JB Guillot

Thank you Roger for your answer. Couldn't find a "Home Movie Processing" group on FB, could it be the "Home movie film lab" group ?

Hi everyone, I recently got back into analog photography and (re-)discovered with interest that some of the motion picture films are used by certain photographers and even home-processed (Kodak Vision 3 series seems appreciated). As a not-complete-beginner in home-processing for stills (mainly B&W to be honest), I see some opportunities for me discover new horizons by doing the same for S8. Apart from the obvious question of appropriate hardware and chemicals (Internet is my friend), I was wondering if some of you guys have experience with home-processing S8 and what is your take on this ? Are the results worth it ? Does it open some new creative opportunities for you ? Do you process your negative color stocks in C-41 or ECN-2 ? ... Also related to processing, I was wondering how does S8 handle pushing / pulling. To be honest I always shot S8 at box speed because of the extra costs involved when pushing/pulling film in most regular labs. Up to now I've always shot daylight and outdoors but I came across situations where the max box speed available in my bag was not enough to get proper exposure (overcast days in the woods for example), maybe pushing the films could have saved the day ... I assume negative stocks are better mediums for pushing/pulling ; do you have experience in pushed/pulled S8 stocks ? What were the outcomes ? Thanks for your insights and experience.

Sold.

For sale, three (3) Eumig cameras model Nautica. Eumig Nauticas are the only super 8 cameras designed to be used underwater without additional housing (see Super8wiki for more details). The 3 cameras are sold with all accessories : underwater framing device (one is slightly damaged - see the one on the right), wrist strap, PMA lens. One has a missing eyepiece. I also have a couple accessories like extra seal and original lubricant (more for collecting ;) ) plus a rubber lens hood. Of the 3 PMA lenses, one has a big scratch (second picture, the one in the middle), the second one has tiny scratches and the third one is close to perfect. I baught these for a project that was later cancelled so I don't really know about their state : motors are running and light sensors are reacting, that's all I know. Sold as a lot - 3 cameras together only - for 250 euros (open to discussion) shipping not included (note that I am in France). PM or mail at gybe28[at]yahoo[dot]fr for more info.

Really good news to read that Kodak is back in the Super 8 game. Hope it'll mean some new / different film types in the future, like reversal 100D (yes we like to screen our homemade movies and not only watch them on TV after telecine or on whatever streaming platform). Don't really know what to think about the Max-8 choice, though : while I truly understand it technically (we are now used to 16:9 on a daily basis and Max-8 makes things easier), I still hope for a lens company to develop modern anamorphic C-mount lenses ... maybe one day. I truly think that Kodak sticking to the 4:3 format would have made it happen earlier. But once again that was a logical choice from Kodak (and probably an impossible dream of mine). Really eager to see this camera for real and curious about the full cost for cartridge + development + scan, the various options (more than 1080 HD ? 4:4:4 scans ?) ... I know Star Wars has been screening for a while but it sure sound like "A new hope" for Super 8 (even it was far from dead up to now) :)

Got a couple 514 XL home as I bought them for really cheap (like 20-25€). A fair compact camera to bring along whenever you're out. I like the compact size and the additional C8 attachement for "wide" angle shoots. Even if lens is a bit soft, it works fine with fast film (ISO160) so that aperture is rather closed. I also use the 10sec run feature from time to time if I want to appear of the film. For longer shots I use a release cable with lock ring. On the other side, the lens focus ring is really loose which is not so great for accurate focusing. But with a bit of practise you can have decent images. Some will also notice the lack of high speeds (25 fps or higher) but for regular 18 fps clips it does the job. This clip was shot entirely with 514 XL (but with a Panasonic adapter that turned wide angle shot to absolute crap as focusing wasn't accurate). Scan quality is bad but anyway ...

Had I fully read your initial post... Super 35 (3-perf) , then.

Still some stuff for sale ?

Still for sale ? What's the gate size, regular 35mm (4:3 / 1.33:1) ?

Really nice and crisp pictures. Just wondering about the final format (16:9 ?) did you crop in post or use anamorphic lenses ?

