trailer by Emil Ink for Twobolts Pictures'  crime comedy, "The Heist".

 

(Warning: dialogue is not family friendly)

 

 

 

Emil shot the picture with 23 rolls of fresh new Kodak Vision3 50D and 2 rolls of fresh new Kodak Vision3 200T, avoiding old stock and it looks great! Processed at Spectra in North Hollywood and scanned by Gamma Ray Digital, this trailer can be viewed at 2K on Vimeo.

 

BTS:

https://www.facebook...73846159552569/

 

Other behind the scenes photos and videos available on their Facebook page. https://www.facebook.com/TBfilms1/


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#2 Willem Jansen

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Posted 06 February 2018 - 04:04 PM

Any knowledge on how he got the dialogue and film in sync? Or is this easier than I thought...


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#3 Samuel Berger

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Posted 06 February 2018 - 04:21 PM

I don't know how exactly he is syncing sound but it's not hard to do in FCPX.

 

Mr. Carter, from this forum, has uploaded a sample video of himself, shot with a Regular 8mm non-sync camera at 16fps.

 

That is a completely sync-less, wind-up camera.

 

In this video he shows the exact process.

 


Edited by Samuel Berger, 06 February 2018 - 04:22 PM.

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#4 Willem Jansen

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Posted 06 February 2018 - 04:39 PM

Allright, looks really cool! I always thought it was basically impossible to do that. Because you'll hear the camera running on the audio track. But maybe shooting 16fps does the trick?


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#5 Samuel Berger

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Posted 06 February 2018 - 04:48 PM

Allright, looks really cool! I always thought it was basically impossible to do that. Because you'll hear the camera running on the audio track. But maybe shooting 16fps does the trick?

 

On Mr. Carter's example, the camera was 23 feet away from him and zoomed in. This helped put distance between the microphone and the camera. He used a Bolex Rex 4. I have one and they are not loud at all. At that distance it would be hard to hear it. But I also own a Krasnagorsk 3 and the K-3 is very, VERY loud in comparison. I wouldn't attempt to record sound while shooting without blimping it or at least muffling it.


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#6 Willem Jansen

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Posted 06 February 2018 - 05:09 PM

No, I know the K-3 is loud. I wasn't talking about that camera. I just realized I haven't used my Super 8 cameras enough now that I know it is possible to sync sound.


Edited by Willem Jansen, 06 February 2018 - 05:10 PM.

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#7 Samuel Berger

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Posted 06 February 2018 - 05:19 PM

No, I know the K-3 is loud. I wasn't talking about that camera. I just realized I haven't used my Super 8 cameras enough now that I know it is possible to sync sound.

 

It's pretty cool, you can record dialogue with a smartphone and sync it in post to Super 8.


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#8 Willem Jansen

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Posted 06 February 2018 - 05:39 PM

Exciting stuff!


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#9 Patrick Cooper

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Posted 06 February 2018 - 11:44 PM

Trailer looks awesome and the super 8 footage looks great. I got to use 50D for the first time in super 8 recently and I was surprised how grainy it was. Perhaps I stuffed up the exposure though I also shot some Tri-X on the same day and that turned out quite reasonable in terms of exposure. It's been years since Ive viewed my Kodachrome super 8 footage but I recall that being much finer grained than my recent 50D content.


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#10 Samuel Berger

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Posted 07 February 2018 - 02:20 PM

I think we're at a point when properly exposed Super 8 can be used for professional productions. The grain was fairly tight on the 50D and lack of bounce fill gave the outdoor scenes a period feel. I watched Gregg Arakis'  THE LIVING END when it came out on VHS and it looked like this trailer. But THE LIVING END was shot on 16mm stock at the time. So the reduction in grain size has certainly made smaller formats viable, and not instantly recognisable by the audience as "Super 8".


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