This is a really cool series, thanks and i'd love to see the completed movie, you've earned yourself a new subscriber here. There's an old super 8 camera at work which I'm itching to try out but the prohibitive cost of film stock and developing are holding me back right now. I'm fairly new to what video can do but having shot stills for years on film (still doing that occassionally) and digital more recently the older stuff intrigues me. Also, you look a little like a young Mark Wahlberg :)
Galaxy Gulch looks good. I like the slow build. Can't wait to see the final film. I see what you're saying about celluloid and how it makes you focus on what you want because the film is limited. But I feel you could still apply the same focus to digital. Just because you can hit record for 6 hours without stopping doesn't mean you have to. Treat the digital data like film stock.
True, why not roll with a really loud stop timer. Or rig the timer up to a strobe that will ruin any shot after you roll through a 3 minute reel load? (depending on the stock you are simulating)
David McSween I don't know if you're trying to be condescending or constructive. I just came to Shanks FX because my VFX friends said he was highly recommended. And I'm using his techniques for the Sundance Film Festival in 2017. What I mean't was film stocks have a "time limit" on them, 10 mins until it runs out. So you might miss a actor in a great performance do to the film reel ran out. With digital you can leave it running and not miss a thing but I think it can make an actor too comfortable, they don't feel the pressure to nail the scene. What I mean't was still make the actor focus like it was celluloid by saying "I can let this run but I want you to nail this scene in X amount of takes." Not allowing the luxury of letting the camera record for as long as you want.
Sorry, brevity is the enemy here. I was not trolling at all, simply typing from a phone. I love the idea of reflecting on limitations from the past and learning something from them. And the 3 min reference was to Super8 loads who's cartridge typically lasted 3mins (ignoring off speed running). But you have to recognise that digital is giving you a get out of jail free card. I'm sure there could be levels of authenticity, from strict adherence to load times as well as stock limits. "You have NO more cartridges left, use it wisely". If the actor learned to deal with that limitation perhaps it would lift their ability to perform as well?
David McSween Okay, I also apologize for my misunderstanding. Thank you for explaining the 3min reference. I know very little about Super 8 or celluloid. I've always shot on digital and always will. But I am curious about the past and their techniques as well. How "teaching an old dog new tricks" can apply to today. I know there is the big question in the film industry "Do we keep shooting film or digital?" And I know that digital is the future you can't stop it no different than the sun will go down tonight and it will be dark. But I do get bothered by the top talent, Quentin Tarantino, Christopher Nolan, etc. Guys I look up to and their firm stance on "Film is the better quality and digital is useless." We come from the digital era. If there was no digital I would never be able to make movies so easy because I don't have film stock cameras, etc. I used what tech was available. So I feel they want to keep it for nostalgia reasons rather than logical. I do feel that if the master Stanley Kubrick was alive today, he would have embraced digital like David Fincher, James Cameron, and Michael Mann. But like I was saying you don't lose the passion because you have a better paint brush and colors.
Could always spot the digital source from the comparison :( The problem is that every little lightsource always gives it away. Digital Video just does not have this high dynamic range to reproduce bright lights like film does. You will always have blown out white areas in DV shots. While on Film it will have a nice warm smooth corona or soft glow. it is really hard to disguise in postproduction. I've tried it for more than 8 years now and i still struggle to make it look authentic.
could you make a link to download the end tails of the super 8 rolls ? i can't really go trough all the trouble of actually shooting it and i can't find one similar anywhere cheers
sorry if you've already answered this somewhere, but, what is the camera you were using for the digital shots, and also the you talking in the workshop bits?
I think it's too much blur than usually seen in actual film. It should've been a little more crisp. Maybe use lens blur with a smaller blur radius? And then a faint soft glow effect. Other than that, nice job. Only if that blur was fixed I bet 90% wouldn't be able to tell the difference.
how much did you spend on everything? I found an old working super 8 camera in my house and I was wondering how much money it would take for me to make a test film
On average a roll of super 8 film cost between $32 and $36 on eBay kodak b@w is a little cheaper on average $26. My favorite super 8 stock is wittnerchrome 200D it's the only color reversal film left in production and it's the closest you can to the vintage 60's kodachrome look. Reversal film is the only film the can be projected negative film such as kodak 50D 500T and 200T can only be digitized. Dwayne's photo and film photography project both charge $33.99 for a roll of wittnerchrome 200D. If you just want your film developed and sent back on reel Pro8mm charges $20 but if you want it digitized they charge $63. It's not cheap but it's worth it to shoot a few rolls..
Have you ever heard of a double Super 8 format? These were used in socialist countries. There was one prefect Russian camera for this format - Quarz DS 8-M. It had 3 lenses and one of them - widescreen - created beautiful plastic images within a distance of one meter. I loved this camera and this format. And some of my movies are published on TH-cam too.
could you also do a tutorial on how to make old sound recordings? or make audio sound like an old style recording
This is a really cool series, thanks and i'd love to see the completed movie, you've earned yourself a new subscriber here. There's an old super 8 camera at work which I'm itching to try out but the prohibitive cost of film stock and developing are holding me back right now. I'm fairly new to what video can do but having shot stills for years on film (still doing that occassionally) and digital more recently the older stuff intrigues me. Also, you look a little like a young Mark Wahlberg :)
Incredible build up for Galaxy Gulch, your channel is awe inspiring. Thank you for the great and unique content. Can't wait to see the final film.
That end scene is pretty amazing. Great work! I pick up my super 8mm tonight. Can't wait.
