Alessandro Machi
New member
I have shot over around 35 super-8 film cartridges for a super-8 film short that I am the DP on. What has struck me most is how the Rank Cintel Film Transfer process really enables Super-8 film to pretty much like like how you want it, as long as you don't want it look like video or 35mm.
I think the combination of planning ones shots, shooting for best exposure and framing, and then "going to town" in the film transfer stage really opens up a world of opportunities. The looks a qualified telecine operator can get out of a piece of film is really a sight worth experiencing.
I have owned a betacam sp camera for over 10 years and have never felt that the work I did in it would somehow help develop my filmmaking skills as much as shooting this film has. However, what I have learned about color correcting from my betacam sp set-up has been of immeasureable help.
I am not a believer in codec's and compression schemes. The color correction that involves the DV 25 coded pales in comparison to what a rank cintel operator can do better, quicker and faster.
It may appear to be an all digital world, but it really isn't.
I think the combination of planning ones shots, shooting for best exposure and framing, and then "going to town" in the film transfer stage really opens up a world of opportunities. The looks a qualified telecine operator can get out of a piece of film is really a sight worth experiencing.
I have owned a betacam sp camera for over 10 years and have never felt that the work I did in it would somehow help develop my filmmaking skills as much as shooting this film has. However, what I have learned about color correcting from my betacam sp set-up has been of immeasureable help.
I am not a believer in codec's and compression schemes. The color correction that involves the DV 25 coded pales in comparison to what a rank cintel operator can do better, quicker and faster.
It may appear to be an all digital world, but it really isn't.
