Bob Last

My Bolex is a workhorse. Hammann is a work of art if you can find one - the best cement splice you can get.

Someone was selling it at eBay for 2,000 Euro :wacko: last month. My link

That's the 6-90 f/1.2 Angenieux with an Iscorama 54 anamorphic lens in front. You are correct, the lens support is from Cavision.

I'll go for Minette S5.

That's not the 10mm anamorphic. I have that lens with the LCU but it is not in the photo. Thanks for letting me know about the rules. I haven't logged here in a while. I went to digital for a while but film is more fun. :D

My babies:

It is common. The A-lens is attached at the front camera lens. If you go to the picture section of filmshooting.com, you will see several set-ups. The most popular A-lens for super 8 are the Kowas and Iscoramas. These are Japanese and German glass respectively. Get the 1.5x versions. These are the "Inflight" version of the Kowas. The Iscoramas (36, 42, 54mm) are all 1.5x. Here's a sample of an Isco 54 sold at eBay. Some sold for about $300. Iscorama 54 in eBay These currently retail for a ridiculous $2,830 at Widescreen Center: Iscorama 54 Retail

Cropping is different from widening the gate. The better tradeoff without losing much of the resolution is the use of anamorphic lens - no glass to etch, no gate to file, no lens to align.

Hi John, This the the survey that I can't quite understand about. Everywhere you look in the message boards, there is no talk about how good E64T as a replacement of K40 because it is a tungsten balanced film but because it is too grainy. I just hope Kodak will provide a modern film stock with the finest grain available regardless whether it is tungsten, daylight balanced, reversal, or negative stock!

I can tell that one of the main reason Leitz chose the Schneider because the Schneider is less front heavy. The Angenieux are too long for the Leicina. When I saw the 6-80 on a 1.5m screen projected by a Beaulieu 708EL, I was amazed. There are so many details that you cannot see in other lenses or projectors. Then I projected it in a 2m screen in Elmo GS-1200 Xenon and I was stunned. It is unfortunate that to really appreciate the beauty of Super 8, it has to be in these high cost equipment.

robustness - 600x, there is no built-in gel filter that degrade. Althought not metal, they are made of Lexan (used in astronauts face shield) which is quite robust. ease-of-use - 600x, can accomodate different battery types. Other than that they are all the same. reliability - they are all the same imho. servicing - all the same althought there are more electronics ont he 600x. Best thing about Beaulieus is new spare parts are still available and there are boxes and boxes of them. Check this out: Beaulieu inventory Also check the following link for comparison. If there is any specific Beaulieu I recommend, it is the 7008 Pro II. The 7008 was modified at the same time by Ritter in Germany and Super8Sound. Ritter called it 9008Pro. Super8Sound called it 7008 Pro II. There are much more pro features added in the Super8Sound mod - self calibration, improved gate, higher torque motor to eliminate jitter on jittery carts, etc. Beaulieu comparison

I am not lucky with the R10's. I had about 5 of them bought at different times from eBay with a success rate of only 1:5. They are all supposedly in excellent to mint condition. Problem I experience include: stucked zoom lens (1x), very very noisy while running (2x), motor is not able to drive the film (1x), 3 frames loss in between takes (1x), burned capacitor on the mainboard (1x), and dead exposure meter (2x). The camera is built like a tank externally. You should ask a lot of questions to the seller before deciding into one. I know a camera shop who can do excellent repair job on the electrical and mechanicals - Kominek Camera in Toronto - in case you will need it.

There is a small difference. The 6-80 has a zoom lock at 40mm. The 6-90 doesn't. The 6-90 is newer and offered on 6008 Digital and Pro when they were the latest models at that time. Other than that and zoom range, performance is the same. There is a collector value on the 6-90 because they were expensive when they came out and only produced in limited quantities. I believe you are referring to the f1,4 6-90 in the 6008. The f1,4 only came in Beaulieu mount. There is no c-mount available (of course fixed lens on the Bauer). The 6008 can take both Beaulieu mount and c-mount just like 7008 and 9008.

It is the ZM2 that sometimes comes with the 6-80mm Angenieux. They are anniversary editions and rarely show up in eBay. The specs is the same as ZM4 and the color of the body is black instead of brown. With that price range, you can get a 6008Pro. Best thing about the Pro version is they oftentimes comes with a crystal sync module. This module cost about $300 alone if you get it from Wittner. A 6008Pro with 6-70 lens just sold in eBay for like $280. Spend another $250 for service to Bjorn and you have a like-new camera.

I'm not sure what the catch is. It clearly stated in their release that the price is for "existing Classic 8 owners only". It begs the question of how much will it cost for non-Pro 8mm Beaulieu 4008 ZMx owners or cameras bearing their old company name, Super8Sound. You are right on on the subject. It is a 'real' widescreen format. The conversion makes it transparent to the user unlike a simple gate filing where you may see vignetting on once side of the screen, off-center composition, or partly hidden view when taking the shot. The lens has been shifted. This is a major rebuilding. I am still trying to decide on the merit, however. Should the film be develop only by Pro8mm? Are the other developing services equipped in processing Max 8 or SuperDuper shot rolls without scratching the edge of the film? What will be the effect on the cameras' registration now that part of the film that is pressed to the gate was taken off? On the other hand, there is no doubt a 20% increase in useable film area is quite substantial.