posted June 18, 2006 12:21 PM                    

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Posted: Sat Jun 17, 2006 12:22 pm

I just viewed my first roll of 64T. (3 times in a row, actually.)

I like it. I like it very much.

The grain is the worst aspect of it, but a hobby filmer who isn't too demanding (i.e. requires professional results) can get used to it.

The colors came out great. Both indoors with tungsten lamps and outdoors with the camera's built-in filter. Very natural. I don't think I'll be needing an extra 85B filter. Smile

Biggest surprise: the exposure is spot-on throughout the entire film. Not a hint of overexposure, no too-light scenes, nothing blown out. Either the overexposure isn't nearly as big a deal as people make it out to be, or my camera's lightmeter has actually drifted out of alignment (toward making films darker) and just happens to be 64T-compatible now. Laughing But that's unlikely as it's in mint shape and in fact performs all of its functions flawlessly (I tested each one while shooting this film).

Overall, I like 64T. I wouldn't mind for it to stay around.

It goes to prove that signature of another member on this forum (I forget who it is): "Don't worry so much about the technology, just start filming!" How true this turns out to be. Smile

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posted June 23, 2006 11:15 AM                       

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Biggest surprise: the exposure is spot-on throughout the entire film. Not a hint of overexposure, no too-light scenes, nothing blown out. Either the overexposure isn't nearly as big a deal as people make it out to be, or my camera's lightmeter has actually drifted out of alignment (toward making films darker) and just happens to be 64T-compatible now.

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What camera have you been using? Maybe your camera can handle the 64ASA-notch correctly? If not, it still depends on your camera whether it mistakes the 64ASA for 40ASA or 160ASA.
Nevertheless: I've been to ASA90 some days ago. (ASA90 is a photoshop here in Berlin that sells new films (Cinevia, e64t, ...), used Single8-/Super8-cameras, ... .) I had a chat with the guy behind the counter. And some of his friends have been using the e64t in a Canon-camera that exposes the film as 40ASA, too. They showed him the results - and he was very impressed: Even though everyone would rate the film as overexposed, it differed from other overexposed films: the shadows still have been black, the faces didn't turn into white spots, but remained their skin-tones, ... . Hence the film looked more like shot on a too sunny day than actually overexposed.
So it sounds like this either was also caused by an incorrect lightmeter - or the e64t is very "good natured" when it comes to over-exposure.

To switch topics: Grain:
Normally I don't like grain in my films, too. But there are other "grainy" films, e.g. Kodak's Super8-Tri-X or Foma's Double-Super8-Fomapan. And when you want to combine those films with a colour-reversal one (e.g. for a "past-and-present-film"), the e64t should be perfect.
Not to mention that grain could be a wanted effect for experimental films or music "videos".
You could even use it as a "special effect" in normal movies:
* in a box fight: one of the fighters get hit on the eye -> when the camera is set up to film from his point of view, you're switching to e64t and a soften filter ... and you've got his "blurred vision"
* in a scifi-film: one of the actors looks into a telescope (or something similar) that works with video. You'll simply put a telescope-mask in front of the lens and use the e64t to shoot what the actor sees
* for shooting CGI: the grain would make the CGI look less artificial. (CGI isn't out of scope when shooting Super8: just point your camera onto a bright TFT-display that can do at least 1024*768 pixels - and doing the titles or end credits on a PC is very easy.)

Of course I wouldn't want grain in all other use-cases, too.

Jörg