Marc Marti

Luigi, you need to press the shutter release halfway if you want to meter the light. This is positive, because thanks to that the batteries on the camera last a loooong time.

http://www.fipra.de Serious, honest and they do a first class job.

Again: we're not blaming the camera. We're blaming the sample. There are lots of people in this forum that would have made better footage even with a 1€ camera. This video is the most uninteresting advert about super-8 that you can make. It's so wrong on so many levels that it almost looks like a parody.

Indeed! That's why I dislike that demo so much: it doesn't show any of the goodies that the camera delivers. It's just old looking, jumpy, uninteresting and bad graded footage. Even the gate is dirty! This is exactly the opposite of marketing.

+1 Kodak should be pushing the format to its highest level with the advent of the new camera. If I want Super-8 to look as bad as that video, I can spot a cheap 2€ Sankyo on Ebay and delete Davinci Resolve from my computer. Can't see the point on launching such a bad video.

By the way, I forgot to say that Fuji Provia 100F in super-8 and single-8 is cheaper... and it seems it will be even cheaper next 2017 ;) http://mimundoensuper-8.blogspot.com.es/2016/11/exclusiva-nueva-reperforadora-de.html Use Google Translator and be amazed by the news...

I've edited a negative for the first time last month (wet splicing), and now I'm waiting for Andec's polyester print. Lots of anticipation!

For less money, you can shoot fresh Vision3 stock, process it and have it printed in positive by Andec. And according to many people, with a much better quality...

100D is a bit soft for my taste, but looks beautiful projected. Ultra saturated colours. 50D and a projection print from Andec would be heaven, but an expensive one. Are you going to project your finished film or just finishing on digital?

After several years of home processing (and no permanent installation to do it) these are my conclusions, in order of difficulty (less to more): - COLOUR REVERSAL (E6): Can be as good as the lab. It's not that difficult to maintain temperatures (for example with an aquarium heater), and you can be sure that your chemicals are fresh. - B&W REVERSAL: As Doug Palmer pointed out, it can be MUCH better than the lab. D-94 is designed for quick industrial processing and kills a lot of the potential quality in many stocks. That extra quality can be obtained if you do it at home using different (and much slower) processes. On the other side, to get stellar results doing B&W reversal at home you need to experiment a lot and make a bit of investment in the beginning. When you are happy with the results, is dirt cheap. - COLOUR NEGATIVE: Forget it. Removing the Rem-jet at home is a really painful process and the C-41 system is not adequate for Vision3 stocks. At the actual stock prices, send it to a pro-lab and don't bother with it. In any case, at home you can make a lot of experiments and get incredible looks from your footage. Sometimes it's an art in itself! :) Good luck in whatever you decide!

Some years ago, I travelled to Dublin with several single-8 cartridges of Velvia 50. First scan at the Spanish airport. No questions, OK. When I was going back, at the Dublin airport, I asked for a hand inspection. No luck. They scanned my handbag with cameras and film. Then, they wanted me to get out my film equipment (including the cartridges) and put it in a tray to scan again. I told them it was film and that it wasn't good for it. In bad manners, they did the scan again. Quite frustrating. In the end, the rays didn't affected the film in any way. Most of times, the security at airports is nicer and even proceed with a hand inspection, but after the Dublin experience I'm not afraid of X-Rays anymore...

Don't forget the outstanding and *NEW* Logmar camera, taking C-Mount lenses. Also, considering "vintage" equipment, the Fujica ZC1000 is the best of the best. Takes C-Mount lenses, have lots of creative options and a real pressure plate, like professional film cameras. The only downside is that you have to transfer the super-8 film to Single-8 cartridges, but it's not difficult at all.

Don't really need a time machine for shooting single-8. Reloading empty cartridges is quite easy and the quality is worth the effort. But anyway, it's not something that I would recommend to a beginner...

Thanks for the compliments!! I'm so happy that you enjoyed the short... And sorry for my delay: I was without connection for a few days... Gabe, nothing was added in post to the picture. Fomapan R100, in combination with the ZC1000 and the switar lens gave this quality. Also, thanks to the outstanding scanning of ochoypico.com My only complaint was with the defective perforation of the stock, which gave unstable images. We shot all the film in backwards, so it made the things worse for stability... Anyway, I ended up loving the unstable picture :) As a side note: the film was edited with splicer and viewer, and a magnetic soundtrack added at the end of the process. The theatrical version was with 5.1 sound, but I was unable to incorporate that to the original super-8 :P

Gracias, José Luís! ;) It's great to receive compliments from someone so talented like you...