I'm loving the super 8 feel for my music videos and have just started to delve into it. This is a great vid, thanks. I love the intro to Galaxy Gulch.
Galaxy Gulch looks good. I like the slow build. Can't wait to see the final film. I see what you're saying about celluloid and how it makes you focus on what you want because the film is limited. But I feel you could still apply the same focus to digital. Just because you can hit record for 6 hours without stopping doesn't mean you have to. Treat the digital data like film stock.
True, why not roll with a really loud stop timer. Or rig the timer up to a strobe that will ruin any shot after you roll through a 3 minute reel load? (depending on the stock you are simulating)
Well said !!!
David McSween I don't know if you're trying to be condescending or constructive. I just came to Shanks FX because my VFX friends said he was highly recommended. And I'm using his techniques for the Sundance Film Festival in 2017. What I mean't was film stocks have a "time limit" on them, 10 mins until it runs out. So you might miss a actor in a great performance do to the film reel ran out. With digital you can leave it running and not miss a thing but I think it can make an actor too comfortable, they don't feel the pressure to nail the scene. What I mean't was still make the actor focus like it was celluloid by saying "I can let this run but I want you to nail this scene in X amount of takes." Not allowing the luxury of letting the camera record for as long as you want.
Sorry, brevity is the enemy here. I was not trolling at all, simply typing from a phone. I love the idea of reflecting on limitations from the past and learning something from them. And the 3 min reference was to Super8 loads who's cartridge typically lasted 3mins (ignoring off speed running). But you have to recognise that digital is giving you a get out of jail free card. I'm sure there could be levels of authenticity, from strict adherence to load times as well as stock limits. "You have NO more cartridges left, use it wisely". If the actor learned to deal with that limitation perhaps it would lift their ability to perform as well?
David McSween Okay, I also apologize for my misunderstanding. Thank you for explaining the 3min reference. I know very little about Super 8 or celluloid. I've always shot on digital and always will. But I am curious about the past and their techniques as well. How "teaching an old dog new tricks" can apply to today. I know there is the big question in the film industry "Do we keep shooting film or digital?" And I know that digital is the future you can't stop it no different than the sun will go down tonight and it will be dark. But I do get bothered by the top talent, Quentin Tarantino, Christopher Nolan, etc. Guys I look up to and their firm stance on "Film is the better quality and digital is useless." We come from the digital era. If there was no digital I would never be able to make movies so easy because I don't have film stock cameras, etc. I used what tech was available. So I feel they want to keep it for nostalgia reasons rather than logical. I do feel that if the master Stanley Kubrick was alive today, he would have embraced digital like David Fincher, James Cameron, and Michael Mann. But like I was saying you don't lose the passion because you have a better paint brush and colors.
Could always spot the digital source from the comparison :( The problem is that every little lightsource always gives it away. Digital Video just does not have this high dynamic range to reproduce bright lights like film does. You will always have blown out white areas in DV shots. While on Film it will have a nice warm smooth corona or soft glow. it is really hard to disguise in postproduction. I've tried it for more than 8 years now and i still struggle to make it look authentic.
Amazing work! Thank you, Joey!
Awesome thumbnail . Great video, thanks !
This is fantastic!
I really love this stuff man!
Who else recognized the background music? Joy division anyone?
A nice cover version
did they ever upload the post production video?
i wanna re-create this!
I wish I could own all the cameras. bits and bobs as you have in your garage
Good day nice. Any idea for v8 cartridge. The camcorder needs fixinf
Did Big Fok steal the Joy Division music? Can't see it credited.
Where can I find galaxy gulch in it’s entirety
could you make a link to download the end tails of the super 8 rolls ? i can't really go trough all the trouble of actually shooting it and i can't find one similar anywhere
cheers
Did you go with a camera with BMDFILM or S-log color space for this? Either one is a massive help in pulling off the film look digitally.
S-Log, yeah should have tried to pull it off with my 5d. Prob would have been trickier that's for sure.
sorry if you've already answered this somewhere, but, what is the camera you were using for the digital shots, and also the you talking in the workshop bits?
Trickier? How so?
I meant more difficult just cause there is way more baked in contrast in HDSLR footage.
I think it's too much blur than usually seen in actual film. It should've been a little more crisp. Maybe use lens blur with a smaller blur radius? And then a faint soft glow effect.
Other than that, nice job. Only if that blur was fixed I bet 90% wouldn't be able to tell the difference.
how do you digitally transfer super 8 footage.
how much did you spend on everything? I found an old working super 8 camera in my house and I was wondering how much money it would take for me to make a test film
On average a roll of super 8 film cost between $32 and $36 on eBay kodak b@w is a little cheaper on average $26. My favorite super 8 stock is wittnerchrome 200D it's the only color reversal film left in production and it's the closest you can to the vintage 60's kodachrome look. Reversal film is the only film the can be projected negative film such as kodak 50D 500T and 200T can only be digitized. Dwayne's photo and film photography project both charge $33.99 for a roll of wittnerchrome 200D. If you just want your film developed and sent back on reel Pro8mm charges $20 but if you want it digitized they charge $63. It's not cheap but it's worth it to shoot a few rolls..
Have you ever heard of a double Super 8 format? These were used in socialist countries. There was one prefect Russian camera for this format - Quarz DS 8-M. It had 3 lenses and one of them - widescreen - created beautiful plastic images within a distance of one meter. I loved this camera and this format. And some of my movies are published on TH-cam too.
Way too much blur bud
Ugh
Welcome to Ukraine!
You never want film scratches.
Camera shake has nothing to do film or video, it's operating.
You are an amateur!