Honestly some of the best quality super 8 I've ever seen, probably because of how great the scanning was, it looks almost like it could easily be cut in with some 16mm. Well done!
Thanks Dawson! I'm actually going to do an episode comparing some exposure whoas I've had. I agree that the scan is crucial! I have to say though, exposure and camera come in to play big time. I went on a trip with my wife a couple years ago to Seattle, took some 200T along and let the camera decide the exposure as I didn't want the light meter to get in my way (it was our 10 year anniversary). I got the scans back and they were super grainy! Probably a stop or two underexposed by the camera - I wasn't even mad, just learned a valuable lesson. I took the same stock on that family trip in this video and metered every thing and overexposed 1.5 stops - WOW! All the difference in the world. Same exact scanner and technician. Coming soon my friend! Thanks for watching!
Midwest Film Co right! It's interesting how film quality is progressing as scanning technology improves. Not sure if you have seen any 16mm films like Jackie or The wrestler, both are Darren Arnofsky Films and his latest produced film Mother! Was also shot with the same super16mm format however it almost looks like 35mm because of how amazing scanning technology has progressed over the years. Obviously the improvements are thanks to digital advancements. PS also you mentioned overexposing the film 1.5 stops, did you have the film pulled in processing or are the images were looking at actually 1.5 stops overexposed?
Dawson Boyle For sure. The most amazing part of that is how amazing film holds up to the HDR scans. There’s so much latitude in the film that you have to change the way you expose. Just shot a 35mm music video and I saw things in the scan I was intentionally blowing out 😳 Also, the Vision 3 stocks are engineered for DI. The grain structure is very tight! This certainly helps with the smaller formats. Elswitt shot a film on S16 “Call Me When You Find Work”, trailers out there. It straight up looks like 35mm. Crazy!
I've always wanted a 1014XL-S, and even moreso since my trusty 514XL-S died from broken teeth on the shutter gear, (my original one succumbed to a bad case of lens fungus). The 514XL-S's are abundant on eBay, and now I know how to dissasemble them to re-lubricate the dried grease and to clean contacts, (hint: It's a real pain...) I also have the PS-1000 projectors. Canon was at the top of their game in the eighties, and it's amazing that the electronic components operate like new almost 40 years later, and almost every screw in these things have a dab of shellac to keep screws in place, and in adjustment. (I wonder who had that boring job?). I think Canon should follow up like Kodak and make a brand new Super 8 camera to rival the XL-S line...
Thank you for the video, now I have the idea what I must do next, because I wrote a screenplay where there is some part or the scene that I really wanted to shoot it with Super 8 film.
Great stuff Justin! Great to hear you are still using my buddy Perry at Gamma Ray Digital! Another vote here that it gets no better than the LaserGraphics scanners and Gamma Ray Digital!
Oh man. When it comes to 8mm it's super hard to beat!!! I've grown very fond of the ARRIscan when it comes to 16 & 35 but the registration of the ScanStation only gets better as the format gets larger. The perfs on 16mm are rock solid and I'd imagine 35 is the same (never had him scan 35mm as it's usually for a project that the production company has that scheduled). I'm definitely going to have him scan some 35mm for this show though. One can dream that he'd discount it for marketing :)
@@MidwestFilmCo there is also MetroPost in NYC. Jack Rizzo over there is almost done with his new film lab so you can do it all in one place. He has a ScanStation AND a Director. The LaserGraphics Director is as good as it get's for 16 and 35mm. The price is higher since the machine is more $$ and the process is far slower (frame/by/frame pin registration with RGB LED lights on a monochrome sensor... HDR is 6 flashes per frame...) . But the result is amazing.
I saw Jack was setting up a lab... that's awesome for all of us!!! Stoked to send him some work. Also, I'd put the ARRIscan up against anything on the market for 16 & 35... it's amazing!!!
