Interesting that Scorcese shot on digital. I mean, I get it, but I figured he would go old school.
Slow down, friend. I have no problems pronouncing it the right way, and you don't have to lecture me on American ideology. I wasn't born in the US and English isn't my first language.
I was just surprised that I hadn't heard the correct pronounciation ever, considering what a large and visible brand Nikon is.
You don't know me or my work with students which focuses heavily on anti-racism and social justice work with youth of color, and I don't appreciate you casting aspersions on my abilities as a teacher. Back off.
Holy crap, it's pronounced Nee-kon?????
Super 8 is a WONDERFUL exercise. I teach filmmaking to middle and elementary school kids and we do a Super 8 unit every fall. It's something the kids look forward to every year, and it builds up your chops like nothing else.
Here are some other things worth knowing:
Kodak currently makes several wonderful Super 8 stocks, which are basically their most useful 35mm stocks cut in the Super 8 shape and cartridge. Vision 200T and 500T are great for indoors (especially 500 which is very good at night or indoor low lighting), and 200 is great for normally lit days though you may need to augment it with lighting. Kodak also makes a 50D which is great for outdoor use and has really tight grain and whiz-bang-wow colors. In Black and White you can get Tri-X reversal stock which is my favorite film stock to shoot on. Everything looks amazing in Tri-X, especially when you apply a little lighting.
There are places like Spectra Film & Video which will sell you really well-priced all in one Super 8 packages, from 4 rolls to 12 rolls, and you pay a lump sum, they send you the film, you shoot on it, and send it back and they'll develop it and telecine it in SD or HD (HD is a little extra but it looks INCREDIBLE). This is what I do. It puts all the costs of stock upfront and gives you a perfect knowledge of how much raw footage you have to work with. And the people at the film labs are generally REALLY nice and great to work with. And you can edit digitally with the file so you can finish to Vimeo, and you can keep the film negative as a souvenir.
When shooting Super 8, the things I'm always thinking of are:
1) Focus. The viewfinder on most Super 8 cameras is not that great, and certainly not an accurate indicator of focus. You have to physically measure with a tape measure the focus point and set it for each shot. There is a little wiggle room for eyeballing it, but I've definitely had shots that came back out of focus because I eyeballed it when I should have measured. And since you paid for all the film up front, there's no room to reshoot.
2) There is no safety net - you get like 15 minutes of raw footage, you have to plan each shot in advance, think about each shot in the story, shoot everything all at once, send it in, wait two weeks, and cross your fingers that it all worked out well. It's crazy tense but the payoff is extraordinary. And as a filmmaker it works your skills unlike anything else. There really is nothing like it. You are dependent upon your eye and your knowledge of light and your plan, and that's it. Your digital work will feel like the lap of luxury in comparison. Or it will feel oppressive. There is something to just taking your film camera and shooting pure cinema with it that makes you feel incredible about your work. It's invigorating.
Anyhoo, hope this helps. Here are some samples of the movies my kids made in Super 8 over the years if you wanna see how different stocks look:
Wrong wrong wrong. Great sound design has nothing to do with the number of tracks and effects you have. Great design can be done in 7 tracks or 700. What matters is the creativity, the vision, and the willingness of the director and sound team to use sound in interesting ways to tell the story.
I was a sound editor for major network TV for years, and I can tell you that 99 times out of 100 the sound in a movie is lame and flat/empty because no one considered it creatively. It's treated as technical filler instead of an integral part of the story. I can't tell you how many shows I've been on with hundreds of tracks, and all of them adding nothing creatively. If you want your audio to be dynamic, all you need is a vision for how sound fits in the story. You have to write your film and plan your script with sound in mind. You have to use loudness and quiet to create mood. You have to think of sound as a series of artistic choices, not merely sweetening what you see on screen. So few writers and directors do this. And then your movie sounds empty because you're thinking of sound as something you fill in at the end just to take up space, and not thinking about sound from day 1. Adding more tracks won't fix that - it'll just create white noise.
Articles like this do a disservice to hard working sound editors who have long had to struggle to gain artistic respect in an industry where sound is often relegated to a merely technical afterthought.
I do agree that it's better to record your own effects whenever you can. Much more fun and easier to do than most people think. My advice to anyone wanting to get into basic sound design for their work is to consider sound the same way they consider visuals, as a Creative aspect to be written for at the beginning. Read Randy Thom's magnificent paper "Designing for Sound" which is freely available on filmsound.org, and make sound a priority instead of an afterthought. :)
The one thing that might help you on your microphone search - try to get the exact same microphone used in the production. The important part of ADR is to be able to blend it in seamlessly with the production audio so you never even notice that you pulled out a line. Going for a large diaphragm studio microphone will produce GREAT sounding dialogue, but if you're matching it against a thinner sounding production microphone you're going to have to spend a bunch of time EQing out a bunch to get a match and it won't be perfect. Instead, try to match microphones to the production, match typical distance, and if you're lucky it'll drop right in.