> ingvald.bergsagel @ MEDIA.UIO.NO wrote: > > >What other directors uses super 8 in their work? Found footage or > otherwise. I have a feeling >that the format is getting a formidable > revival, and not only in a nostalgic way. There's a gay porno film called "Super 8 and a Half" which Plymouth City Council (whose religious sensibilities would make David Koresh seem agnostic) are trying to ban the local arts centre from showing. According to their programme, the director, a Canadian called Bruce LaBruce, has used Super 8 extensively throughout his career. > I'm also curious about films made in 16mm that were then transferred to > 35mm and shown in major theaters -- THE BROTHERS MCMULLEN, for instance, > and THE LIVING END. Critics don't usually seem to mention that in their > reviews, which surprises me because the picture quality is so obviously > lower, though personally I think that's appealing. I'm not sure the quality is inevitably a lot lower in 16mm-35mm blowups as it once was. The granularity of film stocks is improving all the time, and the advent of Super 16 has enabled a larger picture area. This works by getting rid of the soundtrack and exposing a widescreen picture across the whole width of the film from the perforations to the other edge. If the stuff needs to be projected as is, sound comes from a sepmag. By optical printing from a Super 16 neg to a 35mm widescreen frame, the enlargement factor isn't actually that much. A lot of TV features which have subsequently been released theatrically were originated on Super 16. Recent examples include "Cold Comfort Farm" and "Intimate Relations" - the 35mm prints look perfectly acceptable, and in the case of the latter, was one of the sharpest copies I have seen for a long time. Of course quality lab work is critical in making the 35mm dupe neg and f/g. __________________________________ Leo Enticknap Univ. of Exeter, UK [log in to unmask] ---- Screen-L is sponsored by the Telecommunication & Film Dept., the University of Alabama.