[Frameworks] test footage of negative vs reversal s-8mm film stock

Tue Nov 5 05:41:30 UTC 2013

Hello Nicolas,

Thanks for sharing your footage. I have never tried the Cinegon lens
because as sharp as I read it is, there's something odd to it for me.
Firstly because it's a 10mm, i.e. a quite narrower field than the 7 to
8 mm that would correspond to the “normal” field of vision for S-8mm.
It is, in my view, a bit too narrow for landscape work. Secondly
because the focus dial basically does not transition very
progressively from macro positions, e.g. 1 foot distance to infinity,
so I had issues about its use for portrait work. This being said, a
friend of mine has one, I am keen to test it.

I find your UltraPan8 3.1 footage really sharp, sharper than on the
two other films. Wow. To be sure I understand you properly: when you
say “It utilizes the full width of Double Super 8 film” you mean that
you are exposing a width of 16mm (minus the two rows of sprocket
holes), leaving the film unhalved during development? And is your
camera pulling the film with two claws for increased stability?

Very best,
Marco

On 4 November 2013 19:42, Nicholas Kovats <nkovats at gmail.com> wrote:
> Hi Marco,
>
> Interesting results and I slightly prefer the more muted V3 50D color
> negative. But the reversal really "pops". I miss shooting with my
> Leicina Special but I have the 10mm optic and not the zoom. Very sharp
> Super 8 transport and optics. Here is a sample of my more experimental
> work shot with my Leicina setup using very outdated Kodachrome 40
> stock from 1981, i.e http://vimeo.com/38891161
>
> Here is a sample of my ultrawide film format called UltraPan8 3.1. It
> is my current film based obsession. It utilizes the full width of
> Double Super 8 film. Modified hybrid Bolex H16/DS8 camera. Ektachrome
> 100D,  i.e. http://vimeo.com/45620380
>
> Here is another test I did with my other variation of this format
> called UltraPan8 2.8. It utilizes the full width of Regular 8 film.
> Modified hybrid Bolex H16/H8 camera It is a spherical hybrid format as
> there is no anamorphic compression lens used. Standard 16mm optics,
> i.e the optical center. The best part of the lens. Film is V3 50D
> color negative, i.e. http://vimeo.com/55498777
>
> Best regards,
>
> Nicholas Kovats
> Toronto, Canada
>
> On Sun, Nov 3, 2013 at 5:03 PM, Marco Poloni <mar.poloni at gmail.com> wrote:
>> Hello Frameworkers,
>>
>> I would like to share some materials with you. I just uploaded on
>> Vimeo two rolls of Super-8mm test footage.
>>
>> I made those to challenge some assumptions and ideas about the format.
>> My own, but also some I read on emails in this community, as of May
>> 2013 if I well remember, about scanning S-8mm negative film stock.
>>
>> I needed to verify things for myself before starting a large project
>> in S-8mm, and to understand what could be done with the medium in a
>> digital workflow. As a friend appropriately said, the nice thing today
>> is that with a good and well-calibrated digital projector, one can
>> project 8mm footage in large, theatrical formats, and get amazing
>> results.
>>
>> Here are the links:
>> https://vimeo.com/78479511
>> https://vimeo.com/78479510
>>
>> Before reading further please be aware that I am writing from a
>> European perspective. Hence the work with labs and facilities that are
>> not too far away.
>>
>> Don't look at the footage for aesthetic quality. It's a purely
>> technical test. One roll is Kodak Vision 3 50D, the other Fuji Velvia
>> 50D. I used a Leicina special with a Schneider Optivaron 6-66mm/1.8 at
>> about 10mm focal length. As many of you know, it's one of the best
>> lenses ever built for this film format.
>> Exposure was measured with a lightmeter.
>> The footage was developed at AndecFilm in Berlin and scanned at
>> Ochoypico in Madrid in AppleProRes @ 10bit 4:2:2 with a bit of noise
>> reduction in post-scanning.
>> Of course the Vimeo files are quite compressed.
>>
>> I am pretty happy with the results with the negative film. The image
>> has a very good dynamical range and is sharp. The only issue are some
>> tiny flashes, the size of dust specks. I have not yet figured out what
>> they are.
>> In my view the footage could only get better with a prime lens. I
>> projected the footage five meters wide in a film theater equipped with
>> a good Panasonic projector, and was surprised how well the image held.
>> Conversely, the reversal film suffers from the comparison. Limited
>> dynamical range, much contrast, lack of information in dark areas.
>> Also, there is more mechanical movement because I did not use a
>> pressure plate.
>>
>> To be fair, in my limited experience, post-processing facilities seem
>> to be good either in scanning negative or reversal film, but not both.
>> I have had terrible results with negative film from a lab which is
>> excellent with reversal. Conversely, Ochoypico, in my view, excels in
>> scanning negatives.
>>
>> I will be happy to read your reactions and critiques.
>>
>> Best,
>> Marco
>>
>> --
>>
>> “A brave flat world.”
>>
>>
>> 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

-- 

“A brave flat world.”

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