Bengt Freden

Cecilia, If you want to partially correct the yellow tinge when projection black & white films, I can recommend using a (clean) Kodak gelatine CC Blue color correction filter on (or inside) the projection lens, perhaps a 010 or 020 (or even 030 or 040) strength, depending on how yellow your lamp is. I am using a thin CC Blue filter (020) to improve whiteness when projecting 6x6cm color slides in a Rollei P.11 Universal slide projector. It certainly looks a little cleaner and whiter to me. Best regards, Bengt F, photographer, Stockholm, Sweden

OK, John, I guess that was pushing my luck! I hope that Fujifilm will continue producing just that, FILM, for some time to come, at least the PROVIA 100F film I am using. I've also heard that they will re-introduce their black & white ACROS film, which they recently discontinued, due to popular demand the world over. Best, Bengt F, Sweden

Very beautiful K3 footage, Ruben Arce, so inspiring! I bought a K3 camera body (off eBay) a while ago, which was converted to Super-16 by Les Bosher in the UK. It has a Nikon F hard mount, instead of the M42 screw mount, so I am thinking I will try using it with my manual Nikon Ai-S glass (and some Samyang and Voigtländer manual focus lenses with Nikon F mount). I have focal lengths from 14mm (rectilinear super wide) up to 300mm. I haven't shot anything with this K3 body yet, so I don't know if it will scratch the emulsion anywhere inside the camera. I'll just have to learn by doing, I guess. And measure the light with my Sekonic L-758 Cine spot meter. It will be very interesting to test it with the Kodak Vision3 50D 16mm negative, and a 4K scan. I just can't wait for the new Kodak Ektachrome 100D 7294 Reversal film in 100 ft daylight rolls! https://www.kodak.com/SE/sv/motion/Products/Production/ektachrome/default.htm All the best, Bengt Fredén, photographer & cinematographer, Stockholm, Sweden

Ektachrome 100D Reversal is actually returning now it seems! Kodak now officially announces it, and several filmmakers are in fact testing out the new emulsion this summer (you can see this if you look at facebook: https://www.facebook.com/groups/27648968851/ ). Super-8 (7294) will probably (finally!) be available on the market later this year, maybe in late December (in time for Xmas?). Later still, it will supposedly also be available in 16mm 100 ft daylight and 400 ft core rolls: https://www.kodak.com/SE/sv/motion/Products/Production/ektachrome/default.htm And, as a 35mm stills film (135 format). I am hoping it could also be cut as a 120 roll film, for medium format cameras (Hasselblad, Mamiya, Bronica, Fuji, Rolleiflex, etc), which I use a lot (now with Fuji PROVIA 100F III, 100 ISO). With this reversal film, things look a little bit better for Super-8 (and 16mm) - at least for the hobbyist or DIY/ 'Indie' film maker. Bengt Fredén, photographer, Stockholm, Sweden

Try Björn Andersson in Sweden, he is the top most technician and repair man for all things Beaulieu (Filmkonsult KB, in Hässelby, near Stockholm)! Having used his services, I can wholeheartedly recommend him. He has performed wonders on my 4008 ZMII and R16 cameras. Bengt Fredén, Stockholm

Hi Sam, Some rolls of DoubleSuper-8mm film (e g FOMApan) are still sold on 50ft/10 meter daylight metal spools, from for example FOTOIMPEX, Berlin, Germany: https://www.fotoimpex.de/shopen/films/foma-fomapan-iso-21100-r-ds-2x8-mm-10-meter-double-super-8-not-super-8.html They also stock the same film on 100ft/30 meter daylight metal spools, NOT the plastic spool kind often found in the Russian K-3 cameras! I hope this helps, Bengt F, Sweden Addition: 50ft is actually about 15 meters of film, about the same length/ quantity of film stock found in Kodak's standard Super-8mm cartridge! So, to be exact, 10 meters is actually LESS that 50ft, perhaps around 40ft? BF.

