Posts Tagged With: 64T

Pro8mm to launch weekly podcast: The Home Movie Legacy Project

 

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December 20, 2012

FOR IMMEDIATE RELEASE:

Pro8mm of Burbank, CA launches a weekly pod cast commencing January 9, 2013 that compliments their new division, Home Movie Legacy, www.homemovielegacy.com

 

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The Home Movie Legacy Project will air live on Wednesdays at 4PM Pacific Time (7EST) with your host, Rhonda Vigeant (author of GET “REEL” ABOUT YOUR HOME MOVIE LEGACY…Before It’s too Late!) If you are the family historian passionate about preserving and sharing family films, a filmmaker wanting to use legacy or found footage in a documentary, a wedding or life-style filmmaker wanting to include super 8 film in your work, a production manager looking to incorporate Super 8 film in a current project, a genealogy buff, memory keeper, or archivist, this show is for you!

http://rockstarradionetwork.com/shows/thehomemovielegacyproject

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Rhonda will draw upon her many years of running Pro8mm, a company known worldwide as being the Super 8 experts for production and legacy footage for over 4 decades. Pro8mm has developed proprietary technology for the entertainment industry to use Super 8 film in today’s most popular television shows (American Idol, The New Normal, The Neighbors, American Horror Story), theatrical releases (Argo, Super 8, The Fighter) and dozens of music videos, commercials for national brands and Independent Films.  They have worked on thousands of super 8 and 16mm projects for the entertainment industry, and have handled millions of feet of film to archive the legacies of the world’s most famous faces. They have digitized historical material for hundreds of documentaries, as well as Presidential Libraries, and Museums.

Some shows will focus on compelling interviews with people who are sharing their personal story using home movies from the past and the present, sharing what was discovered, what was challenged or what was confirmed. Other shows will feature technical content with guest speakers that will teach you how to best move your analog media into your digital life, including how to organize it, repurpose it, share it on social media, or monetize it for a wider audience.  A filmmaker forum segment featuring Phil Vigeant, President of Pro8mm, and author of The Power of Super8 Film: Insider Secrets Every Filmmaker Should Know, (Rhonda’s business partner, husband and tech guru) will be routinely included to help you learn what the entertainment industry does with their digital assets, tips on how to become head of your own personal studio, and why filmmakers can and should continue to shoot on film in a digital world. Home Movie Legacy isn’t just about grandpa’s old home movies. The term is all-inclusive and casts a wide net on the past, present and future independent filmmaking.

Rhonda is completely passionate about the value of legacy home movies in particular, and educating people how to best care for and share them.

“Everyone has a legacy and Home Movies are a living, recorded history of our lives, our family, our community, relationships, celebrations, the way we looked, dressed, and interacted. If a picture is worth a thousand words than a home movie must be worth a million. No where else can we rekindle those moments of times gone by or see ourselves interacting with our loved ones who have passed away. It jolts the memory with such a strong emotion in a way that nothing else can. My life’s work has been dedicated to the belief that not only is it important to see these images, but it is equally as important to preserve them with integrity for future generations so your family legacy on film lives! My show will be a call to action to GET “REEL” ABOUT YOUR HOME MOVIE LEGACY…. BEFORE It’s TOO LATE!”, while enjoying stories about the masses and the moguls who launched their careers by shooting home movies on film and continue to make it a vital part of their professional work today”.

Check Our Calendar http://www.homemovielegacy.com/calendar/ to view upcoming guests!

If you would like to be considered to be a guest on the show, email me, Rhonda@homemovielegacy.com

 

 

 

                 2805 West Magnolia Blvd, Burbank, CA 91505

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8 Tips For Shooting Modern Super 8 #5 Airport X-ray

#5  Airport X-ray

fogged film

(sample of 16mm Kodak Vision 320T Color Neg exposed to INVISION CTX-5500 baggage scanner)

Since 911, nothing has caused more grief to the use of film than airport X-ray. This is a great tragedy for film because with a little knowledge it is easily avoidable, and does not have to be the hassle it has become.   For 8 years now, I have taken 500 ASA film on every trip I have  taken.  I always run my film through the walk through X-ray without any special consideration.  I keep it in the original packaging, and I just put the film on the conveyor and let it go through.  That’s right!   If they want to rescan it, I tell them go for it.  On one trip, I clocked 10 scannings of my film.  I have never had a single frame with X-ray damage.  The X-rays do not build up on your film,  although you could, like the example above multiple x-ray hits if you put your film in your luggage.  The X-ray system  in the walk through are nowhere near as powerful as the luggage X-ray system.