I'm excited! just found this channel hope you guys keep it up! I shot some Kodak plus x 7265 on a Minolta xl500 I think? I only did one roll haven't got it developed yet but will eventually.
Perry is a super great dude! Honestly, if I thought I could join the scanning game and make the monthly payments on a ScanStation it would be the one I'd go with. I've had a bunch of film scanned on it, from 8 - 35, & it all looks amazing. Registration is super solid too. Congrats on owning on! Hit up @Lifetime Heritage Films for some scans y'all!
Here in Ontario at Niagara Custom Lab in Toronto, you can buy the film and get it processed and transferred or 86 a roll, giving you a total film budget of 430 plus shipping. I'm 4 hours away from Toronto, so it wouldn't be out of the question to deliver it and pick it up, especially if I was shooting there. They offer 2K at 102 per cart.
Yeah, i did the Budget Calculation a while ago too and realized the costs don't differ all that much if i'd shoot on Super 8 or 16mm. Finding labs who develop 16mm is even simpler and the image stability is better too because of the pressure plate. And literally all the filmtypes exist for 16mm as well. There's really nothing that makes me wanna go to Super 8 anymore since Kodak made it quite un-appealing. Especially with their Bullshit promises for Super 8 over the last few years, including that overpriced vaporware camera. Not even a single word anymore regarding the Film Buying, developing & scanning eco-system they announced. I'm just soooooo over it.
I agree with the pricing for sure. You can shoot 16 for the price of 8, or get really close. I will say though, I've always taken 8 carts of 8 and my Canon 1014 on family vacations - I always end up shooting all of the film and wish I had just a tad more. This last vacation I took the Bolex and shot 2 of 8 rolls I took along. It's more cumbersome to carry around, it requires loading, and you have to wind it... none of these things are a big deal until you're trying to enjoy yourself while on vacation. So, there's a market for Super 8 for sure. I know in this video we talk about using if for a commercial use which I still think is a great use if Super 8 is the look you wanna get. I have no idea if Kodak will ever release that new camera, I'm guessing no at this point. There are some great things happening in the S8 world though, including a small processor for ECN2 that's in the realm of affordable. Hope to get our hands on one soon! Thanks for watching!
Lovely series. Bet prices had upped by a lot since then (+No need to pack an HDD for dumping the scans on).... P.S- What camera did you guys use to create this video? Looks like some kind of Canon C200 or something...
Prices continue to rise due to dev costs going up. Scanning is pretty stable although I use a different workflow today, making it cheaper yet. If you shoot a couple rolls we would just upload the scans, if it gets much larger than 100G I’d rather have a drive of some sort to drop it on. This video was shot on an EpicMX.
@@MidwestFilmCo Oh, damn you used a RED for this series? Nice! I still can't find an affordable cinema camera that my eyes like the footage coming out of it. All of the newer types like Canon R5C, C70, BMPCC 6K, I don't feel like they look cinematic. They produce more documentary-looking footage. Too sharp. Motion cadence doesn't feel cinematic. So, for around a similar daily rental price for these cameras - you can shoot a Super8 instead (if the job fits it), and you prevent unneeded hassle. Almost same cost as a digital rental. Yes, some color work is needed, but less troublesome that messing with RAW footage from a Super8. I find that with digital there's more hassle matching colors between scenes and different angles. No easy way to bypass it (unless you shoot a color chart between each angle/scene and utilize that in post. P.S- If you'd have to send yout Super8 film to a single lab, where they would process+scan it altogether- which lab would you recommend sending to? (Costs are too high to start sending for one lab to process, and another to scan).
@@eladbari Colorlab or Cinelab, those are the labs I'd send to keep everything in house. I essentially started scanning film for people because the communication and transparency from most labs is terrible. You never know where your film is in the process and that just didn't make sense to me. There are more and more lab/post houses popping up every year! Keep googling!
