During processing the film is slit down the middle and the two 25 foot lengths spliced together to make one 50 foot length of 8mm film. Standard 8 has a larger sprocket hole, hence smaller image area and generally yields a lower quality image on the film.
However, if the same roll of film is exposed to X-ray inspections more than 5 times before it is developed, it is possible that damage may occur. On returning the film to us we advise you do the same.
However Kodak discontinued these films in and the sound quality was always questionable. However, the favoured form of capturing sound by most filmmakers is to run a separate recording device and using a clapper-board for synchronising the sound later in-edit.
This is the speed the film is run through the camera and the number of frames that elapse per second. It yields around 4 minutes of film from one 25 foot film load. Motion fidelity of 24fps gives you a classic cinematic look. This results in heightened film grain, as the grain may be more dominant than the underexposed images. They were originally designed as a simple home movie format — with not necessarily a professional end user in mind.
Then return it to the camera. This occassionally works. Place the film back in the camera and run it for 2 or 3 seconds. Then remove the cartridge from the camera again and check to see if the X has disappeared. If it has — good news, the film is moving. If you have another super 8 camera to hand — try the film in that one to see if you have the same problem. If this is the case the film can be returned and a replacement sent out. We send films via MyAirBridge. Loading cart contents The camera left the fishing itself and concentrated on the sleeping dog as Dad waited for a bite.
Cutaways like this, or of excited crowd reaction and other sidelights at a sporting event, add interest and variety to the main action. In a movie sequence you film a series of scenes of the action instead of just one scene. The moviemaker can film various aspects of the action from several different camera angles and filming distances to help tell part of the movie story in an interesting way. You might shoot head-on for a medium shot, and then move in for a close-up, but at a new angle.
Whenever you change filming distance, you should also consider changing the camera angle. If you're making movies of activities within a relatively small area, it's often a good idea to change your viewpoint to accommodate the changing scene. Shoot from either side of your subject, or change from one side to the other if it gives you the best angle to show what is important to the story. However, when making a movie across an extended area, best results are usually obtained if you don't vary your viewpoint form one side of your subject to the other.
For instance, if you're making a movie of a hike in the woods, it's a good idea to show your subjects always traveling in the same direction. This makes the sequence flow in a logical manner. After your subjects have reached their destination and you've filmed on-the-spot activities, such as a picnic, you can show your subjects heading in the opposite direction and returning to their starting point.
Constantly changing the viewpoint and direction of travel can make your movie look fragmented and may confuse your audience. You're already far ahead of the game if you can 1 keep the background uncluttered, 2 concentrate the camera on one center of interest at a time, and 3 keep the horizon straight.
An uncluttered background helps focus attention on the subject. By filming from a low angle and using the sky as a background, or by shooting from a high angle toward the ground or water, you keep a lot of distracting elements out of your backgrounds.
This is especially effective with close-ups of people. When using the sky as a background, make sure the subject is frontlighted or sidelighted if you're using a camera with automatic exposure control. Don't use the sky as a background on overcast days because it will turn out dull and gray in your movies. Before you start filming, if necessary, try shifting your camera position or the subject to get a better background.
Although it's possible to eliminate a lot of unwanted background distractions, you can't do so every time - your camera must follow the action even if it sometimes moves into an area where the background is a bit cluttered.
Hold your audience's attention by having one center of interest for each scene. This not only improves most scenes photographically, but keeps the message of each scene simple. If you have got three or four things competing for the viewer's attention in one scene, it will be confusing and will lack interest.
Zero in on that part of the action that tells the story; exclude the rest. Keep your movies on the level by making sure that level horizons stay that way in your viewfinder. A tilted horizon or leaning subjects except for the Leaning Tower of Pisa will be distracting. Technically, bright sunlight outdoors is existing light. But, for our purposes here, we are speaking of existing light that is not as bright as that found under most outdoor daylight conditions.
This includes the light from table and floor lamps, lighting fixtures, fluorescent lamps, floodlights, spotlights, neon signs, candles, and fireplaces--even daylight from windows or skylights--in other words, any type of lighting that you're likely to encounter in homes, schools, churches, museums, restaurants, auditoriums, and outdoors at twilight or after dark.