It sounds like a good question for Björn Andersson, FILMKONSULT HB, in Sweden! The Guru for ALL things Beaulieu! The long prism/optical finder for the R16 (as well as Super-8 4008 ZMII) can be dismantled and glass lenses thoroughly cleaned, likewise the GG. Best, Bengt F, photographer/ DP Stockholm, Sweden

Great tip, however, I think I would prefer this tape: https://www.amazon.com/dp/B00GZE3UJ8?aaxitk=zfbURLI6xxeVfS8ozk2KEA Bengt F, Sweden

Hi again, Joe, I forgot to post a rather important link - LOOK HERE what Pro8mm in Burbank, Cal, is asking for their MAX-8-converted Beaulieu 4008ZM camera, with that very lens!: https://www.pro8mm.com/collections/super-8-cameras/products/classic-professional-super-8-camera?variant=30056208897 So, you see, you are sitting on a rare gem there!.. Best, Bengt F, Sweden PS. The only thing that is a bit awkward with this zoom lens is it's front filter thread - it is 46,5mm! But Pro8mm comes to the rescue with an adapter for 49mm Pentax Spotmatic filters (or is it nowadays for a 58mm thread?) for only 50 bucks!: https://www.pro8mm.com/products/customer-classic-step-up-ring-46-5mm-to-58mm WITTNER Cinetec in Hamburg, Germany has one, too (for 49mm filters), at 16,90 Euros: http://www.wittnercinetec.com/epages/WittnerCinetec-Super8-16mm-Film.sf/de_DE/?ObjectPath=/Shops/WittnerCinetec-Super8-16mm-Film/Products/1133 There are of course other 'vintage' adapter rings, but they are EXTREMELY rare (I have managed to find one from Tiffen)

Joe! That Angénieux 1.9/8-64mm Super-8 zoom lens DOES in fact have a great value! It is one of the few Super-8 zooms that covers the wider 'MAX-8' format at the WIDE ANGLE end (8mm)! Other zoom lenses, like the revered and commonly praised Schneider-Kreuznach Optivaron 1.8/6-66mm does NOT cover the 'MAX-8' (or 'SuperDuper-8') format at the wide end, in this case 6mm - you will get black/vignetted corners. The 8-64mm lens is perhaps not known to be the sharpest among zoom lenses - the longer Angénieux 1.2 /T1.4 6-80mm or 6-90mm lenses have higher overall resolution and contrast, but they have an even more narrow image circle at the wide end (6mm), than the Schneider 6-66mm. So, I suggest that you keep this lens, if you should in the future like to try out a WIDER format on ANY C mount Super-8 movie camera, for example the anticipated, upcoming (in spring 2018?), and incredibly high-priced KODAK Super-8 camera, which reportedly will have the wider screen format. Other interesting cameras are; the exclusive Danish LOGMAR S8 (it also the has wider screen, and it's own register pin drive movement mechanism, and metal film gate), or any of the vintage French Pathé DoubleSuper-8 cameras (normal 4:3 aspect ratio, but the gate CAN theoretically be widened on the sound track side, opposite the perforations, with spring wound- or electric motors) - all of these have the same, standardized C mount, back flange focal distance as the Beaulieu 2008, 4008, 3008 - 5008 series. (The later 6008, 7008 - 9008 cameras have a different lens mount). All the best, Bengt F, Sweden

Hi Mitch, There is also a CPR to C mount adapter (a VERY expensve one, at that!), if you should like to use the lens on any C (25mm) mount camera, such as the French Beaulieu R16 or the Pathé 16 Duolight/Report cameras. I have an Angénieux 9,5 - 57mm lens in CPR-16 mount myself, and I am considering this adapter: http://www.ebay.com/itm/371050588537?_trksid=p2055119.m1438.l2649&ssPageName=STRK%3AMEBIDX%3AIT Best regards, Bengt in Sweden