What I never do is put my film in my luggage.    The CTX-5000 x-ray machines that are used to check baggage at most commercial aiports is a very powerful device that can fog film.  Not only is it much more powerful than  the machines at airport security check in areas, it may scan a bag several times from several different angles.  This WILL adversely affect your film whether it has been shot on not.   I have asked every customer that I have seen with X-ray damage to his or her film the same question.  Did they put their film through the luggage x-ray?   Without exception every filmmaker with an x-ray problem at one time or another put their film in their luggage.  So it is a simple  matter of carrying your film on the plane and not putting it in checked luggage.  To this point, do not use X-ray bags or lead lined bags and think that your film is safe in your luggage.  All the airport people do is turn up the  intensity of the  X-ray system to identify what is inside.

X-Ray damaged film is easy to diagnose because it has a very distinct stroking of just the blacks in the film.  It does not matter if the film was exposed when it was hit or not exposed. It does not even matter  what the ASA is,  as I have seen fogging even on Plus X black & white 100 ASA.

Because of the danger of x-ray, it is not a good idea to buy super 8 film from questionable sources.  In the film industry there is a lot of film that is resold because it was not used on a production.   This film, commonly called Recan in 16 and 35mm .  When handled by reputable companies, it  can be easily tested and then resold with full integrity.    With Super 8 film there is no way to do this type of testing.  Therefore, if you buy your super 8 from a short ends reseller you are taking a big risk because they cannot test it.  (c) Pro8mm ™ Phil Vigeant, 2009

Did you know that Pro8mm sends you a DO NOT X-RAY sticker when you buy film from us so you can stick it on the outside of the package when you send the film back in for processing?  Private carriers such as Fed-ex and UPS  use there own planes and do not X-ray there packages but it doesn’t hurt to use DO NOT X-RAY stickers .   In remote locations  sometimes these carrier will use commercial airplanes to fly there freight, in which case  your package could be X-Rayed. Check with the carrier and clearly mark the package – Rhonda    www.pro8mm.com

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* 8 Tips For Shooting Modern Super 8 #3 Exposure

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#3   Correct Exposure:

Having the correct exposure is one of the most critical aspects of getting the best-looking super8 pictures. There are books written on this subject where you can learn the nuances of lighting and exposure reading.   The fundamental issue for super8 filmmakers today is that too many filmmakers are relying on their aging super8 cameras internal exposure system to make this critical setting.  Some of these systems were not even that good when they where new,  let alone 30 to 40 years down the road.  Photography is after all, painting with light.   To get your best results, you have to learn about light, how it relates to different film stocks, and how to choose the best exposure setting.  My super8 images improved dramatically when I bought an inexpensive light meter (About $75.00)  started taking some readings and doing some experimentation.  I found that even the factory settings prescribed by the manufacture of both the film and cameras were not always optimum to make the best-looking Super8 pictures.  So many factors affect your exposure.  Did you know that your best exposure would be different based on if you are in wide or telephoto on your zoom?  For your camera’s internal system to work, it has to be able to recognize the notch system in the super8 cartridge and be calibrated for it to work well.  The ASA notches were designed to cover a wide range of ASA original films from 40 to 640 ASA measure in 2/3 stop increments.  Some Super8 cameras can only recognize a single setting where others can read all six notches.    None of this means much if the system has not been calibrated in 15 years.  Once you own a light meter it is possible the do some comparisons if only to understand how your system is working. I use my cameras internal system all the time but I always have my light meter to check and compare settings. (c) Pro8mm ™, Phil Vigeant 2009

