Marc Guerriero

With the exception of the 1014E being a large and heavy camera, it is superior in every way!

The later Rollei cameras like the Movie 6 were made by Cosina which are still good quality. The movie 6 uses an nice sharp Rollei lens. The earlier Rolleis with numbers like "84" were made by Rollei themselves. In terms of Cosina, the reputation is pretty good in that their electric motors don't die as quickly due to heavy use as you would usually find with other super 8 cameras in their price range.

Have you used the Yashica Up? And if so, what are your thoughts on it?

I understand, based on what I have heard from someone that used his stock, that the accuracy of the perfs is not quite up to par with what Kodak provides, thus making it less steady than what you would get from Kodak stock. This would seem to defeat the purpose of using Regular 8mm. Maybe you or others could shed some light on this or possibly refute it based on your own experiences.

I am going to have to agree with Marios here. I have shot with an H8 RX and a C8, and I can tell you, with the precision Bolex engineering and the prime lenses, No S8 can touch it! The registration with both cameras was rock solid. People will use the larger H8 because they want to get more bang for their buck than they would with a 16mm camera of the same size. It's not just about keeping it simple.

Thanks, I can see a difference. I know that the silver oxide batteries sometimes come come as 1.55 or 1.6 even though they are rated as 1.5. Does the adapter bring it down to 1.35v regardless even if there is a variance of .05 to .1 volts?

1.3 volt or 1.35 volt? I have noticed that some of the user manuals of older cameras, that required a separate light meter battery, indicate the voltage of the separate battery as 1.3V. Is there a difference or is this just a rounded off figure. One guy that makes his own battery adapters for the obsolete mercury batteries claims that they are essentially the same and that the camera reads them similarly. I am not sure if he just said that to sell his products or if there is really a difference. Any opinions?

Yes, but he says that it is stuck in auto as well. Might be electrical.

It sounds like it might be an electrical/electronics problem because with these cameras, there has to be power to use the manual control as well.

I have a battery powered R8 camera. Obviously, the light meter uses a separate battery so there is no concern there about damaging it. The maximum speed that this camera is capable of is 24 Fps. I am interested in getting twice that for a slow motion speed and I was thinking of increasing the voltage to 12 Volts instead of the usual 6 Volts. My question is: Is this safe for the camera both electronically and mechanically and if so, will it work?

Thanks Fred, I sent the message!

Fred, I tried to send you a private message but your in box is full. I wanted to ask you something about your transfers but I don't want to talk about it in front of other forum members. So, if you Get a chance, send me a private message and let me know where I can contact you. Thanks! Marc

I strongly recommend A Regular/Standard 8mm section. This has become a stronger format in recent years than Super8 in terms of reliability and quality. Due largely to the better color reversal film stock available as well as the steady image, solid camera designs and integrated, in camera, pressure plate.

But Video fred is not the run of the mill video guy among the "collective pool" of DIY video guys. And as far as I am concerned, the majority of DIY video guys don't come close to the quality that Fred Achieves. In fact, most of the DIY transfers look no better than film held up to a magnifying glass with a cigarette lighter on the other side for illumination!

What I find funny about them is their ads from the early days when they would say something to the effect of, "....You get four times more film out of a strip of 35mm. Using this format is very economical...." . Economical for who? Them of course! With the prices they charge you get a better deal using 16mm with the more reputable establishments. I can see how the whole work flow process through them can cost as much if not more than an economically planned 35mm shoot!