@@MidwestFilmCo Thanks for sharing! 1. Never head of ColorLab. Cinelab I heard of, but also a rumor claimed that they process a lot of film for students who study film, therefore their turnover times are delayed by a lot. Wonder if your heard of that as well... 2. Could you please share which file formal do you supply your scanning clients with? What bit depth is it? And for people who choose shooting @ 18fps - do you supply an 18fps file? Or a 24fps which contains duplicate frames? (p s- guess it's also all progressive. Not interlaced).
I really want to shoot a 30 minute short on Tri-X reversal and I'd like to do a full feature on super 8 in general. Hopefully we will be able to carry Super 8 at Moler's soon! Since you're in the area I'm surprised I don't recognize you.
I'm old ;) I have all the film cameras I need and I shoot mostly ECN film for stills and self process. I used to frequent Moler's all the time - had many conversations about bringing in Super 8 film in the past with no luck. It would be amazing to have a local shop to cruise by and pick up film even if the prices would be far more than I pay currently... the convenience would be amazing! Thanks for the comment. Great to see others are shooting small format film in the area!!!
Not a bad topic to hit... Yes & No. I asked for an "overscan" of the film so I have the entire image. You can absolutely get the scan "cropped" to the image without the perf and previous and next frames. Alternately, the file comes as ProRes, you can just scale the entire file to fit 4:3 or whatever aspect ratio you want and go from there. I'll definitely touch on this subject in the post video for this mini series. Thanks for bringing it up!!!
You made a mistake, you calculated for 8mm when you are shooting Super 8, which would come to 12 minutes and 30 seconds of film, at 12 fps. I did that in my head, but if you check the film calculator, it will give the same time.
@@MidwestFilmCo Friend I have just bought a Canon 814xl-s an obista told me that the biggest curse on the market are faulty the shutter coupling gears and claw break .. How much is it true?
@@antoniosgambelluri35 I don't have any experience with the 814xl-s but the build quality is identical to the 1014xl-s. The lens is maybe a little less wide, I think but the camera is rock solid I'm sure. The 514xl-s had a plastic gear in it - they break - I know from experience. The 814xl-s I'm sure is metal as it's more of a PRO S8 camera.
I wish I had an opinion! I've never shot with the R10. I'm a sucker for the Canon 1014xls - it's all I have anymore as far as Super 8 goes. Maybe someone will jump in and answer your question.
@@MidwestFilmCo Nevertheless, thank you so much for taking the time to reply back! Bit the bullet and got a mint Nikon R10 on Ebay haha, im currently in the Philippines and we don't have any Super 8 labs here so i'm going to be developing at home with a cpp 3 most probably... thanks again!
Oh my! Marketing S-8 in 2020? I made my first film test back in 1968, and have since made a lot of S-8-movies until 1995 (you find some of them on RUclips, "Sverre Årnes". I have filmed in 16mm, even in 35mm. And allow me to tell: Today I would not touch S-8 even if I got paid! It is unsharp, hard to handle, needs plenty of light, gathers dust and fingerprints. Video in DV-quality is better than even 16mm, and ten times better and hundred times cheaper. Not to mention: Syncronized sound! Ah, you want it to look old fashioned: You can but excellent video filters that can fool even an experienced pro.
Hey! Thanks for the detailed comment! I totally hear you. I have some "older" gentleman around here that think us modern day "film"makers are crazy! First things first - We don't handle the film - we have it scanned to digital. Second - you don't need anymore light than you do with 16 or 35 as they make all of the negative stocks in Super 8. Third - digital doesn't feel like you're "making" anything. The beauty of film far surpasses the tiny (or large) film frames you're shooting. The process is different. The way you choose your shots is different. When you actually pull the trigger it's calculated due to hard cost. That's just for Super 8. Now, I DP larger shoots with 16mm & 35mm... I LOVE the way the crew works for the shot when shooting film. It goes back to the feeling of actually making something. You have to be planned and ready. Digital... "eh, shoot it another 10 times, we'll find it in post... that's not really filmmaking in my opinion. This isn't even a film vs. digital channel by any stretch... I bill plenty of days a year shooting digital (heck, we shoot this show on a $30,000 digital camera) - this channel is about teaching others that film is an option, and to shoot it is a different experience all together. Justin
Sure, you could shoot 100 min on an iPhone for free... it's what you choose to do with that time. People often get wrapped up in the cost of film. The people who are concerned about costs don't have a plan, a story... they want to shoot endlessly and create it in post. Once you've locked down your creative, buying film and planning for the cost isn't an issue. Or, you could rent an Alexa with lenses for $2000/day. Either way, the plan has to be in place. Thanks for the comment!