This is the Beaulieu 4008 ZM, for what it's worth, although it should have it's 'Reglomatic' zoom and aperture drive motors on the lens: http://www.ebay.com/itm/Beaulieu-4008-ZM-Super-8-Motion-Picture-Camera-Refurbished-/321959804368?hash=item4af64cbdd0:g:PPgAAOSw8-tWZTsR It was a very popular Super-8 camera in Europe around 1970-72, until the 4008 ZMII came along, with the 1.8/6-66mm Schneider Optivaron zoom lens. Bengt in Stockholm

Or perhaps a Beaulieu 4008 ZM with the Angénieux 1.9/8-64mm zoom lens? It isn't exactly an XL camera for available light, but it is a sexy little thing. It first became available in 1965. Bengt F, Stockholm, Sweden :)

Nicholas, WHERE exactly have you read that LOGMAR Camera Solutions in Denmark is a partner for the newly announced Eastman KODAK Super-8/MAX-8 camera? I cannot find anything anywhere that supports this, so far... Bengt Fredén, Stockholm

Hello Erkan, Have you got a Pathe Electronic Duolight 16mm camera? You are a lucky guy! I have managed to find the last available 16mm Pathé Duolight camera, I think it was called the 'Report', it is black and has an AA battery compartment under the handle. The viewfinder is very clear and nice, with TV 'safe area' markings. And it has the possibility of adding a 120m/400 feet magazine. However, the meter isn't working - I think the film door contacts have to be thoroughly cleaned. When I bought the camera (off eBay here in Sweden, where I live, so I collected it directly from the buyer), it had old batteries that had leaked quite a lot in the battery compartment - however, thanks to the very smart French construction (it is a completely closed off compartment!), thus the interior is not damaged in any way. And the film chamber (for 30m/100 foot daylight spools) looks like it's brand new! Have you managed to find a 400 foot magazine (for daylight spools) for your Pathé camera? If you know where to get one, please let me know - thanks! I believe it is made out of reinforced Polystyrene plastic, or is it almost completely metal? All the best, Bengt in Stockholm B)

I agree, Anthony, The ELMO ST-1200 has been my most trusted Super-8 film projector since the early 80s. It just works and the only thing you have to do (with ten-year intervals) is to sometimes buy new drive belts (available on eBay). I also own the Beaulieu 708 stereo, but that is a more delicate machine, you have to watch it while running, as it sometimes loses the loops. It takes larger reels, though, up to 720 meters. I have also recently bought an ELMO ST-1200 HD 2-track, cheaply off eBay, which I will renovate and equip with a fine new long zoom lens, the ELMO 1.2 25-50mm. If you have a separate balance track on your film, it can function as a sort of stereo projector. All the best from Sweden, Bengt B)

Sir Alvin... You know that you should take OFF your glasses when you look through a film camera viewfinder?.. It is most important that you set the viewfinder glass for your right eye - this is critical. You can do it without the lens, by looking at a bright light source: turn the eyepiece back and forth and look at the crosshair or split screen, or whatever reference you have on your ground glass. The focus should be placed on the matted side of the ground glass. Then 'fine-tune' it again, with a wide angle lens, set to infinity. Look for distant tree tops, or something with great contrast. When set, you have optimum sharpness control on your lenses, provided they are collimated to your camera mount and give the same focal flange depth. Best, Bengt F, Stockholm

Ingenious, Dom! I have a (rare black) Angénieux 1.8/10mm lens, that I bought recently off eBay from Germany. I will certainly try the 'shim' option, which sounds really nice and very easy and cheap to do. It could even be cut from black cardboard (yes, I am a card modeler, too). That would then function as a very thin 'extension tube', which is always a better solution optically than a diopter or close-up lens. If you use a diopter, you have to stop down the lens at least two stops (sometimes three) if focus at the edges of the frame is critical. And when filming that is not always so easy, for example on Vison3 50D stock. Best regards, Bengt in Stockholm

Hi Geoffrey, I know I read somewhere (some time ago) that the special clip-on wide lens attachment that Canon made for the Canon 16M Scoopic (the 1st camera with 'Macro' mode on the zoom lens) was specially developed for the Scoopic lens, which renders straight lines straight, even very close up to the front lens. Here's your camera - try clicking "Specifications" or "Catalogue" in the top menue: http://www.canon.com/camera-museum/camera/cine/data/1971-1982/1973_sc16m.html?lang=us&categ=crn&page=1971-1982&p=1 All the best, Bengt in Stockholm ;)

