About Us

T R A N S F E R S

Finding that there is a lack of support for affordable high resolution transfers, I began researching my own ways to do it. I shot a few short films and soon thereafter other filmmakers began approaching me wondering how I got my super 8 to look so good... 5 years have passed and with the support of other cinematographers, I created our little studio called Frame Discreet. Our custom super 8 and 16mm transfers have us trusted by archivists and filmmakers all across North America.

C I N E M A T O G R A P H Y

Our team of cinematographers (listed below) act as a collective, inspiring each other on and off set. We have a full range of experience working on features (Max Payne, The Hulk) to music videos (Hayden, Emily Haines), to Documentaries (CBC, YTV, MTV, Bravo!). Having our own gear and being able to supervise transfers in house allows us the freedom to create desireable 'film looks' at a much more affordable rate. In the end, we're trying to make it easier to collaborate, work with film and keep doin' what we love.

Questions? info@framediscreet.com.

Tuesday, April 1, 2008

Wedding Doc - Superduper 8 & Super 16


Shot by cinematographer Justin Lovell for Matt & Michelle Crowly. Mixed film formats, superduper 8 (max 8), super 16. Cross processed all black and white Tri-x as a negative. Cross processed some Ektachrome 64T on super 8 giving some crazy color shifts- also added a little more contrast in the xfer (hard to see in this version but this type of processing also makes the grain more pronounced). Custom processing carried out by Niagara Custom Lab.

The wedding ceremony and part of the reception was shot on 250D 7205 on super 16. Ceremony was fun to shoot, using our bolex S16 package. 1 man crew, Justin still managed to get 2 dolly shots off during the ceremony :) Stylistically I shot all the S8 handheld and all the 16mm on sticks. Didn't matte the widescreen, I liked the look of the frame lines composing the image. You can really see the vignette on certain focal lengths on the super duper 8 modification. This gives you a good chance to see the stability difference between Super 8 and 16mm. Oh and I shot portions of the reception at the end at 9fps with a 220 deg. shutter to get more light onto the image.

Editing has a rough, raw feel to it, asserting most of the edits in camera. Enjoy the collage of formats and processing techniques :)

Stock: Super 8- Kodak 7217 (200T), 7218 (500T), Ektachrome 64T, Tri-X 16mm - 7205 (250D).
Format: Max 8 (super duper 8), Super 16
Cameras: Canon 1014xls Superduper 8mm, Bolex Super 16 (POE 16-100 Zoom)
Cinematographer: Justin Lovell
Transfer: Justin Lovell @ Frame Discreet

Posted by at
Labels: ,

1 comment:

Anonymous said...

Excellent!

Just purchased a Canon 1014XL-S with a Super Duper 8 gate.

Question: At what focal length does the vignetting begin?

Also, can I use a standard lens shade without vignetting?

( My viewfinder has NOT been modified, so I can't tell through the viewfinder. )

Thanks.

ncapolongo@hotmail.com

March 17, 2009 at 5:41 PM

Post a Comment

Subscribe to: Post Comments (Atom)