The Super 8 Rocket

It's hard to believe what was available at the end of the 1960s: Mike Dorffler invented a mini rocket with an integrated Super 8 movie camera in the USA. It shoots up a good 100 meters. Vern Estes, who produced highly successful rocket kits, took Dorffler into his team. Over 50,000 film-making rockets were sold. Our report explains why the films were so short and why the parachute or wings almost always obscured the image.

Shivering with the Beaulieu

Viktor Gibárti from Hungary wanted to fly high with his Beaulieu 4008 ZM4. He shot his snow-covered scenes on Mount Etna in Italy at -5 degrees Celsius. In an interview, the filmmaker explains why everything worked perfectly in the cold.

56 film labs worldwide

We did some research: All labs that handle Super 8 or 16mm are included in our current list. We also note whether they offer black-and-white or color reversal (Ektachrome) processing. One lab even produces high-quality copies of Super 8 films for projection.

Naked facts: transparent cameras

Only a small number were built, but they provided a perfect insight into the inner workings of movie cameras: devices with transparent housings. We show 15 models from Bauer, Bolex, Elmo, Eumig, and Kodak. What were these exotic devices, which were almost always in working order, used for?

What's next for Andec

Company boss Ludwig Draser from the Berlin-based Andec laboratory has received support: Ludwig Hagelstein is now in charge of the newly integrated professional business. Our readers can find out what has changed at Andec since Cinegrell left the company in our interview with Ludwig Hagelstein.

Puppet animation – Swiss style

Beatrice Jäggi from Zurich has made an elaborate Super 8 animated film. By using a digital camera before the actual film shoot, she was able to check whether the animation and lighting of the scenes were correct. In the interview, she talks about the production of the animated film.

The Bolex record for good sound

Even 8mm film used magnetic soundtracks for the subsequent dubbing of narrow-gauge films. To ensure that nothing went wrong, Bolex produced a record with dubbing tips in the early 1960s. Readers of our magazine can even listen to the record.

Super 8 Winter Competition

A year ago, we presented the new Wolfen Color Super 8 films from Wittner and announced a competition with free cartridges. Now the best results have been determined. They can be accessed and played in the magazine via QR code.

10 Years of the Marburg Camera Museum

Collector Günter Giesenfeld displays 400 movie cameras and projectors in his privately financed museum. To mark its 10th anniversary, the city of Marburg gave him a gift: his best pieces are presented on a website and Giesenfeld was allowed to tell stories about the development of the devices. The resulting short films now bring film technology closer to interested viewers worldwide.

Get your copy here: https://www.super8mag.de/shop/

If I have a Bolex H16 camera with the 400' magazine saddle/mount - and a Bolex H8 camera - and the 400 foot magazine for the H16 - is there any way to combine parts from these two bodies to create a camera that can run 400' of Regular 8mm film?

For the camera - could I take the H16 and replace necessary parts inside it with parts from the H8?  Or would it be easier to cut off the 400' magazine saddle/mount from the H16 and custom install it on the H8?

As for the 400' magazine, I am sure some customization will be necessary - can anyone tell me the a list of parts that would have to be customized to make a 400' magazine work for Regular 8mm film?

Is there anyone out there that even performs such a conversion?

Thanks!

I recently acquired a AGFA Microflex 200 (model B). All the research I've done refers to the camera as ISO 25/40 only. I'm fairly certain that is true of original silver microflex because photos of the film compartment shows no ISO PIN. My Microflex 200 does have an ISO PIN. The ISO notch on the Kodak Vision 3 200T cart lines up with the 160 ISO position. The ISO PIN on my Microflex 200 lines up perfectly in the notch on the V3 200T cart. Am I correct in thinking the Microflex 200 reads the V3 200T cart as 160 ISO? (I have the 85 filter disengaged) I've included some photos. I could be wrong because this is counter to everything I've read, but is it possible that the info from the Google is based on the older model camera and too few sources? I would appreciate any thoughts. Thanks!

Rob Skates

I recently shot some stuff outside in daylight on Kodak Vision3 200T using a Canon 514XL with the C-8 wide lens. Now this might seem like a silly question, but does using a wide lens attachment reduce the overall quality of the footage? I feel like the footage I shot looks okay, but maybe could have been better without the attachment. Or am I mental? 

I'm wanting to shoot some stuff with my Canon 310XL, but now I'm not sure whether to use the wide lens or not.

