First introduced in the early part of the 20th century, video and film formats have continuously changed to keep pace with today’s world. The transformation began with the 8mm and super8 films. It continued with the 16mm, 35mm and 70mm films. Then came along VHS/Beta tapes and, lastly, digital discs. Today, photography’s new buzzword is digital recording.
In this interview, Kimberly Kane discusses her love for film photography, work in Transfer 8mm Film to DVD Fort Lauderdale, and her experiences in the music industry and the fashion world.
Little has changed since the release of Super 8mm film in May of 1965. It comes in 50 foot lengths, and it is loaded into plastic cartridges. Once the film is exposed it is sent to a lab, which returns the film in a plastic spool. These spools represent anywhere from 2 1/2 to 5 minutes, depending on the speed you shot the film in. In order to make a movie, you will have to splice a series of shots together in the right sequence until you end up with the desired effect.
There are two things to look for: 1) the camera is focusing on the wrong thing, and 2) the camera is confused and is hunting back and forth for something to focus on. Most camcorders today look for a sharp vertical edge in your picture. Once found, they very quickly focus in and out picking which direction better sharpens this edge in the picture. It’s the same process the eye doctor uses: “Which is better, A or B”?
There is a trick I use when going to manual exposure at an event such as a stage performance or a wedding. Let the automation help you! Before going to manual exposure, zoom in tight on an important face that is lit pretty much as you expect will be common throughout the event. The camcorder should adjust its exposure to a nice mid-point of the light on that face. Then flip the manual exposure feature on. Normally this will “lock-in” the automatic setting that you trust is OK. Do not turn the manual exposure knob — the camcorder is set to the desired value. You are now free to zoom wide and pan around the room knowing that a bright window in the background won’t close the camera’s lens down and black holes won’t cause the faces of the main stars to blister out.
A: Absolutely! I would work with these guys forever! As long as David Zucker keeps writing these funny scripts and I have an opportunity to work with him, I would be more than happy to do it. It will be interesting to see what happens if they do decide to continue but these movies could go on forever. They could keep spoofing horror movies until the end of time – or at least as long as they make horror movies. So it will be interesting to see where these end – if they ever do. But I would work with these guys for the rest of my life.
Contrary to this being a silly spoof of horror, some scenes are truly scary to me. Watching large, colorful clowns walking around without talking is very creepy to me! There is also something about the people hanging in cotton candy cocoons that I find rather chilling — it kind of reminds me of the original version of The Fly in the end where the fly with a human head is caught in a spider web screaming. One popular and disturbing scene is when the one clown is making shadow puppets on the wall to distract the people walking by and the shadow turns into a T-Rex head that chomps down on their heads.