super 8 and small film news blog onsuper8.org: Widescreen Canon from Pro8mm
Announcing the Canon 1014-XLS MAX 8 Camera Modification: Give your Canon 1014-XLS a giant leap forward by having us convert it to MAX 8, a 16 x 9 widescreen format. This is the second super 8 camera we have introduced with a widened gate (Classic Professional MAX 8 in 2005) so that filmmakers can be HD ready. Widescreen images are essential for remaining competitive in a HD world, and shooting super8 in the modern 16 x 9 aspect ratio allows you to edit your super 8 images with other widescreen formats. The exposed film is then transferred on our custom modified widescreen gate, available on our M2 Scanner or Y Front Ursa Diamond Scanner, giving you 20% more image on the super8 frame.
The Max 8 1014-XLS conversion includes gate modification, the adding of 16 x 9 framing lines to the viewfinder, removing the internal 85 filter which causes image degradation, increasing the take up torque so that the modern, thicker film stocks are less likely to jam, as well as recalibration of the exposure system so that all Pro8mm film stocks will accurately read the exposure from 50-500 ASA. This complete modernization package is available for $995.00. We currently have some MAX8 1014 XLS' in rental only for $300 a day, or $250 with any all inclusive film package.
Thursday, May 22, 2008
super 8 and small film news blog | onsuper8.org: Widescreen Canon from Pro8mm
super 8 and small film news blog onsuper8.org: Widescreen Canon from Pro8mm
Announcing the Canon 1014-XLS MAX 8 Camera Modification: Give your Canon 1014-XLS a giant leap forward by having us convert it to MAX 8, a 16 x 9 widescreen format. This is the second super 8 camera we have introduced with a widened gate (Classic Professional MAX 8 in 2005) so that filmmakers can be HD ready. Widescreen images are essential for remaining competitive in a HD world, and shooting super8 in the modern 16 x 9 aspect ratio allows you to edit your super 8 images with other widescreen formats. The exposed film is then transferred on our custom modified widescreen gate, available on our M2 Scanner or Y Front Ursa Diamond Scanner, giving you 20% more image on the super8 frame.
The Max 8 1014-XLS conversion includes gate modification, the adding of 16 x 9 framing lines to the viewfinder, removing the internal 85 filter which causes image degradation, increasing the take up torque so that the modern, thicker film stocks are less likely to jam, as well as recalibration of the exposure system so that all Pro8mm film stocks will accurately read the exposure from 50-500 ASA. This complete modernization package is available for $995.00. We currently have some MAX8 1014 XLS' in rental only for $300 a day, or $250 with any all inclusive film package.
Announcing the Canon 1014-XLS MAX 8 Camera Modification: Give your Canon 1014-XLS a giant leap forward by having us convert it to MAX 8, a 16 x 9 widescreen format. This is the second super 8 camera we have introduced with a widened gate (Classic Professional MAX 8 in 2005) so that filmmakers can be HD ready. Widescreen images are essential for remaining competitive in a HD world, and shooting super8 in the modern 16 x 9 aspect ratio allows you to edit your super 8 images with other widescreen formats. The exposed film is then transferred on our custom modified widescreen gate, available on our M2 Scanner or Y Front Ursa Diamond Scanner, giving you 20% more image on the super8 frame.
The Max 8 1014-XLS conversion includes gate modification, the adding of 16 x 9 framing lines to the viewfinder, removing the internal 85 filter which causes image degradation, increasing the take up torque so that the modern, thicker film stocks are less likely to jam, as well as recalibration of the exposure system so that all Pro8mm film stocks will accurately read the exposure from 50-500 ASA. This complete modernization package is available for $995.00. We currently have some MAX8 1014 XLS' in rental only for $300 a day, or $250 with any all inclusive film package.
Wednesday, April 2, 2008
Pro8mm Completes First Scans on M2
The movement to HD has been taking place at electric speed at Pro8mm and many systems are now up and fully functional. The M2 scanner is working beautifully with scan capacity to 3 high definition standards, 1080i, 108Op and 720p along with putting out the most amazing quality standard definition 525/625 (NTSC & Pal) we have ever seen from small gauge film. Scan's can be done from Regular8, Super8, Max8, 16mm and Super 16mm to HD Cam, Hard Drive or Disc.