This is a little piece of experimental horror, for you people celebrating Halloween. Enjoy (or not) with lights off and loud volume. Shot witn a Fujica ZC1000 and Fomapan R100 recharged in Single-8 cartridges:

Edited on Final Cut Pro, and controlling the highlights and shadows with the Parade Scopes. Just that. The original images were that good ;) The combination of this stock, the cinematography with the Fujica ZC1000 by Ignacio, and the uncompressed HD transfer by ochoypico makes for a magic formula!

Hello, I'm selling an external device for making long exposures with your Fujica ZC-1000 single-8 camera. An impossible to find item nowadays. This is the link of my ebay sale: http://www.ebay.es/itm/FUJICA-ZC-1000-Intervalometer-for-long-exposures-RARE-/131099994699?pt=ES_Cámaras_de_v%C3%ADdeo&hash=item1e862b2a4b You can check some results made with it here:

Amazing stuff... as always! ;) Enhorabuena, José Luís!

Anthony, Switar 16mm primes (the AR models, not the RX ones) work like a charm in super-8. I use to travel only with a 10mm Switar in the Fujica and the quality is outstanding. Besides, they are small, light and not very expensive. Carl, That's the point. Quality standards are not the same now as in the 70's, and this camera puts super-8 directly in this century. Designed as an amateur format, its flaws were "acceptable" when it was created, but not these days, where everybody is used to HD images and can shoot a high quality picture for very little money. I remember a test from José Luís Villar where he confronted images from an HDSLR with the Vision stocks shot with a Beaulieu. Sharpness was almost the same, but the filmic image looked much more richer. That's the way to follow... And of course, if anyone wants the old "home-movie look" always can purchase an old Sankyo on ebay for a few bucks. As simple as that.

Wow, a good technical read, for sure! I can only explain my own experiences on the "pressure plate" discussion: Some years ago, when I was doing telecine, I was always surprised with the BIG difference in quality between the 8mm and the super-8 footage. Sure, the K25 stock used in 8mm was the best reversal emulsion ever (specially compared with K40), but the images where so sharp and stable compared with the super-8 ones... And I'm talking about super-8 footage shot with new cameras in the 70's, and 8mm filmed with average cameras and lenses... In the meantime, I owned lots of cameras: Nizos, Bauers, Canons, Leicina... I can't speak about the Leicina because it broke very soon and 5 years later is still on repair, but all those cameras gave irregular results. The best one was the Zeiss Moviflex GS-8, but it can't be repaired anywhere (if you know a place, please let me know). Someday, I tried a Fujica Z800. Wow! What a difference!! Amazing registration and sharpness. I sold my super-8 cameras and never looked back. Now I use also a Fujica ZC-1000 with prime lenses and it's the sharpest footage I've ever seen in 8mm... But what I was actually going to say is: LET THOSE BELLS RING!! A NEW SUPER-8 CAMERA IS ON THE MARKET!!! And it incorporates all the things we have been wanting in a new camera and it's not overpriced! Over-enginereed? Please, give me a break! Can't we just ENJOY and CELEBRATE this moment? This is the best super-8 news in LOTS OF YEARS!!

I was thinking the same as you. Usually, I process my films at home, but with the ridiculous prices of reversal film, I'm planning to shoot on negative and send it for processing at Andec. Perhaps, if you are adventurous enough to make a good cement splicing in the dark (not that difficult), the best option should be to send all the film spliced on a big reel, but I think we shold contact them first. Talking about Single-8, I still think it's worth the hassle. Here's a frame scanned in HD by ochoypico.com Fuji Velvia + Fujica ZC1000 + Kern Switar 10mm. This is almost the top in 8mm film definition ;) sube fotos

It depends mostly on the size of the text. I think a classic silent movie can give a lot of inspiration. About filming from a screen, any modern monitor (TFT, LCD,...) is capable of outstanding results with no flicker at all. I shoot my titles this way, with 100 ASA films at around f1,8 and frame-by-frame, but you have to do some testing with your equipment. Vision3 200T looks like a perfect candidate.

Examining the stills (my last comment was made just after watching the video), I'm with the chromatic aberration theory. It's a pity, as otherwise, the quality is fantastic. Thanks a lot for the test, David! :)

Amazing stuff... This Vision3 50 is a fantastic stock... Just a question: Is there any artificial sharpening on the images? I can see halos on the corners of everything. Impressive, anyway...