Hi Jrn Michael, That sounds very interesting. How many feet of film did you manage to load in the Beaulieu R16 200 feet mag, and was it KODAK or FUJI stock? Acetate or thinner-based Estar/Polyester film? I'd like to try this myself - I think I might have som 16mm core adapters lying around in a box somewhere... All the best, Bengt in Stockholm ;)

Hi Will, Thanks for that link to JavaPhoto. Very interesting - I will certainly consider sending my K-3 body there, for a CLA and 'upgrade'... Bengt ;)

Cheers, Antoni! There you go! I didn't think it would be too complicated. This camera is very robust and straightforward. Glad to hear that you didn't have any scrathes. I might try this relatively inexpensive conversion myself, if I can only align the drive sprockets in my camera properly - it chews (and re-perforates) film pretty bad at the moment, and the adjustment of the spindle up or down is very crude (small screw on the side of the spindle). I will probably have to have a camera tech look at this at some point (or buy a second body). I have removed the two plastic film formers, by the way. The system of threads at the back of the bottom plate for the release of the formers is also very crude, to say the least - the Russian way. Best regards, Bengt in Stockholm

Hello Ian, Thanks for the very instructive photos. I have two of these light 61m/200ft magazines. And yes, you do need to have the film in the larger daylight 200ft spools, otherwise the risk of fogging the film is too great. The black rubber bung goes in the bottom hole, to keep dust and dirt out, and to keep all unwanted light out, if you pre-load the film with a long loop sticking out. On top of this, I always tape the edges of the mags with black tape, just to be really sure. If it's a very bright and hot day, I also slip a white ARRI leather barney over the mag to keep it a bit cooler (and even more lightproof, especially with some blackwrap foil around the mag inside) - it also makes the mag more quiet, whereas the camera itself is still a bit noisy, as you mentioned. 16mm film is expensive these days, especially if you have re-spooled a 400ft load onto two 200ft daylight spools! Although, you have to open it now and then (in the shade) to check on the film counter how much film is left. Wittner Cinetec in Hamburg, Germany, sells the larger 200ft spools: ("Kameraspule 16mm - 60m") - http://www.beaulieu.de/pages/16_azub2.php?rubr=16_azub2 The little roller goes on the upper spindle inside the camera, by the way, so the film goes straight up without looping around the lower spindle, this might put too much stress on the film - this is shown in the R16 manual as well. Best regards, Bengt in Stockholm

I found him on the first try: http://www.k3camera.com/k3/krasnogorsk-3-super-16mm.php I have actually bought his excellent little zinc-air battery adapter for my K-3 camera Have fun! Bengt in Stockholm

Hi Will and Matt, There actually IS an eBay seller in Russia at the moment selling M42 ZENIT K-3 mounts that are shifted 1.7mms to the right (seen from the front) for the Super16 format: http://www.ebay.co.uk/itm/191164993490?_trksid=p2055119.m1438.l2649&ssPageName=STRK%3AMEBIDX%3AIT You just remove the screws and exchange the whole lens mount block in the camera body. And - there is a guy in New York, who specializes in K-3 cameras, who does conversions to Super16, and also sells kits with the wider Super16 gate. All you need to do is remove the Regular16 gate and screw in the new one instead. I'll try to find the link... The main problem, though, is that you still have to consider a wider format in the viewfinder, panning to the left to see what you get outside of the frame (on a tripod), and perhaps use a slightly wider lens hood or matte box. Obviously, you also probably need to re-collimate and check the back focus for the lens, so that you are dead sure to get sharp focus at the wide end and exact focus correlation with the ground glass image. I don't know about problems with guide rollers in the camera, that might scratch the film, but I suppose you can make a snip test or shoot a short reel of film to see this. Best, Bengt in Stockholm