The first is a "GAF XL/2 Sound Super 8" according to the post. I've included a photo of it below, and here is a video. When I asked if it was operable, the seller told me: "Yes I believe it still works. Don’t have any film to try it out" which doesn't inspire a TON of confidence. The cost is listed at $35.

The second is actually a listing with multiple cameras and I've included some photos below. They're titled as "Keystone 8mm film camera, a Yashica-U film video camera and a Beacon II camera" and priced at $15. The seller said "The Keystone camera seems like it would work because it’s film rotation mechanism properly turns and than the rest of the job is just exposing the film. The smaller one at the end should also work because it’s all about just exposing the film too. But the bigger trigger one I don’t really know. It might need a battery." 

So, what does everyone think. Do these look like they might work? What would it be like getting them running if not? Do I have a huge learning curve ahead of me? Thanks! Looking forward to being a part of the community.

I’m trying to record sound onto Super 8 film using a Bauer T600.

I’ve been looking through the German manual to understand how to record sound, but I’m having trouble figuring it out.

I was wondering if anyone has experience with this.

My questions are:

1. When playing back the footage to record sound, doesn’t the projector lamp affect the sound in any way? (Like exposure can ruin an image during filming)

2. For example, is it possible to record sound onto already-developed color film?

3. What kind of film do I need to record sound with this projector? I’ve seen an expired roll of Kodak Ektachrome 160 Type A, but I’m not sure if it’s suitable.

Or, does anyone know of a detailed video explanation on this process?

Thank you so much, as always. 🙂

Questions/advice

1. I like the idea of 18 fps - you all approve? if so, why? if not? why?
2. Variable ND to reign in 500T in full southern Spain 6pm sun? or am I dreaming to think I can focus with an ND on the front killing 3 stops etc. I have 500T and 200T stock.
3. Any other advice.

Thank you in advance! and thank you Tyler for camera advice.

So, the WeinCell 1.35V batteries I have ordered for the Nikon R8's internal meter will probs not arrive on time before Saturday thus I have to use my Sekonic light meter. No worries.

OK so I am told there is light loss through the lens as the light also feeds the viewfinder + have to take into account the internal 85A filter so what compensation should I have on my Sekonic. Im thinking 1.5 stops????

I'm shooting at 18fps with 160 degree shutter

Please see a link to a google drive with a couple of short, seconds-long videos here: https://drive.google.com/drive/folders/1qgirNMpeA77M1sZVM3pv164OS28Pb0XZ?usp=drive_link

Im having an issue with my Canon 1014 XLS. 

It was running perfectly, until I put a cartridge in it that transpired to be stuck in its housing.

Now, every time I try and press the shutter, it will run for a very short time and then flashes at END. 

I have tried this with a new (unstuck) cartridge and also without film.

This is very upsetting as its a great camera and was running perfect before I used the faulty stuck cartridge.

Is there a way to somehow re-set the camera, or fix the problem?

These are expensive to send to repair in the UK, so I wanted to know if anyone else had this problem and had managed to sort it.

Thanks so much!

AG

I shoot mostly student stuff on 16mm where everything is manual, so all these

Super 8 automated functions have been a bit bewildering to me.

There is a built in filter on the R8 that I am assuming is an 85 for converting

daylight into tungsten. I need to displace this filter, using a filter key plate, when

I shoot with tungsten light.

My question is this: does the built in light meter compensate for the exposure

difference when using a filter? and if so, does it then "not" compensate when I

use the filter key plate to displace this filter (shooting indoors with tungsten light, p.e.)

I should probably just meter everything by hand anyway.

Also, if I am using a daylight negative stock, will the film cartridge "tell" the camera

that I am using daylight balanced film, or would I have to displace the filter?

Or maybe would it be better to always "displace" the built in filter and use

a good quality glass filter in front of the lens? ( I am assuming that the built in

filter is gelatin)

As you can see, I am thoroughly confused.

Any info would be greatly appreciated!

Raffi Kondy

Words from Jenny .

This cartridge model is open-source, that means I have made my design freely available for the Single 8 community to print and use their own cartridges. The licence I have chosen is strongly reciprocal, this means that if you modify the design you must also release it as open source. If you distribute it or cartridges made from it you must also distribute the URL of this repository.

