A music video I shot for Clare Sackler on Super16
We shot three rolls of 7217 over two days at two locations. The last shot above is bluescreen, my first on film. The camera was an Eclair NPR, minimally converted to Super16 (the gate had been filed out, but nothing else was changed) which had the charming property of suddenly changing to a random speed in mid-shot. I pulled the T-stop according to the sound of the motor, and while Clare had to perform some heroics to find any clips that could be synched, we got out of it okay. She also made good use of the misregistered footage from the roll where the Eclair disagreed with Kodak's perfs and tried to make its own. You just can't pay for this kind of production value.
We had the processing and telecine done at Cinelab, using their direct to drive 10-bit uncompressed SD service. The pulldown pattern was eccentric, to say the least, but once that was sorted out the files take color correction beautifully.
When we saw it projected, Clare and I forgave the camera for its waywardness. But it's still going to Bernie O'Doherty for surgery.