Despite the HD and 4K, many still love the Super 8 despite the price and no filters can 100% simulate the film
It's the experience of shooting Super 8 that makes it so great. It's far more of an experience than shooting with a phone!
Honestly some of the best quality super 8 I've ever seen, probably because of how great the scanning was, it looks almost like it could easily be cut in with some 16mm. Well done!
Thanks Dawson! I'm actually going to do an episode comparing some exposure whoas I've had. I agree that the scan is crucial! I have to say though, exposure and camera come in to play big time. I went on a trip with my wife a couple years ago to Seattle, took some 200T along and let the camera decide the exposure as I didn't want the light meter to get in my way (it was our 10 year anniversary). I got the scans back and they were super grainy! Probably a stop or two underexposed by the camera - I wasn't even mad, just learned a valuable lesson. I took the same stock on that family trip in this video and metered every thing and overexposed 1.5 stops - WOW! All the difference in the world. Same exact scanner and technician. Coming soon my friend! Thanks for watching!
Midwest Film Co right! It's interesting how film quality is progressing as scanning technology improves. Not sure if you have seen any 16mm films like Jackie or The wrestler, both are Darren Arnofsky Films and his latest produced film Mother! Was also shot with the same super16mm format however it almost looks like 35mm because of how amazing scanning technology has progressed over the years. Obviously the improvements are thanks to digital advancements. PS also you mentioned overexposing the film 1.5 stops, did you have the film pulled in processing or are the images were looking at actually 1.5 stops overexposed?
Dawson Boyle For sure. The most amazing part of that is how amazing film holds up to the HDR scans. There’s so much latitude in the film that you have to change the way you expose. Just shot a 35mm music video and I saw things in the scan I was intentionally blowing out 😳 Also, the Vision 3 stocks are engineered for DI. The grain structure is very tight! This certainly helps with the smaller formats. Elswitt shot a film on S16 “Call Me When You Find Work”, trailers out there. It straight up looks like 35mm. Crazy!
Midwest Film Co Amazing I'll check it out!
Another great video! Excited for the next episode and more! Awesome shirt, btw! ☺️
Saladfork Thanks my guy!!! Oh yeah. Nothing quite like a Panavision shoot!
I've always wanted a 1014XL-S, and even moreso since my trusty 514XL-S died from broken teeth on the shutter gear, (my original one succumbed to a bad case of lens fungus). The 514XL-S's are abundant on eBay, and now I know how to dissasemble them to re-lubricate the dried grease and to clean contacts, (hint: It's a real pain...) I also have the PS-1000 projectors. Canon was at the top of their game in the eighties, and it's amazing that the electronic components operate like new almost 40 years later, and almost every screw in these things have a dab of shellac to keep screws in place, and in adjustment. (I wonder who had that boring job?). I think Canon should follow up like Kodak and make a brand new Super 8 camera to rival the XL-S line...
Would love to see more of this series! Cheers!
Working on it! Been busy shooting over the summer. Stuff is slowing down. Gonna be back at it in no time.
Thank you for the video, now I have the idea what I must do next, because I wrote a screenplay where there is some part or the scene that I really wanted to shoot it with Super 8 film.
Great stuff Justin! Great to hear you are still using my buddy Perry at Gamma Ray Digital! Another vote here that it gets no better than the LaserGraphics scanners and Gamma Ray Digital!