You can sell these cartridges, but if you do so I have something to say. The photographic world is full of profiteers, and if that's you I have something to say to you. It costs well under 20 dollars to get these cartridges printed commercially, less if you produce them in quantity, so I think 30 dollars is a maximum fair price to sell them for. I made this model as a free gift to the community under an open source licence, because I earn my money as a technical journalist. If I catch anyone selling these cartridges for silly money I promise this: I will make sure the world and dog knows about it, and I will undercut you. Try adding value by loading your cartridges with film, but even then don't take the piss.

https://github.com/JennyList/Single-8-cartridge?tab=readme-ov-file

This 2K scan looks almost like 16mm:

These were made with a Bolex H8 Reflex. Mr. Carter was experimenting with syncing sound to 8mm film and apparently recorded it all at 16fps! He also hand-processed his film by himself.

Are there any US-based sources for Fomapan? I need this in my life. If I were saving money to move I'd be getting a Bolex H8 Reflex right about now.

• Why FUJIFILM built thousands of cameras and films in 1964 for a movie film format that didn't even exist then
• What really happened when Kodak left the working group for a new film format with FUJFILM, Canon, Konica, Agfa, Yashica and Bell & Howell in early 1964
• Sakura film: Why Sakura film is recommended in the cartridge compartments of Konica Single-8 cameras, but was never available to buy
• The secret of the golden Fujica P1: A camera as a trophy
• Dismantled Fujica P1: The 200 parts of the camera
• ELMO C-300 - The most universal of all movie cameras: for formats Single-8, Super 8, Double 8, Double Super 8
• FUJICA ZS400: The only optical sound camera for small format movie film 
• A facade like a film package: A Japanese fan and his Single-8 house
• Commercials about FUJIFILM Single-8 with direct QR codes for viewing
• Japanese toys: Single-8 cameras as water pistols, lamps or kits
• My Single-8 - the Japanese magazine for filmmakers
• ELMO, Canon, Konica, Yashica - all about the 13 Single-8 models from the other manufacturers
• A Japanese actress who became a Single-8 advertising icon
• Shigeo Mizukawa: All the prototypes of FUJIFILM's Single-8 models
• Albrecht Graf Goertz: A German designs two Single-8 cameras for FUJIFILM
• Too short: The Agfa Single-8 film
• Fujica Single-8: All models, all data
• The camera that never came onto the market: Gakken Single-8 
• 60 years of Single-8: Which films were available in the past, which films are available today
• ELMO Single-8 cameras: The tricky ones with mirror and rewinding
• Single-8 - the Japanese feature film that was created in 2023

I share this with you on thingiverse: https://www.thingiverse.com/thing:6724058

Only Clip 3 looks 'normal' with a LUT. That was shot in a cafe. Everything else was shot outdoors. Clip 4 was around mid-day hence the use of ND filter on the camera. So why is there an orange cast on all of these shots? It's almost as though the cyan dye layer (red sensitive according to Dominic Case's excellent 'Motion Picture Film Processing' book) became 'overloaded' with those spectral wavelengths. Is that even possible?

We've all see loads of film shot in Africa (possibly not on Ektachrome) but nothing that looks like this AFAIK. 

I have been able to dial back the orange cast with some grading but as you know reversal has very minimal tolerance for this and the result is horribly noisy. BTW - the film when projected suffers from the same problems so I'm still scratching my head and very keen to hear from the experts on this forum..!

File exported from Lightworks as H.264, 2K, 10-bit.

A couple of years ago Joerg Polzfusz helpfully suggested that I could swap out the Schneider - Kreuznach 1.8 / 6 - 66 lens (collimated by Bjorn after he removed the gelatin filter) on my Beaulieu 4008 M3 for a faster C-mount lens to improve the camera's low light performance. I have just come across this : Fujinon TV 25mm 1;0.85 F/0.85 Super Fast C-Mount Lens | eBay UK which is the fastest one I've seen so far. 

Could I simple attach this to the camera and be good to go in terms of ability to get sharp focus..? Or would that lens need to be collimated/calibrated with/for the camera to ensure sharp focus was possible?

I kind of feel it would but I'm no lens technician so interested to hear what the experts here have to say!

Many thanks.

I recently bought a Nikon 8x Super Zoom from a thrift store as is. It didn't have any of the battery latches so I was able to rig the main one and the camera works! (Well at least the film advances)

The battery compartment for the light meter I can't fix, so I thought it wasn't that big of a deal since I can just use a handheld meter, but after looking online for a while I can't figure out how to change the aperture manually. This might seem like a dumb question, but I see no knobs or buttons for it, or an aperture ring. I have no idea what aperture it is set at now. 

I never used a super 8 camera before so I am unfamiliar with the format. Thanks so much!