Cholentpot said:

Hi Evil. I'm Cholentpot.

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btaylor said:

Seeing 35mm film through from camera original negative to a final 35mm projection print requires an army of highly skilled technicians and a factory full of very expensive machinery. Even the movie studios gave up that part of the game and subbed it out to Technicolor, Deluxe, etc. If you must work in 35mm film send it out to the experts and get the job done right. You will find it will also be less expensive as the work is performed on an industrial scale. Best of luck to you and your analog friends, real film is wonderful!

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btaylor said:

From what I read it was 16mm- shot on an Arri 16s which uses an electric motor (my foggy memory thought it was a Bolex 16mm, which does have a spring wound motor. I never read his book Rebel Without a Crew). 100 foot rolls- IIRC that’s 2 minutes 40 seconds @ 24fps.
I don’t recall any S8 features making their way to a theatrical release, but I may be wrong- I think 8mm or S8 blown up to a 40ft screen wouldn’t look that great. I could get carefully shot S8 K40 to look almost as good as 16mm- carefully shot 16mm or S16 (better!) can look good in a theater. Post synchronized sound works- the French and Italians were great at it- they shot most exteriors MOS (mit out sound, as the story goes).
Many years ago there was a guy who ran a S8 post production facility- I was working on a project with a friend- and there was a guy cutting a S8 feature at the same time. Boy, it was rough looking, but the look fit the story and it was a powerful film.

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