Oh man. When it comes to 8mm it's super hard to beat!!! I've grown very fond of the ARRIscan when it comes to 16 & 35 but the registration of the ScanStation only gets better as the format gets larger. The perfs on 16mm are rock solid and I'd imagine 35 is the same (never had him scan 35mm as it's usually for a project that the production company has that scheduled). I'm definitely going to have him scan some 35mm for this show though. One can dream that he'd discount it for marketing :)
@@MidwestFilmCo there is also MetroPost in NYC. Jack Rizzo over there is almost done with his new film lab so you can do it all in one place. He has a ScanStation AND a Director. The LaserGraphics Director is as good as it get's for 16 and 35mm. The price is higher since the machine is more $$ and the process is far slower (frame/by/frame pin registration with RGB LED lights on a monochrome sensor... HDR is 6 flashes per frame...) . But the result is amazing.
I saw Jack was setting up a lab... that's awesome for all of us!!! Stoked to send him some work. Also, I'd put the ARRIscan up against anything on the market for 16 & 35... it's amazing!!!
I'm excited! just found this channel hope you guys keep it up! I shot some Kodak plus x 7265 on a Minolta xl500 I think? I only did one roll haven't got it developed yet but will eventually.
Perry at Gamma Ray ...great guy for scanning film. For those in the Northwest and Canada, we also use the LaserGraphics scanner with stunning results.
Perry is a super great dude! Honestly, if I thought I could join the scanning game and make the monthly payments on a ScanStation it would be the one I'd go with. I've had a bunch of film scanned on it, from 8 - 35, & it all looks amazing. Registration is super solid too. Congrats on owning on! Hit up @Lifetime Heritage Films for some scans y'all!
How much is this Scanner? 😎
Here in Ontario at Niagara Custom Lab in Toronto, you can buy the film and get it processed and transferred or 86 a roll, giving you a total film budget of 430 plus shipping. I'm 4 hours away from Toronto, so it wouldn't be out of the question to deliver it and pick it up, especially if I was shooting there. They offer 2K at 102 per cart.
Question: why not have Spectra scan the film as well, since they offer that? Is it a price issue?
I shoot with a Canon 1014 XL-S. It's an amazing camera.
It’s one damn fine camera!
That scan was amazing, looks like 16mm the grain looks so fine, great detail. was that a 10 bit pro res 4k scan?
I believe it was a 10bit 4K scan - I'd have to go back and check to be sure!
250ft in super 8 at 24 fps is 12min and 30 sec using the kodak film calculator because the frames are larger than 8mm.
You're exactly right! Thanks for pointing that out!
Yeah, i did the Budget Calculation a while ago too and realized the costs don't differ all that much if i'd shoot on Super 8 or 16mm. Finding labs who develop 16mm is even simpler and the image stability is better too because of the pressure plate. And literally all the filmtypes exist for 16mm as well. There's really nothing that makes me wanna go to Super 8 anymore since Kodak made it quite un-appealing. Especially with their Bullshit promises for Super 8 over the last few years, including that overpriced vaporware camera. Not even a single word anymore regarding the Film Buying, developing & scanning eco-system they announced. I'm just soooooo over it.
I agree with the pricing for sure. You can shoot 16 for the price of 8, or get really close. I will say though, I've always taken 8 carts of 8 and my Canon 1014 on family vacations - I always end up shooting all of the film and wish I had just a tad more. This last vacation I took the Bolex and shot 2 of 8 rolls I took along. It's more cumbersome to carry around, it requires loading, and you have to wind it... none of these things are a big deal until you're trying to enjoy yourself while on vacation. So, there's a market for Super 8 for sure. I know in this video we talk about using if for a commercial use which I still think is a great use if Super 8 is the look you wanna get. I have no idea if Kodak will ever release that new camera, I'm guessing no at this point. There are some great things happening in the S8 world though, including a small processor for ECN2 that's in the realm of affordable. Hope to get our hands on one soon! Thanks for watching!
more of this please :)
Lovely series. Bet prices had upped by a lot since then (+No need to pack an HDD for dumping the scans on)....