Under most circumstances, medium-speed Type A films are best for making indoor movies with movie lights or other supplementary light sources. Maintaining Your Still and Movie Camera Projector Whether your camera is still or movie, one of its greatest enemies is dirt--dirt that can give your pictures a hazy appearance, jam your shutter, or spot your film.
The same is true of camera lenses. Dirt or fingerprints on your lens cause hazy pictures. If your camera has a lens cap, put it over the lens to protect against dirt and scratches, or use a field case. It's a good idea to clean your lens according to the instructions in your camera manual. First, carefully blow away any grit or dust, or brush it away with a camel's-hair brush.
Then breathe on the surface of the lens and wipe it gently with a soft, clean lintless cloth. You can wad the tissue into a small tuft so it will be softer--keeps fingers away from the lens. Be sure to use solvents specially designed for cleaning camera lenses.
Don't use chemically treated tissue intended for eyeglasses. They may damage the lens. Do not apply the lens cleaner directly to a lens, since it may seep between the lens elements. First apply a drop or to of lens cleaner to a sheet of lens cleaning tissue and use the moistened tissue to gently clean the lens.
Clean both the front and back of the lens if the back of the lens is accessible through the inside of the camera. The 'filmic' argument doesn't exist outside internet comments. Have anyone ever heard people arguing over filmic and digital outside of the internet? I never have. Actually there are. Too bad the audience doesn't care what its shot on.
He bashed Alexa footage right to the face of a professional Colorist, who rolled his eyes, thinking, "Who is this elitist clown They are not outside here, out here where regular folk watch movies.
Out here you'll never hear it. We have much more important things filling our time, things that mean something. Most people "hanging on so much to film" know that most people don't care about it. That's because most people aren't making movies. They also don't care if the filmmaker used tungsten or fluorescent or led, or a Sony, Panasonic, Canon, or a Nikon for their low-budget short.
These are debates for specialists in a discipline. Of course people outside don't care. You know why doing a short film in Super 8 would appeal to someone today when digital is clearly a better, cheaper, and more flexible medium?
Because it is a creative challenge and filmmakers are artists and some of us have always had the benefit of digital and didn't have to "suffer" through low-fi, sync sound filmmaking that forced you to change storage every two minutes and cost a bunch of money. Maybe trying something like that is enough? Like, while some of us work in production companies, we still like the joy that comes with creating something new with a new, limited tool?
If we got rid of everything that didn't matter to "regular" people, we wouldn't have anything left. I really liked the music video very much. It wouldn't have worked at all if it was shot on digital. It really suits my aesthetic. Here's a film I made with just one roll.
Shooting with super 8 is great for practicing how you shoot a film. The limited amount you can record can help keep your shot ratios down in other productions because your now forced to plan and think about each shot diffently in your film. Is there any way I can process super 8mm by myself? There are no labs that develop these in my country.
Nice video Alex I've heard of people developing rolls in their bathtub because it gives the film a different kind of look. Like bleach bypass or other kind of processing. You just have to make sure it's darkroom dark. Great article - I bought a super 8 camera to play around with the other day so this was really useful. Alex, would you say that 8mm is a cheap er way of learning to expose for bigger formats, like 16mm?
I've had a couple of projects that I really thought 16mm would have been a great look for, but I didn't go for it because of my lack of experience with the format. Seemed like an irresponsible use of client's budget.
Super 8mm ideally suited for experimenting. Find a camera that has a fully manually iris like the canon xl s and try exposing based on a light meter.
Thank you Alex for bringing awareness to the craft of super8 filmmaking. Skip to main content. No Film School.
By Oakley Anderson-Moore. October 21, Get Film Thankfully, super 8mm film is still manufactured and readily available. Note that each 50ft roll of film will last approximately 3 minutes of shooting. A silent almost unnoticed breakthrough has happened in the play-back arena. It used to be that only computers were able The fourth reel from the left is quite an odd sight to see.
That's because it's a leader of This image above shows the difference between two different types of 16mm film perforation holes. That reel became a 50 foot reel! Recently, we were given a tremendous gift! A customer, Rob C. I agree. FREE return shipping! Phone: Our Posts.
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