Yep, no problem with theses films. Quote from the user manual : The camera takes Super-8 films of the following speeds : - Daylight : 25 or 100 ASA (15 or 21 DIN) - Tungsten or artificial light : 40 or 160 ASA (17 or 23 DIN)

Thanks for the info. I'll check that on mine.

You're absolutely right, this couls be a good idea. However, I have also observed another thing that make the reglomatic unit a bit troublesome : when I screw the complete lens (with reglomatic) on the camera, le lens part has a bit of play. In fact, when mounted on the camera, the reglomatic touches the camera body (needed for the electric contacts) so I can't tighten the lens itself anymore. But in this position the lens has a bit of play. For example, if I just turned the the focus ring to infinity and want to come back to close-focus, the lens turns a bit on itself before the focus ring turns. It's not a big play, not even 1 degree retotation but it makes things harder when it comes to precise focusing and I don't know if it has an influence on the image crispness ...

Done ! You were right it's really simple to do. Once the reglomatic unit removed, the zoom ring is easier to move and not so loose. Perfect. Still have to find some way to cover the gear but it shouldn't be too hard. As for the aperture ring it's really loose and you also loose the macro lever on the side of the lens ... Does anyone know if there's an existing plastic cover to put over the aperture gear and that could have a macro lever ?

Thanks for you answers, I will try that next week-end on my Schneider Optivaron 6-66, looks like it's fairly simple. As for the openings for the gears, a piece of gaffer will do the job.

Hi everybody, I was wondering if it's possible to modify one of the oldschool Angenieux or Schneider lens sold with Beaulieu 2008 / 4008 series to have them full manual. As you know most of theses lenses were electronic driven. Even if this is bypassable thru the dedicated knob on the camera I was wondering if it's possible to remove the motors to have a smooth manual movement. Have some of you tried that ? Does it need to be done by a professional ? Who on the market does that ? The other option is to find a full manual lens but they are quite hard to find ...

Couldn't find a topic about this interesting project so I post the links in case some of you are interested. OFFICIAL PAGE - Kickstarter page - Vimeo page (with footage from camera) Project Description : ABOUT THE CAMERA The Digital Bolex is a “digital cinema camera” or a camera that shoots RAW images (sometimes known as Digital Negatives) instead of compressed video. Unlike the digital cinema cameras used on big budget films, the Bolex is designed with consumers as well as pros in mind, and will be inexpensive, compact, and easy for anyone to use, just like the film cameras many of us remember using as kids. WHAT’S THE DEAL WITH RAW? Most video cameras (even expensive ones) shoot compressed footage, so that it takes up less space. The problem is that compressed footage, in order to make each frame more efficient, marries all your in camera settings (like white balance and contrast) to the video file being shot, which makes the shot difficult or impossible to manipulate in post without degrading image quality. Think of the difference between a blocky, low-res JPEG image you find online, and a smooth high-res photographic print in a gallery. That’s the difference between compressed, normal video footage and RAW. It’s a big difference! A RAW file saves a camera’s settings, but it doesn’t marry those settings to the file. That way you can change the color balance, contrast, highlights, shadows, white balance, and more all in post without any loss of quality. And because RAW is uncompressed, and the frames don’t rely on each others’ contents for efficiency, each frame stands alone, just like a film camera. (In a video file, each frame is designed to make the transition to the next frame as efficient as possible, so it can be hard to isolate a focused, clear image). Like a film camera, each RAW frame is of printable, photo quality. IF SOME CAMERAS ALREADY SHOOT RAW, WHY DO WE NEED A DIGITAL BOLEX? There is no camera on the market that offers affordable RAW quality to consumers and independent filmmakers. The Digital Bolex will mean filmmakers who prefer an uncompressed and “film like” look won’t have to spend hundreds of thousands of dollars to achieve that. Isn’t it time for the digital generation to have image quality as good as our parents had? TECH SPECS Resolution : 2048 x 1152 (Super 16mm mode) + 1920 x 1080 pixels (16mm mode) Format : Adobe Cinema DNG, TIFF, JPEG Image sequences Colour depth : 12 bit – 4:4:4 File size : 2 to 3 MB per frame in RAW Sensor Kodak CCD : 12.85 mm (H) x 9.64 mm (V) – Similar to Super 16mm Pixel Size : 5.5 micron (compared to the 4.3 micron size of many DSLRs) Framerate : up to 32 fps at 2K, 60fps at 720p, 90 fps at 480p Sound : Balanced, 2 channel, 16 bit, 48 kHz via XLR Viewfinder : 320×240, 2.4” diagonal, with Focus Assist Video out : 640 x 480 B&W via ?” video jack (HD-SDI avail in separate unit) Ports : 1/8"video, headphone, USB 3.0, Audio XLR (2), 4-PIN XLR Data Storage : Dual CF card slots, SSD (buffer drive) Power : Internal battery, 12V External via 4 pin XLR port Body : Milled steel and hard plastic Size (body) : Approximately 5”H (without pistol grip) by 4”W by 8”D Size (grip) : 5”H by 2”W by 5”D Lens mount : C-mount comes standard; Optional PL, EF, B4 Weight : 5lbs ISO Options : 100, 200, 400 Also in the box : pistol grip, USB 3.0 cable, internal battery, 4 pin XLR Battery, cable, video cable, transcoder/raw conversion software