AMAZING 1920 x 1080 SINGLE FRAME GRAB FROM THE M2 :
The M2 can grab single frames at 1920 x 1080, which gives filmmakers and archivists exciting creative options to create high quality stills from their super 8 and 16mm film. AND IF YOU THINK THIS LOOKS GOOD, WAIT UNTIL YOU SEE THE SCANS IN SUPER 16! Theimages above were shot on Pro8/43 film stock, the New Fuji Vivid film with our prototype Max1014 camera, then scanned on the M2 to 1080 Hard Drive. The MAX 8 modified Canon 1014 XLS produced amazing results! The Max1014 modification is now available at a price of $950.00 for the gate, viewfinder and 85 filter . This is a fantastic opportunity to get Canon 1014 XLS owners into Max8 and Hi Def compatibility. Remember , Max8 is compatible with all Super8 cartridges, and after modification the camera is still compatible with traditional Super8 framing.Pro8mm Scanning on the M2 with daVinci 2K color corrector has surpassed all expectations on many levels as we start our journey to better scanning and the HD world. As the staff watches the images up on the BIG screen, you can't help but be in awe that so much image can be captured on such a tiny frame! This is particularly true when combined with modern film stocks, Max 8 cameras and our award winning processing! You've got to try it to believe it! Our Pro8mm all inclusive discount packages on the M2 start at just $360 for 4 rolls of film (about 10 minutes), processing, prep and clean and scanning to either SD or HD compressed to hard drive. Upgrades are available to uncompressed computer files, HD Cam, Dual Sync, Blu Ray or Pal. Our M2 16mm packages start at just $550 to Hard Drive. Hard drive and disc recording of both compressed and uncompressed files are up and running with the help of our new Raid 0 1.6 Terabyte server and additional back-up memory of 3 Terabytes. All Jobs will be saved for a minimum of 2 weeks for in house back-up. We have not yet finished with the Blu Ray set up , which should follow shortly. CALL FOR PRICING AS WE ARE STILL ADDING NEW SERVICES FOR THE M2 WEELKY! 818-848-5522.
Monday, March 17, 2008
PRO8mm Now Offers 3 Distinct Scanning Systems
Pro8mm Offers 3 Distinctly Different Scanning Systems
* Millennium 2 (HD)
* Y-Front
*Rank
Beginning in March 2008 Pro8mm will begin offering 3 distinctly different Scan Systems. This will allow customers to choose between maximizing the Quality or the Economy of their transfers of 8 and 16mm film. Clients can custom build their transfers from the base price of each of our three systems by choosing which scanning system is best for them, Rank, Y-Front, or Millennium II HD. Then they can select options such as one light vs. full scene to scene color correction, scheduled vs. unscheduled, and from a variety of mastering formats, including hard drive. Each of these elements determine the per hour price. Additionally, options such as simul master, sync interlock, time code, a frame, and power windows are also part of the menu of choices.
For Maximum value, quality and efficiency, our extremely popular “ALL INCLUSIVE DISCOUNT PACKAGES” bundle together film, processing, prep and clean and transfer at one discounted price. These packages will be offered on The Y-Front and MM II. Purchased this way, scans on our new MM II scanner start at just $82 more for a 4 roll package than from under the old pricing ($278 for SD vs. $360 for HD) an unbelievable value for the quality and technology!
Our three scanning systems represent the progress in scanning technology over the past 30 years. Pro8mm has always been committed to offering state-of-the art products and services for our clients. Each scanning system we offer shows our alignment to the progression of scanning technology. Maintaining these older systems allows us to offer the widest selection of choices amongst all small format scanning companies so that we can accommodate the greatest number of client needs and budgets.
Rank Scan: This system uses a Digital Rank and daVinci Color Correction (4:2:2: Work Platform). This was our main system just 2 years ago and produces great images from Regular 8mm and Super8 mm reversal Film. The discounted base rate for unscheduled and unsupervised transfers will be $150.00 per hour.
