Hello Jerrett
I personally think you'd be much better off to do it yourself on an optical
printer. Or maybe find a friend who uses an optical printer that can do it for
you. I think having a lab do it might end up turning out to be very expensive.
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On Dec 6, 2013, at 7:59 PM
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You have to be careful. I have recently scanned S8 film that had been blown up
on a JK printer, and there was severe perf damage that entered the image area.
This was caused by a slightly misaligned JK projector head.
These days I am not sure if 16mm blowups from S8 are the best way to go unle
Good point Jeff
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On Dec 7, 2013, at 10:41 AM, "Jeff Kreines" wrote:
> You have to be careful. I have recently scanned S8 film that had been blown
> up on a JK printer, and there was severe perf damage that entered the image
> area. This was caused by a slightly misaligned
There are still good reasons to blow Super-8 up to 16mm, mostly if you
have a few short Super-8 scenes that you want to conform into a 16mm
film. Take the Super-8 OCP, get a 16mm interneg made, and it'll cut
right into your 16mm camera negs.
But... if I were going to do a blowup from Super-8, my
Hi Jarrett,
I have completed numerous Super 8mm to 16mm blow ups using a JK printer in the
past and have had great results. The main thing to take into consideration is
the quality of the Super 8mm footage. Is it recently shot and processed film or
is it older stock that has been sitting around
Thanks all, that certainly gives me plenty to think about. I don't know
where to find an optical printer. My primary motivation for doing blow-ups
is the fact that super-8 reversal is getting harder to find, and I'd like
to find a way to avoid shipping negatives to Andec in Germany to have
prints m
Just wanted to say RE: 35mm vs. 16mm, that Scott's sentiments seem to echo the
traditional wisdom about the omnipresence of 35mm, but with the rapid scrapping
of 35mm projectors from almost every multiplex (and most of the art houses) in
the U.S., it seems the scales may be tipping back in the d
Well, first, the only way the scales are tipping in any venue is toward digital
projection. Setting up a 16mm micro-cinema requires finding a working projector
that won't eat prints, finding the increasingly rare short and fast lenses that
will fill a decent sized screen, and dealing with beat-u
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