Still looking for one ? I'm not in the US but I must have 2 Nautica somewhere in my cellar. As far as I remember they are fully functionnal and fixed optics are OK. Only issue may come from the PMA lenses that are a bit scratched (one more than the other). I was supposed to use them for a short about sailing which was never shot ... Let me know (by PM) if you're interested.

Mediacapture (Paris) - contact[at]mediacapture.fr

Thanks for your reply Rafael, now I undersand how these "new" products can fit on such oldschool cams :rolleyes:

I've seen your but it looks like mines, these are just original Beaulieu eyecups that's aren't IMO very practicle. David Odell's or Jorge Rondao's seem different and (maybe) "better"

I see various "non-original" eye pece on your Beaulieu cameras...looks like "pro" stuff. Where do you get them ? Are they "comfortable" / easy to use ? My original eye pieces aren't really practicle ; it's not that easy to look through as they are really symetric (perfet cone style). Most of the time I have to remove them when I shoot. :(

I went through this topic again...things are getting clearer for me each time I read it :rolleyes: Having 2 Beaulieu 4008, I'm still hesitating in buying a timelapse dedicated camera (Bauer A512 or Nizo Pro) or trying to find the Beaulieu timelapse unit. Is there some way to find these TL units maybe remanufactured ? Seems to be a really rare stuff, even hard to find some pics of it ... Any help / information / pictures on that device would be great. :unsure: Thanks.

I feel completely lost, here's what I found one a website about the 2 stated cameras : Nizo Pro : # Schneider-Kreuznach Variogon MACRO-MULTICOATED 1.8/7-80 mm with ZOOM (2x power and manual) # Split image focusing # 18, 25, 54 fps and single frame # interval timer - variable between 6fps and 1frame per minute # Autom.B # Auto/Manual Exposure, +1, fix, also possibility of over and under exposure control with 3 increments of 1/2 +/-. # Autom. lap dissolve # Connection for E-flash, remote control, cable release, pilot sync # powered by only 6 AA batteries Bauer A512 : # Schneider-Kreuznach VARIOGON (MULTICOATING) 1.8/6-70mm MACRO lens with ZOOM (2x power and manual) # Split image focusing # 12, 18, 24, 54 fps and single frame # interval timer (6fps/1 sec. to 1fps/min.) # Autom.B # Auto/Manual Fade # Auto/Manual Exposure # Automatic lap dissolves # Connection for E-flash, remote control ... # powered by 6 AA batteries (not need extra batteries for the lightmeter) I thought only the Nizo had the interval timer stuff (6fps - 1 fpm) ...

A camera : Beaulieu 4008 ZMII with Schneider 6-66 f/1,8 Same with UWLIII B camera : Beaulieu 4008 ZM with Canon FD 70-210 f/4 B camera Original setup with Angenieux 8-64 Other cams : - Canon 514 XL (I have 2 of them) with accessories - Compact and goes everywhere with me. - Yashica Sound 50 XL - My first S8 camera. Used to be my grand-father's. - Eumig Nautica for underwater / close to the water shots. This one has a scratched PMA lens, a second one is coming home in a few days. Also have a Bauer C Royal 6 E but it has some mechanical problems - no pics.