Y-Front Scan: This system uses an Ursa Diamond with Y-Front technology and daVinci Color Correction (4:4:4 Work Platform). The Y-Front’s dirt and scratch concealment will improve the look of any film, especially modern negative film stocks that have expanded latitude. The Diamond has expanded gamma color space that is critical for achieving an optimum result with negative film. All present Pro8mm/Pro16mm Packages are done on this system. Base rate $255.00 an hour.
MILLIENNIUM II Scan: Using our Brand New Millennium 2 Scanner and daVinci 2K color corrector (1920 x 1080 HD Work Platform), this new system produces the most premium scan possible. It includes Y-Front technology for dirt and scratch concealment. By working in HD we can more precisely manipulate the information in the scan process even for SD transfer. Base rate $450.00 an hour
*All Systems can handle all film types:
All Systems offer Unscheduled Discounts and the option of doing scene to scene or one light.
Call one of our project coordinators for your custom quote.
Wednesday, March 12, 2008
PRO8 HD HAS ARRIVED!
Pro8mm Announces Their Purchase of a MMII HD SCANNER
After years of research and negotiations with several vendors, Pro8mm has just taken delivery on a High Definition Film Scanner. The brand new MILLENNIUM II was manufactured by Cintel International Ltd, in England, and arrived at Pro8mm in Burbank on December 22, 2007. We will be spending the next few weeks waiting for the custom gates to arrive, training the colorists, and doing a variety of tests so that we can optimize our end results. The MMII will scan Super 8, Regular 8, MAX 8, 16mm and Super 16mm. The first jobs are anticipated to be scheduled sometime in March, with several eager clients already in the wings working on notable commercial jobs.
One of the reasons we chose the MMII was that Cintel International was willing to build a custom MAX 8 gate for us. Since introducing the MAX 8 format in 2004, we have seen a tremendous growth in the number of clients who are shooting it to be HD READY. MAX 8 is the perfect Super 8 format for High Definition because it is widescreen. The format was designed to create 16 x 9 images from 8mm film. We will soon be introducing more models of MAX 8 cameras along with inexpensive gate only modifications. This will make shooting in 16 x 9 super8 more affordable to more people.
Another reason we chose the MMII is that a custom Regular 8 gate could be ordered. This option was not available from other HD vendors. Since such a significant amount of important historical and archival 8mm material is Regular 8 (from 1932 to late 1960's) we felt it was critical to have the capability to scan this material to High Definition. The MMII machine has a unique servo system which can be adjusted for individual film reels. This will allow us to scan film that has shrank, been damaged or is in general poor condition.
The MMII uses a tube referred to as CRT (high white) which produces a Classic Film look. Filmmakers who are searching for an aesthetic twist in Super 16mm commercial production will find that edge by scanning on the MMII as opposed to the CCD technology widely used by a majority of post houses.
In addition to the MMII, we have purchased a daVinci 2K color corrector. We can color correct in HD even if you want to have a standard definition output. A variety of outputs will be offered, including HD Cam (NTSC and PAL), various HD formats transferred to hard drive, and dual sync transfers to both standard definition and high definition simultaneously.
The Emmy Award winning 2K is a real-time, multi-standard, multi-resolution image processor, used by top video post production facilities worldwide. It can color enhance in standard definition, HDTV, and data up to 4000 x 4000 (data images greater than 2k are processed providing the colorist with real-time interactivity). Designed for the television and motion picture industries, and is perfect for film-to-tape, tape-to-tape and disk-to-disk.
Our investment in the preservation of shooting on small format film, and the crucial archiving of historical material will set the standard once again in keeping film viable in the HD digital domain. We continue to strive to create a hybrid of products and services in super 8 and 16mm, as we did with the introduction of Super 8 negative film in 1992. Our goal is to set a new standard for shooting super 8 in widescreen and scanning to high definition in order to move the technology forward, as we have for the past 35 years.
Everyone is welcome join us here in Burbank for our big MMII debut party this spring. Details coming soon!
