[Frameworks] a question about negative film stock for s-8mm

[Roger Wilson]

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 at 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.poloni at gmail.com
> Date: Wed, 22 May 2013 19:38:19 +0200
> To: frameworks at 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 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
> FrameWorks at jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
 		 	   		  
-------------- next part --------------
An HTML attachment was scrubbed...
URL: <https://mailman-mail5.webfaction.com/pipermail/frameworks/attachments/20130522/14ce00e7/attachment.html>