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Posted by Simon McConway (Member # 219) on June 17, 2006, 10:32 AM:
 
I have just had a processed 64T back from Dwayne's Photo. Everything is fine with spot-on exposure from a Canon 1014. A tiny bit more grain, but this isn't a problem, especially if the scenes being filmed are bright. I have also had success exposing the same film on a Canon 814, Bell & Howell 2146XL, and Canon 310XL. The only difference with these cameras was that the last one seemed to increase the grain on the film. All were exposed perfectly.
 

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Posted by Jan Bister (Member # 332) on June 17, 2006, 11:07 AM:
 
Cool. I too got my first 64T film back from Dwayne's a few days ago, and although I haven't actually screened it yet (I'm about to, though) I unrolled the first few feet and they looked pretty good to the naked eye (no apparent overexposure).

Time to show it to all those naysayers who keep bashing 64T.
 

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Posted by John Cook (Member # 203) on June 17, 2006, 08:22 PM:
 
I picked up an 85B filter off EBAY the other day for $2.00 American, the shipping at $3.00 cost more than the lens.

Received it in the mail today, wife told me over the phone it looks clear and that the markings on the lens Tiffen 67mm 85B are what I was expecting.

Time to hunt down a couple carts of 64T for myself and give it a go.

Have either of you screened your 64t films yet? How did they turn out? The only reason I shoot S8 is to project and until Kodak gets around to releasing 100D the E64T emulsion will have to do. My supply of K40 is dwindling quick.
 

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Posted by Jan Bister (Member # 332) on June 18, 2006, 12:21 PM:
 
Here's a post I made yesterday on the filmshooting forum:

quote:

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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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quote:

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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
 

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Posted by Jan Bister (Member # 332) on June 23, 2006, 06:04 PM:
 
Joerg,

interesting comments including the possible uses of grain as an intended effect. As for my camera, that's a Bauer Royal 8E makro... definitely not able to read 64T correctly, yet my film came out just fine. I do suspect that people simply make the overexposure out to be much more horrible than it actually is.
Will definitely give Velvia 50D a try as well, though... then decide which stock I'm going to stick with (taking pricing into account as well).
 

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Posted by James N. Savage 3 (Member # 83) on June 24, 2006, 02:21 PM:
 
I notice that a lot of Hollywood movies are using grainy film for effect. I'm not sure if its super 8 though.

For instance, the movie "Man on Fire" with Denzel Washington uses high-grain film quite a few scenes. I guess it all depends on the look you are going for as a film maker. I like it some times, but not all the time.

Nick.
 

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Posted by Jan Bister (Member # 332) on June 24, 2006, 03:03 PM:
 
Simply put, it can be a ... um... an effective effect, until it's overused. Which can happen rather quickly.
 

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Posted by Mark Norton (Member # 165) on June 26, 2006, 06:18 AM:
 
Just got back a reel of 64T, very nicely processed by the Super8 Reversal Lab in the Netherlands, about 10 day turn-around.
Shot it in my Eumig Nautica on an overcast day. Noticable much higher grain than K40, especially when projected on to a big screen. Nice strong colour and overexposure hasn't caused a problem, infact I'd say the film has benifited filming under the overcast conditions of the day.
Cineva has just gone off in the post, so I will have a comparison soon.
 

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