Why and What Is Max 8...The Super 8 Widescreen Format
WHY and WHAT IS MAX8, A SUPER 8 WIDESCREEN FORMAT?
by Philip Vigeant, President of Pro8mm (written ’06)
My first serious project in wide-screen super8 was with cinematographer Jan De Bont in 1989. He came into the shop and wanted to explore his options for a new feature film he was to be the DP on called Flatliner (1990). The director, Joel Schumacher, wanted to explore a different aesthetic for a flash back/ dream sequence where the characters in the movie would momentarily kill themselves. During their suspended state, different images were to be used to show the thought process of the character. In addition, the procedure was to be video taped and the point of view of the video camera, also be shown.
The technical challenge was that the only way at that time to get Super8 to 35mm was to use an optical printer. If the film was shot at a conventional Super8 aspect 1.33, it would have to be squeezed during the optical print process to create the 35mm anamorphic negative. At that time, no one had a squeeze lens for an optical super8 printer. The solution was to squeeze the original super8 footage using an anamorphic lens. This would give an anamorphic super8 original that could then be blown up 1 to 1 in the conventional Super8 to a 35mm optical process. I had a friend, Galen Burke, of In-House Pictures that did some amateur experimenting with some lenses that were originally produced for the airplane industry to show Super8 reduction prints of theatrical movies. Anamorphic lenses can be used in both applications for showing and for taking images. The anamorphic lens was fitted on a bracket to hold it in the correct position and rotation on a super8 camera - the Beaulieu 5008. The resulting images were a 2.35 aspect ratio, and used as both the video cameras point of view and in some of the suspended state sequences in the final film.
Although this does work and it was successful for the film Flatliner (1990) and many other super8 sequences in major movies, it is a very difficult way to work. Some of the many technical problems shooting this way include the fact that using this type of anamorphic lens changes the way focus is achieved. You can no longer zoom in and focus and then pull back and keep focus. Focus in this arrangement changes with the zoom position. So every time you change focal length, you need to change focus. You can set the lenses to what is called hyper focus. This is the maximum depth of field position, but this is limited particularly in shots that are close. Then there are the problems of holding the lens so that the rotation is not disturbed when you focus and the fact that you must keep the focus of both lenses; the anamorphic and the back element in focus. Over the years we have created different brackets to hold the lenses, and made a prime lens version so that we could avoid all the problems with focus.
You also see the image in the viewfinder in anamorphic or squeezed. This is very disorientating for the filmmaker, because you have to imagine how this will look when it all looks so tall and squeezed. in the viewfinder. Only when you see the footage unsqueezed do you see how fantastic wide-screen super8 can look!!! When working on the film The Point Of No Return (1993), I got a panic call from the staff. They were going to cancel the super8 footage in the opening because they just could not tell if it actually worked. I had to bring a projector down to their office, and using the anamorphic lens as the projection lens, we screened the footage unsqueezed to let them see what it was they had achieved. They got very excited once again about the look, and it’s in the final film, making up a good proportion of the opening sequence.
To solve some of these problem we decided to start from scratch and invent a more user friendly way of working in Super8 Wide Screen. We call it Max8. Max8 as a way to achieve wide-screen by solving a lot of the problems of working with an anamorphic lens. First, because it is an expansion of the gate aperture, the lens focuses like a normal lens. You don't have to deal with all the focus issues of the anamorphic lens. There are no brackets or rotation problems, so these issues are eliminated. The lens does have to be in the center in the new Max8 frame, and you have to concern yourself with the potential of vignetting. The limits of these optics are being pushed to their max, and are just capable of filling the Max8 frame. We use the 8-64mm Angenieux lens, which if there are no filters, will not vignette in Max 8. So Max8 solves these focus problems. The other major issue of seeing how this will look when you are working is achieved through marking in the viewfinder lines that clearly frame out a 16x9 frame. We did our first modification of this kind for John Toll, ASC, during the filming of the flashbacks in the movie Simpatico (1999). This is a great model for seeing the correct framing when using super8 in a wide screen application.