P.S- What camera did you guys use to create this video? Looks like some kind of Canon C200 or something...
Prices continue to rise due to dev costs going up. Scanning is pretty stable although I use a different workflow today, making it cheaper yet. If you shoot a couple rolls we would just upload the scans, if it gets much larger than 100G I’d rather have a drive of some sort to drop it on. This video was shot on an EpicMX.
@@MidwestFilmCo Oh, damn you used a RED for this series? Nice!
I still can't find an affordable cinema camera that my eyes like the footage coming out of it. All of the newer types like Canon R5C, C70, BMPCC 6K, I don't feel like they look cinematic. They produce more documentary-looking footage. Too sharp. Motion cadence doesn't feel cinematic.
So, for around a similar daily rental price for these cameras - you can shoot a Super8 instead (if the job fits it), and you prevent unneeded hassle. Almost same cost as a digital rental. Yes, some color work is needed, but less troublesome that messing with RAW footage from a Super8. I find that with digital there's more hassle matching colors between scenes and different angles. No easy way to bypass it (unless you shoot a color chart between each angle/scene and utilize that in post.
P.S- If you'd have to send yout Super8 film to a single lab, where they would process+scan it altogether- which lab would you recommend sending to? (Costs are too high to start sending for one lab to process, and another to scan).
@@eladbari Colorlab or Cinelab, those are the labs I'd send to keep everything in house. I essentially started scanning film for people because the communication and transparency from most labs is terrible. You never know where your film is in the process and that just didn't make sense to me. There are more and more lab/post houses popping up every year! Keep googling!
@@MidwestFilmCo Thanks for sharing! 1. Never head of ColorLab. Cinelab I heard of, but also a rumor claimed that they process a lot of film for students who study film, therefore their turnover times are delayed by a lot. Wonder if your heard of that as well...
2. Could you please share which file formal do you supply your scanning clients with? What bit depth is it?
And for people who choose shooting @ 18fps - do you supply an 18fps file? Or a 24fps which contains duplicate frames? (p s- guess it's also all progressive. Not interlaced).
I Love this!
Thank you!
I really want to shoot a 30 minute short on Tri-X reversal and I'd like to do a full feature on super 8 in general. Hopefully we will be able to carry Super 8 at Moler's soon! Since you're in the area I'm surprised I don't recognize you.
I'm old ;) I have all the film cameras I need and I shoot mostly ECN film for stills and self process. I used to frequent Moler's all the time - had many conversations about bringing in Super 8 film in the past with no luck. It would be amazing to have a local shop to cruise by and pick up film even if the prices would be far more than I pay currently... the convenience would be amazing! Thanks for the comment. Great to see others are shooting small format film in the area!!!
Also, hit me up! justin at midwestfilmco dot com
Do you have to digitally crop every shot in the scanned footage? How does that work?
Not a bad topic to hit... Yes & No. I asked for an "overscan" of the film so I have the entire image. You can absolutely get the scan "cropped" to the image without the perf and previous and next frames. Alternately, the file comes as ProRes, you can just scale the entire file to fit 4:3 or whatever aspect ratio you want and go from there. I'll definitely touch on this subject in the post video for this mini series. Thanks for bringing it up!!!
@@MidwestFilmCo Makes sense. Thanks for explaining!
When you say "tuned", what exactly do you mean? I recent got a 1014 and would like it to perform as well as it can.
Great info! 👍
Thanks! Appreciate the comment!
You made a mistake, you calculated for 8mm when you are shooting Super 8, which would come to 12 minutes and 30 seconds of film, at 12 fps. I did that in my head, but if you check the film calculator, it will give the same time.
