Probably because it doesn't sell to the market that wastes its time piddling around with random developers & posting interminable threads about this activity.
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Notice how no one is talking about this film since its release. P30 from Ferrania got way more post release chatter than P3200.
What release? I haven’t heard of Ektachrome release. Or did you mean P3200 (AKA p800)Notice how no one is talking about this film since its release. P30 from Ferrania got way more post release chatter than P3200.
Probably because it doesn't sell to the market that wastes its time piddling around with random developers & posting interminable threads about this activity.
Notice how no one is talking about this film since its release. P30 from Ferrania got way more post release chatter than P3200.
Probably because it doesn't sell to the market that wastes its time piddling around with random developers & posting interminable threads about this activity.
Notice how no one is talking about this film since its release. P30 from Ferrania got way more post release chatter than P3200.
That’s their loss, I think. But haven’t read any user experience either.Because no one from Kodak Alaris is active on this forum promoting the product, telling how things are going, showing example shots from P3200, etc.
What release? I haven’t heard of Ektachrome release. Or did you mean P3200 (AKA p800)
getting aspiring movie makers learning the craft on small gauge film
I don't get why an aspiring movie maker would want to use Super 8. They did in the past because it was the budget option, but now after paying for film, dev and scan where with digital you don't have to pay for any of those...
I just can't see why a cash strapped beginner director would choose to do that. Are Kodak subsidising costs ?
But this attitude is not shared by all film academies... to put it mildly.When Kodak made the announcement in 2016 about their proposed new Super 8 camera, they had testimonials from lots of well known film-makers such as Spielberg, Tarantino, Nolan and others saying that super 8 would still be the best way for aspiring directors to cut their teeth.
I wouldn't be so sure. Kodak currently has a deal to subsidize film costs for projects shot on 16 mm and 35 mm:No they are not.
I wouldn't be so sure. Kodak currently has a deal to subsidize film costs for projects shot on 16 mm and 35 mm:
https://nofilmschool.com/2016/04/kodak-and-kickstarter-want-help-you-shoot-film
I would not be at all surprised if Kodak offered a discount on bulk orders made by schools on their new s8 film, and maybe "indie" projects as well.
Outside of the film schools, the market for the proposed Kodak Super 8 camera would be infinitesimal, especially if it's priced above $2000. I'm guessing that the rapid advancement and nearly universal acceptance of digital cinema technology over the past few years has far outpaced Kodak's increasingly limited capacity to develop, test, manufacture and distribute their resurrected E6 film and hybrid movie camera. What seemed like a viable business model in 2016 might now seem preposterous in 2018. My son-in-law is a cinematographer, and although he personally has a soft spot for film, all of his commercial projects are shot with digital cameras.
If the new generation of movie makers will be doing their work exclusively in electronic media, why waste expensive educational time and effort on marginal film techniques and materials? If they just want the 'look' of film, it's a straightforward matter of post-processing. If they really want to go to the trouble of using actual film, why mess around with Super 8 when Super 16 and 35mm negative stocks and cameras offer vastly superior quality?
Without a viable Super 8 market to justify volume production, there will probably be no 35mm reversal film for the rest of us.
I hope I'm wrong, though.
I sometimes quite like experimenting with odd films and developers, etc.Probably because it doesn't sell to the market that wastes its time piddling around with random developers & posting interminable threads about this activity.
Outside of the film schools, the market for the proposed Kodak Super 8 camera would be infinitesimal, especially if it's priced above $2000. I'm guessing that the rapid advancement and nearly universal acceptance of digital cinema technology over the past few years has far outpaced Kodak's increasingly limited capacity to develop, test, manufacture and distribute their resurrected E6 film and hybrid movie camera. What seemed like a viable business model in 2016 might now seem preposterous in 2018. My son-in-law is a cinematographer, and although he personally has a soft spot for film, all of his commercial projects are shot with digital cameras.
If the new generation of movie makers will be doing their work exclusively in electronic media, why waste expensive educational time and effort on marginal film techniques and materials? If they just want the 'look' of film, it's a straightforward matter of post-processing. If they really want to go to the trouble of using actual film, why mess around with Super 8 when Super 16 and 35mm negative stocks and cameras offer vastly superior quality?
Without a viable Super 8 market to justify volume production, there will probably be no 35mm reversal film for the rest of us.
I hope I'm wrong, though.
Maybe some Hollywood guys want the stuff. With the ability to scan into really hi rez 16mm or super 8 can become a viable option for the silver screen? I can see some scenes in a movie being shot on 16mm or 8mm for effect. A half dozen movies shot with this film would roll through more film than most of us would use in a lifetime.
We're really grasping at straws here. Desperation is starting to sink in. We seriously think Hollywood is going to shoot movies on Super 8??
Yet here you are both reading and posting in one.I hate these threads...
Did you, by chance, mean to post instead: "All under-served niche markets"?All Undeserved Niche markets.
We're really grasping at straws here. Desperation is starting to sink in. We seriously think Hollywood is going to shoot movies on Super 8??
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