Now you can see what you’re aiming for in the camera. without guess work. When we combine this viewfinder modification with the wider aspect ratio of Max 8 (1.58), it becomes very easy to see and achieve an accurate framing. Last but not least, because the negative is actually expanded, not just squeezed, you pick up more resolution. If you do the math between Max8 and Super8 cropped to achieve 16x9, it’s a 20 % increase in the negative size. Max8 is also a less expensive alternative than a typical anamorphic set up. We charge just under $2000.00 for the 2.35 anamorphic Kiowa Lens with using a 4 x 4 matte box as the bracket. The Max8 modification to a Classic 8 Camera or Beaulieu 4008ZM4 is $750.00. To the Beaulieu ZM, ZM II or ZM3 its $1000.00 because the internal filter in the camera must be removed and the body recollimated so the lens will be in correct collimation. We do this to the body so that the resulting camera is now in standard with all C-Mount lens technology. It's also a good idea to remove the internal filter in these cameras because it increases resolution, and you never have to worry any more about the internal getting dirty, becoming mis-aligned and messing up some footage.
The only obstacle we have found so far to Max8 is that because you are pushing the image to the Super8 limits, there is no margin for error. Because we never look at this area of a piece of Super8 film, and it’s blocked on many devices, you typically don't experience any of these issues. Film can have dirt, scratches or edge fog in this area. You would never see these problems in Super 8, but in Max8 it is now part of your picture. The lens center and alignment in the camera and telecine is critical if you want the full Max8 effect. You have to work without a filter or even a lens shade attached to the lens. You also have to customize the telecine process if you want the full Max8 resolution, and you have to pay particular attention to the alignment of the optics in it. The saving grace is that because everything is being done digitally these days, it is very easy to zoom in and fix if there is a problem, or even use the film in a conventional telecine. You would just loose some of the resolution and frame of the full Max8. Is has now been nearly two years since we introducing the Max8 system. It was used extensively in the new feature film called "Factory Girl" (2006) a 35mm major motion picture being released in theatres this December. Schools are starting to modify their Classic Professional Cameras for Max 8 and are purchasing cameras to enhance their curriculums. I can not see a reason why we would ever go back to using an anamorphic lens. I could tell just by the dailies in Factory Girl that the new easy way to achieve super 8 wide-screen has made using it in production so comfortable that it will continue to be used with more and more frequency.
by Philip Vigeant, President of Pro8mm (written ’06)
My first serious project in wide-screen super8 was with cinematographer Jan De Bont in 1989. He came into the shop and wanted to explore his options for a new feature film he was to be the DP on called Flatliner (1990). The director, Joel Schumacher, wanted to explore a different aesthetic for a flash back/ dream sequence where the characters in the movie would momentarily kill themselves. During their suspended state, different images were to be used to show the thought process of the character. In addition, the procedure was to be video taped and the point of view of the video camera, also be shown.
The technical challenge was that the only way at that time to get Super8 to 35mm was to use an optical printer. If the film was shot at a conventional Super8 aspect 1.33, it would have to be squeezed during the optical print process to create the 35mm anamorphic negative. At that time, no one had a squeeze lens for an optical super8 printer. The solution was to squeeze the original super8 footage using an anamorphic lens. This would give an anamorphic super8 original that could then be blown up 1 to 1 in the conventional Super8 to a 35mm optical process. I had a friend, Galen Burke, of In-House Pictures that did some amateur experimenting with some lenses that were originally produced for the airplane industry to show Super8 reduction prints of theatrical movies. Anamorphic lenses can be used in both applications for showing and for taking images. The anamorphic lens was fitted on a bracket to hold it in the correct position and rotation on a super8 camera - the Beaulieu 5008. The resulting images were a 2.35 aspect ratio, and used as both the video cameras point of view and in some of the suspended state sequences in the final film.
Although this does work and it was successful for the film Flatliner (1990) and many other super8 sequences in major movies, it is a very difficult way to work. Some of the many technical problems shooting this way include the fact that using this type of anamorphic lens changes the way focus is achieved. You can no longer zoom in and focus and then pull back and keep focus. Focus in this arrangement changes with the zoom position. So every time you change focal length, you need to change focus. You can set the lenses to what is called hyper focus. This is the maximum depth of field position, but this is limited particularly in shots that are close. Then there are the problems of holding the lens so that the rotation is not disturbed when you focus and the fact that you must keep the focus of both lenses; the anamorphic and the back element in focus. Over the years we have created different brackets to hold the lenses, and made a prime lens version so that we could avoid all the problems with focus.