Tim Smyth You’re correct. I used the 8mm not the S8 calculator. 2min 30sec for a 50’ cart shot at 24fps.
hi there - what camera did you shoot the sample video of the beach on ? sorry if you mentioned this !
Gabriella Weathersby Canon 1014xl-s
@@MidwestFilmCo Friend I have just bought a Canon 814xl-s an obista told me that the biggest curse on the market are faulty the shutter coupling gears and claw break .. How much is it true?
@@antoniosgambelluri35 I don't have any experience with the 814xl-s but the build quality is identical to the 1014xl-s. The lens is maybe a little less wide, I think but the camera is rock solid I'm sure. The 514xl-s had a plastic gear in it - they break - I know from experience. The 814xl-s I'm sure is metal as it's more of a PRO S8 camera.
What device do you use to scan super8mm ? I didn't understand Can you write it here please ? Thanks
You'd send it to a lab and they'd do it for you. You're not using a device to do it yourself
Hi! What's your opinion on the Nikon R10?
I wish I had an opinion! I've never shot with the R10. I'm a sucker for the Canon 1014xls - it's all I have anymore as far as Super 8 goes. Maybe someone will jump in and answer your question.
@@MidwestFilmCo Nevertheless, thank you so much for taking the time to reply back! Bit the bullet and got a mint Nikon R10 on Ebay haha, im currently in the Philippines and we don't have any Super 8 labs here so i'm going to be developing at home with a cpp 3 most probably... thanks again!
Super, super 8 ish , super topic.
Ha! The real deal is coming! Needed to breakdown this budget then we'll get to covering shooting on the format. Thanks for watching!
They sell 200T in 8MM?
Eugene Batiste They sure do! Check out Kodak’s website or B&H. The only stock they don’t package is 250D... which is sad.
www.kodak.com/us/en/web/product/index?id=326761500
Oh my! Marketing S-8 in 2020? I made my first film test back in 1968, and have since made a lot of S-8-movies until 1995 (you find some of them on RUclips, "Sverre Årnes". I have filmed in 16mm, even in 35mm. And allow me to tell: Today I would not touch S-8 even if I got paid! It is unsharp, hard to handle, needs plenty of light, gathers dust and fingerprints. Video in DV-quality is better than even 16mm, and ten times better and hundred times cheaper. Not to mention: Syncronized sound!
Ah, you want it to look old fashioned: You can but excellent video filters that can fool even an experienced pro.
Hey! Thanks for the detailed comment! I totally hear you. I have some "older" gentleman around here that think us modern day "film"makers are crazy!
First things first - We don't handle the film - we have it scanned to digital. Second - you don't need anymore light than you do with 16 or 35 as they make all of the negative stocks in Super 8. Third - digital doesn't feel like you're "making" anything. The beauty of film far surpasses the tiny (or large) film frames you're shooting. The process is different. The way you choose your shots is different. When you actually pull the trigger it's calculated due to hard cost. That's just for Super 8.
Now, I DP larger shoots with 16mm & 35mm... I LOVE the way the crew works for the shot when shooting film. It goes back to the feeling of actually making something. You have to be planned and ready. Digital... "eh, shoot it another 10 times, we'll find it in post... that's not really filmmaking in my opinion. This isn't even a film vs. digital channel by any stretch... I bill plenty of days a year shooting digital (heck, we shoot this show on a $30,000 digital camera) - this channel is about teaching others that film is an option, and to shoot it is a different experience all together.
Justin
Sverre Årnes try 500T or 200T you barely need light
500 for 15 min of footage? Garbage
Sure, you could shoot 100 min on an iPhone for free... it's what you choose to do with that time. People often get wrapped up in the cost of film. The people who are concerned about costs don't have a plan, a story... they want to shoot endlessly and create it in post. Once you've locked down your creative, buying film and planning for the cost isn't an issue. Or, you could rent an Alexa with lenses for $2000/day. Either way, the plan has to be in place. Thanks for the comment!