From: Bart Weiss (email suppressed)
Date: Wed Jul 22 2009 - 18:57:13 PDT
Sounds great if you can get it done in time you shoul send it to me
On Jul 22, 2009, at 7:57 PM, Ken Paul Rosenthal <email suppressed
> After many, many months of research and tests, I've finally found a
> facility that makes stable, clean, HD super 8 transfers.
> I sat in on a marathon 8-hour session yesterday at 'Pro 8' in
> Burbank, California. My footage was stablized during the transfer,
> not in post. We captured straight to my hard drive, Pro Res HQ, 1920
> x 1080p, 23.98.
> I was in a dream--or fugue--state for 8 hours, didn't even think of
> a taking a break; the delicious detail and granularity of the
> original super 8 was retained, with just a smidge of drift to
> resemble traditional film projection. And the image stayed almost
> entirely clean, and completely scratch-free due to the film not
> being touched by particle rollers. The occasional speck is likely
> due to dust bunnies settling on the film after development. (I
> process and telecine prep all my super 8 at Alpha Cine. They use an
> ultra sonic cleaner which involves a liquid bath and air drying).
> Of the many obvious factors relative to super 8 gear/technology that
> effects image stability, I made the critical discovery that the
> first few feet always had comparatively more movement than the rest
> of the roll, as the torque is initially less forgiving on the take
> up side of the cartridge. Hence I'll simply run off the first 10
> seconds of each fresh cartridge in the future.
> I shot Kodachrome (from Wittner in Germany), Plus/Tri-X, Ektachrome
> 64T/100D, Hi-Con 7363, and Vision 500T. The personal tastes and
> needs of any artist/project notwithstanding, Plus-X (which
> constitutes 95% of my footage) proved to be the most stunning--sharp
> yet notable grain, rich shadows and glistening highlights slightly
> coaxed by a yellow filter when shooting.
> I'm waxing blissful because I feel I've finally struck a fundamental
> balance between analog and digital technologies. The economy of
> means afforded by Super 8 permits me to carry all my gear virtually
> anywhere--land, sky, and water. In deference to purists and far from
> being an apologist for S8, the optics on my Canon 1014XLS (and my
> eye ;-) gave me images that those who look at my transfer take for
> 16mm. Yet in post, I'm clearly editing images that have retained the
> tasty textures of super 8, with the detail of larger formats.
> I've relished obsessively clinging to my vision while considering
> the equation between cost, aesthetics, technology, and viewership.
> If I had listened to the numerous operators, fellow artists, and
> post folks who effectively told me to 'get over it, it's just super
> 8', I'd not have discovered a work flow that can bring this humble
> format to a large theatre. Phil, the owner/operator, was a dream to
> work with. This is not a 'mom and pop' facility, so the transfer was
> comparatively expensive. But that's film, baby.
> I hope to have a new, more representative trailer on my 'Crooked
> Beauty' site within a couple of weeks, and welcome any inquiries for
> screenings of this poetic, social justice documentary which I
> anticipate (read 'hope and pray) will be complete mid-fall). I just
> screened a work sample/sketch, cut from older, video footage for
> female inmates at the San Francisco city jail. Not surprisingly, we
> didn't discuss film aesthetics/structure, but their mental health
> struggles as inspired by the film. Cinema as a tool for social
> transformation indeed!
> Should you contact Phil at Pro 8, please tell him I sent you. Viva
> super 8!
> NEW mobile Hotmail. Optimized for YOUR phone. Click here.
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
For info on FrameWorks, contact Pip Chodorov at <email suppressed>.