You also see the image in the viewfinder in anamorphic or squeezed. This is very disorientating for the filmmaker, because you have to imagine how this will look when it all looks so tall and squeezed. in the viewfinder. Only when you see the footage unsqueezed do you see how fantastic wide-screen super8 can look!!! When working on the film The Point Of No Return (1993), I got a panic call from the staff. They were going to cancel the super8 footage in the opening because they just could not tell if it actually worked. I had to bring a projector down to their office, and using the anamorphic lens as the projection lens, we screened the footage unsqueezed to let them see what it was they had achieved. They got very excited once again about the look, and it’s in the final film, making up a good proportion of the opening sequence.
To solve some of these problem we decided to start from scratch and invent a more user friendly way of working in Super8 Wide Screen. We call it Max8. Max8 as a way to achieve wide-screen by solving a lot of the problems of working with an anamorphic lens. First, because it is an expansion of the gate aperture, the lens focuses like a normal lens. You don't have to deal with all the focus issues of the anamorphic lens. There are no brackets or rotation problems, so these issues are eliminated. The lens does have to be in the center in the new Max8 frame, and you have to concern yourself with the potential of vignetting. The limits of these optics are being pushed to their max, and are just capable of filling the Max8 frame. We use the 8-64mm Angenieux lens, which if there are no filters, will not vignette in Max 8. So Max8 solves these focus problems. The other major issue of seeing how this will look when you are working is achieved through marking in the viewfinder lines that clearly frame out a 16x9 frame. We did our first modification of this kind for John Toll, ASC, during the filming of the flashbacks in the movie Simpatico (1999). This is a great model for seeing the correct framing when using super8 in a wide screen application.
Now you can see what you’re aiming for in the camera. without guess work. When we combine this viewfinder modification with the wider aspect ratio of Max 8 (1.58), it becomes very easy to see and achieve an accurate framing. Last but not least, because the negative is actually expanded, not just squeezed, you pick up more resolution. If you do the math between Max8 and Super8 cropped to achieve 16x9, it’s a 20 % increase in the negative size. Max8 is also a less expensive alternative than a typical anamorphic set up. We charge just under $2000.00 for the 2.35 anamorphic Kiowa Lens with using a 4 x 4 matte box as the bracket. The Max8 modification to a Classic 8 Camera or Beaulieu 4008ZM4 is $750.00. To the Beaulieu ZM, ZM II or ZM3 its $1000.00 because the internal filter in the camera must be removed and the body recollimated so the lens will be in correct collimation. We do this to the body so that the resulting camera is now in standard with all C-Mount lens technology. It's also a good idea to remove the internal filter in these cameras because it increases resolution, and you never have to worry any more about the internal getting dirty, becoming mis-aligned and messing up some footage.
The only obstacle we have found so far to Max8 is that because you are pushing the image to the Super8 limits, there is no margin for error. Because we never look at this area of a piece of Super8 film, and it’s blocked on many devices, you typically don't experience any of these issues. Film can have dirt, scratches or edge fog in this area. You would never see these problems in Super 8, but in Max8 it is now part of your picture. The lens center and alignment in the camera and telecine is critical if you want the full Max8 effect. You have to work without a filter or even a lens shade attached to the lens. You also have to customize the telecine process if you want the full Max8 resolution, and you have to pay particular attention to the alignment of the optics in it. The saving grace is that because everything is being done digitally these days, it is very easy to zoom in and fix if there is a problem, or even use the film in a conventional telecine. You would just loose some of the resolution and frame of the full Max8. Is has now been nearly two years since we introducing the Max8 system. It was used extensively in the new feature film called "Factory Girl" (2006) a 35mm major motion picture being released in theatres this December. Schools are starting to modify their Classic Professional Cameras for Max 8 and are purchasing cameras to enhance their curriculums. I can not see a reason why we would ever go back to using an anamorphic lens. I could tell just by the dailies in Factory Girl that the new easy way to achieve super 8 wide-screen has made using it in production so comfortable that it will continue to be used with more and more frequency.
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