Getting tired of the polythene wrapper look of digital yet? Well, Kodak is working on giving filmmakers more image-creating options by making film more functional and easier to use.
Recently, Kodak announced plans to offer newly-designed Super 8 cameras with “digital features” along with a host of post-production services and tools. Details are preliminary and limited, but it looks to be a complete shooting and processing solution, including built-in sound recording, crystal sync at all camera speed, film prints for projection, and 4K digital transfers.
Yes, shooting your movie with your DLSR will still be less expensive than Super 8 film, but then what do you really want… “plastic wrapped” see-it-all-the-time digital or beautiful long-lasting film?
The first project of the FILMMAKING 101 course will begin on September 1, 2011.
The project will be a conceptual film based on the theme of shadows. Shadows are an important element as to how we see objects. They add form and shape and relief to our images. Since film images are largely 2-D, filmmakers rely on shadows to help separate objects and create a sense of depth to their pictures. Shadows are also used to build drama and mystery in films. Sometimes the images themselves are in their own shadow or are party concealed by shadow.
This project will serve two purposes:
1) to encourage discovery.
2) to demonstrate film’s unique shadow characteristics.
Kodak’s 7213 200T Vision3 negative film stock will be used for the project.
“The One That Got Away” is a short Super 8 film that was made as part of an Introduction to Filmmaking class at Rochester Institute of Technology.
Super 8 technology was at the time, and still is, mostly a non-sync media, mainly because the cameras do not record audio nor do they run at a constant “sync” speed. This makes it difficult to use Super 8 to make films with dialog or if fact, any films requiring sync audio. Story had to be told visually, which in itself is a valuable skill for every filmmaker to learn. When “The One That Got Away” was first screened, the mixed sound track (music and effects) was played back separately using a 1/4″ reel-reel tape deck. Syncing picture and sound together was hit or miss, +/- a half a second or so.
Here is the fight scene from the film:
Super 8mm is the smallest size of all the current film formats. Before video editing, this medium was used by universities and colleges to teach film production. Students would shoot their projects on either a color (Ektachrome or Kodachrome) or B&W (Plus-X or Tri-X) reversal film stock and then edit the camera footage using a film viewer, rewinds and a tape splicer. Well fortunately for the sake of quality and having more editing capabilities, those days are gone. Now the super 8 footage can be transferred to a tape format or a digital file for editing. The camera original is therefore protected from the risk being scratched and or broken, which commonly occurred with super 8 film editing.
Super 8mm will be the film format that will be used for all projects in the FILMMAKING 101 course. For color work VISION3 200T negative film stock will be used. For the B&W projects, Tri-X reversal stock is the only B&W stock still available for Super 8. The film footage will be processed and transferred to a digital file for editing.
Here’s a screen shot from a film shot on Ektachrome 30 years ago: