At a time when everything is automated, optimized, cleaned to the pixel… I shoot on Super 8 in Canada.

Not out of nostalgia. Not to play vintage.
Out of love for the grain. Out of a need to let go.
Out of rejection of the plastic gloss.
But mostly because Pierre Luc, my filmmaker friend, had the courage to go there.

I’m the Super 8 shooter in Montreal. Full stop.

In one year, I shot more than 250 rolls. Yes, two hundred and fifty.
Each cartridge hits like a slap.
I’m no longer afraid of the violence of darkness.

With him, I filmed bodies, faces, cities, ruins, parties, screams, silences.
I etched them into emulsion, into the grain.
I felt them live beneath my fingers, not just on a screen.

I shoot with Leicina. Beaulieu. Nizo. Canon. Elmo.
I own them all in double.
I tested and bought them all from Tested Super 8 Cameras.
Each camera has its function.
I know the hum of the motors, the slip of the gears, the light that leaks.
I know how to fix them on the fly, in remote places.
Nothing stops me.

And I’m not here to make things pretty.
That was already the case.

I’m here to capture what trembles.
To escape real time.
On tripod ideally. Sometimes, yes, on a Ronin.
To set linearity on fire.
To leave traces that burn, that vibrate, that refuse to disappear.

Beyond Thus Spoke Monchoachi, Pierre Luc’s film,
I filmed and edited all the promotional capsules for L’Archipel,
the artists’ collective I’m part of.
Under the theme of drift.
Born in Berlin.

I’ll continue this path in my experimental project.
A film about universal love.
From Berlin to Montreal.
From Susanna to Natasha.
Titled: Never Again Germany.

My most recent project was born from Vincent Castonguay’s boldness.
He dragged me to Maine.
To meet Dan.
And his house full of soul, of silence, and of machines.
This work will be presented during his exhibition.

If you want to see for yourself.
What I do.
What I’m looking for.
You can watch here: https://vimeo.com/davidsimard

I’m the Super 8 shooter in Montreal.
I’m one of the few still shooting Super 8 in Canada.

Hell yeah!

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In pursuit of lightness in filmmaking, I’ve acquired the latest gear in current trend, including Sony FX6, A7s III, DJI RS2, Tilta Float, Advanced Ring, Hydra Alien, Sigma Art E-Mount lenses, and more. And it goes without saying ,all of this is available for rent.

https://www.davidsimard.com/location

Despite the small size of Sony’s new line of cameras, my FX6s and A7s III produce better images at higher frame rates, The H265 codec can even reduce file size. Furthermore, these cameras are equipped with digital or mechanical stabilization in addition to gimbals.

On the topic of gimbals, DJI’s new gimbal, the RS2, makes no compromises despite being significantly lighter than the Ronin 2. With Tilta’s Advanced Ring, it completely replaces the Ronin 2. Tilta’s Hydra Alien allows you to mount your RS2 on your vehicles in any position with its triangular suction system.

Albeit the changes, for your bigger shoots, the Ronin 2 and the Tilta Arm remain available.

As you may have heard, autofocus has a bright future ahead. Thus explaining my acquisition of two Sigma E-Mount lenses, and soon a third one, all adapted to the new Sony camera’s excellent autofocus.

Also, I’ve acquired another very advanced stabilizer system. The Tilta Float, the illegitimate little brother of the Arri Trinity, combining effortlessly Steadycam dynamics with gimbal technology. Say goodbye to the jerky look of gimbals!

But to get the best out of these new configurations, you will need an operator, with his accessories and experience, therefore, prepare the necessary budget.

The one thing I can promise: your back will not suffer anymore.

I am now the proud owner of a Ronin 2 and a Ready Rig GS ProArm. The versatile Ronin 2 gimbal from DJI is suitable for use handheld, or mounted in a variety of ways, including to a drone, Steadicam, vehicle mount, and more. Ready Rig Gimbal support is a body mounted camera stabilizer that gives operators unprecedented freedom of movement, stability and comfort while shooting with Gimbal mounted Cameras. The possibilities of this combination are huge and offers to filmmakers an excellent value for money, the best at the moment.

Since I do not use this gear every day, I decided to set up a lease structure to make it available at a competitive price. You will find all the necessary to shoot properly all your productions. You can consult the list of equipment and the rental policy.

http://www.davidsimard.com/location/

Basically, if you want to rent the kit, you need a credit card and some references or insurances.