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

[Marco Poloni]

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 <rogerdwilson at 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
> rogerdwilson at 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.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
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-- 

Sent from my computer


marco poloni
usedomer strasse 8
d – 13355 berlin
gsm de +49.163.6294080
gsm ch +41.78.6322028
skype marcopoloni