• You might be interested to know that at Pro8mm , one of the things we do when we rebuild cameras  such as the Canon 1014 XLS and Canon 814 to become modern filming tools is that we calibrate the exposure system.  We  notch the cartridges of the film we load to correspond with the closest ASA’s the camera system can accommodate .  Below is an excerpt from our  Max 8 (Canon) 1014 XLS manual, which is available on our website at http://www.pro8mm.com.

a. Advanced Exposure Calibration for Modern Super 8

The Advanced Exposure Calibration System in the Max8 1014 provides accurate film exposures for all modern film stocks that range from 50-500 ASA. Most super 8 cameras were designed and calibrated to make their best pictures using Kodachrome film. With the discontinuance of Kodachrome 40, it is time to establish new standards and calibrate cameras to the modern film stocks now widely used. In our test of eight Canon 1014’s we purchased used, the average internal exposure was off by an average of 2 Stops.  The new Pro8mm notch system is designed to provide accurate film exposures over a range of five ASA designations. Calibrated in 2/3 F stop increments, this system can tell a properly calibrated camera the best way to expose all Super 8 film stocks. Super 8 cameras that can be  calibrated to register this range of film will produce superior image to those that can not.

• b. Pro8mm Advanced Cartridge Notching for Super 8

.8 Notch (40 ASA) Used for Pro8/01 50D (Old K40 Notch)

.7 Notch (64 ASA) Used for Pro8/22T and Super8/80T

.6 Notch (100 ASA) Pro8/12, Pro/85

.5 Notch (160 ASA) Pro8/43, Pro8/17

.4 Notch (250 ASA) Pro8/05, Pro8/53, Pro8/63

.3 Notch (400 ASA) Pro8/92, Pro/73, Pro8/18,Pro8/47 (Used for 500 ASA Film)

The advanced super 8 cartridge notching is designed to provide accurate film exposures with modern super 8 film that ranges from 50 to 500 ASA.  (c) Pro8mm 2009   www.pro8mm.com

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Pro8mm Now Blogging on WordPress

When I started blogging about my company Pro8mm last year, I expected that people would be interested in reading what I had to say.  Curent informnation about Super 8 is somewhat scarce.   There does not seem to be many people  or companeis with the experience of  Pro8mm   offering up fresh information about Super 8 film, processing, cameras, or scanning to HD in native 1080.  Much of what I read in chatrooms and forums is incorrect, or atleast  partially incorrect.   I find that the  whole chatroom thing on www.Filmshooting.com   and  www.Cinematography.com  with Super8 threads seem to be more of a battle of the self-appointed authorities than up to date  and current information that filmmakers can actually use.   I know all about my competitors products and services,  what they say they do (but often do not) , what kind of equipment hey have, and what they say about Pro8mm to position themselves as the better vendor.   So, we have opted to bow out, because we just have too much integrity to play that game, and  much to the dismay of some of our good friends and supporters who say we should “defend ourselves” .    We feel that Giles Perkins, who started www.onsuper8.org   5 years ago, is on the right track, and does a FANTASTIC job of of getting really good info out to those who need it .  If more poeple blogging about Super 8 would follow his lead, all filmmakers would be better off.  In the end, that is who is hurt by half  truths, posturing, etc. 

I looked at Amazon.com today and found out that their has not been a book written about Super 8 Film making  for sale to the general public since 1981.  While we do have another blog, (www.pro8mm-burbank.blogspot.com) , I just do not have much of a readership.  Maybe it is because I could not get  Pro8mm (it was taken).  Anyway, I am going to renew my commitment to a daily blog.  As inventors of Super 8 negative film and Max 8, a 16 x 9 widescreen format, we are really excited to share with the next generation of filmmakers the success stories of the thousands of  projects that have been shot on Super 8 film through Pro8mm.  We hope these will inspire you you pick up a super 8 camera, some super 8 film and start shooting.  If you have not already done so, check us out at www.pro8mm.com .  Tomorrow look for my 8 Tips for Shooting Modern Super 8.

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