Looking to go Super 8

[Joseph Nesbitt]

I'm getting ready to buy and am curious about what a good buy is considered for a Super 8 camera, and what the best camera for the money.

[Ray Friera]

I highly recommend Beaulieu PRO series super 8 camera. 4,9,18,24/25,36,80 + single frame, crystal sync option, Ground Glass Focusing, and 6-80 T1.4. + Vision 2 and soon Vision 3 Film, you can't go wrong.

[Michael Lehnert]

By PRO, you are probably referring to the Beaulieu 6/7/9008-series. Out of this huge chaos of models that constituted that very diverse series with varying qualities, I would personally only go specifically for the (both rare) Beaulieu 7008 Pro II body (modified by Beaulieu US distributor Pro8mm) or the 9008 Pro body (modified by Beaulieu DE distributor Ritter). If you want the best optical quality, avoid the 6-70 and 6-90 default lenses that these cameras come supplied with, they are not as good as their reputation. Choose the Schneider 6-66 or Angénieux 6-80 (details further down in this post).

 

If you don't need a crystal-sync'd camera out-of-the-box (which the Pro-moniker models are) but are willing to consider other options, such as actually more advanced cameras which require modification for crystal-sync, please allow me to suggest some alternatives (if you don't need crystal sync at all, stay clear of the Beaulieu 6/7/9008 series in favour for those given below):

 

Based on some research I did about the best vario lens (!) for Super 8 or the best lens/body combination which weighted optical resolving power lens-wise and camera-mechanical excellence body-wise (with a clear focus on portfolio of unique features and options unavailable elsewhere), I would suggest the following camera ranking from top to bottom:

 

Top Production Cameras with interchangeable lens option

 

Schneider Beaulieu-Optivaron 1:1,8 / 6-66mm (C-Mount) with Beaulieu Reglomatic

on Beaulieu 4008 ZM II

 

Schneider Leicina-Optivaron 1:1,8 / 6-66mm (M-Mount) with Leitz Leicinamatic

on Leitz Leicina Special

 

Angénieux f/1,2 | T/1,4-2,1 / 6-80mm (C-Mount) as offered optionally for Beaulieu 4008 and 5008-series

 

 

 

Top Production Cameras with non-interchangeable lens option

 

Schneider Macro-Variogon 1:1,8 / 6-70mm

on Bauer A 512

 

Schneider Macro-Variogon 1:1,8 / 7-80mm

on Nizo professional

 

 

 

 

All these four cameras were used in the broadcast market and were used for theatrical projects from the 1970s onwards. Over the next four issues of Super 8 Today, I will have articles elaborating on those four cameras published. 6+ follow-up articles are in preparation on forthfollowingly ranked cameras ? the top list will be published next week in this thread here. The entire white paper will be downloadable from a subsection of my website from the 25 December 2007 (legal issues prohibit earlier publication).

[Ray Friera]

I can only speak about the one that served me well, my own dependable 6008 PRO, crystal sync, Angeniieux 6-80 T1.4 and yes, serviced and maintained by the man himself Bjorn Anderson, as I had no experience with other super 8mm camera.

I got mine last semester and I have shot at least 60 rolls of film ever since.

[Michael Lehnert]

Oops, I did not want to sound in any way harsh or absolutist, Ray. Apologies if I came across a bit like that.

 

I should have been more precise: stay clear of the Sound or S models of the 6/7/9008-series, as various functions are limited by the commag system. We had a series-1 6008 S with the aerial/groundglass-combi, which is a great feature that Beaulieu alas dropped with series 2. I found the ergonomics of the camera less thought-through than the other cameras I mentioned. And the format-topping viewfinder in the 4008-series plus the variable speeds plus excellent default lens with the Schneider 6-66 on the ZM II (the ZMIV is already a let-down) are further reasons why I would recommend the 4008 ZM II over a 6/7/9008 series.

 

Of course: the 6/7/9008 Pro models are all crystal-sync, which is very neat. And you own a most excellent choice of lens, Ray. I passed on purchasing a 5008 in 1994 with that Angénieux. The seller wanted peanuts, and the lens was in good condition, but I did not want to buy his whole Super 8 set as demanded (my film group's studio/office space was tight then). I have regretted this ever since... whenever someone mentions that lens. In hinsight, the lens alone would have been worth the asking price!

Finally: you make an important point to Joseph: if you own a Beaulieu, have it serviced by Bjørn in Sweden. The overseas shipping costs are worth it.