Bengt Freden

Hi Kirk, The repair manuals show up now and then on eBay - here is one at a reasonable price: http://cgi.ebay.com/Canon-Scoopic-16M-Repa...idZp1638Q2em124 Manuals for the camera can be found on the web- I downloaded one just a week ago. Good luck, Bengt

Hi Kristian, Was this lens adapter especially made for your lens? In the case of Schneider, the ASPHERIC acryllic glass UWL super wide angle lenses are deigned especially for the Schneider zooms (for example in Super8, the 6-66 or the 6-70 zooms). The aspheric design is developed to address issues with sharpness, contrast and color shift in the corners of the image. As with all lenses, image quality improves when stopped down two or three steps. If you write to Schneider Optical (or any other optical glass manucaturer), they can probably give you the optimum f-stop for each lens or lens adapter. No filters in between the lens adapter and the lens itself? And, are you sure that the piece of tape was applied to the gate in a perfectly flat fashion, and not slightly curved? That might influence the test image that you see. If you try the crude and simple tape test again, and get the same result, there MIGHT be something wrong with how the lens is put together. The C-mount flange focal distance is of course measured from the flange of the C-mount on the lens to the camera gate, not from the focal point as I happened to write (which is even farther away from the gate) - sorry about that mistake. Best, /Bengt ;)

Hej Kristian, Putting a wide angle adapter lens on a zoom, or a prime lens, is VERY demanding on the exact focal flange distance to the camera gate. The long zooms and also wide angle primes are of retrofocus construction, i. e. the distance to the camera gate is LONGER than the focal length of the lens, for example 4 or 6 for Super-8 or 6 or 9 for 16mm, because of the distance occupied by the sector shutter and mirror, and in some cases, a viewfinder prism. Normally, such a wide lens is focused using the macro lever on the zoom lens, at least with Schneider or Angénieux zooms on the Beaulieu R16 (por the 4008 Super8) camera. You have to be very careful, though (make sure that the viewfinder eyepiece is exactly adjusted for your own eyesight) - perhaps taping it down, when you have arrived at a perfect focus. The wider the lens (the shorter the focal length), the narrower the depth of field at the camera fate - that´s why it is especially important to collimate (check the focal flange distance with a collimeter) wide angle and super wide angle lenses. Even very small differences will reveal them selves as an unsharp image, and sometimes the image can be sharp on the ground glass while it is slightly off focus in the camera gate. This is something that only an experienced movie camera technician can determine and do something about. The universal norm for the focal flange distance from the focal point in the lens to the camera gate on C-mount lenses is 17,52mm, by the way. You may find a further explanation of this here: http://www.schneideroptics.com/info/faq/industrial.htm#qu5 A small tip: Putting a small bit of matted transparent tape flush against the camera gate, and looking at it with a good lupe or magnifier (sometimes you also need a small dentist´s mirror), can be one relatively easy way to do a first check. Always check the longest distance first - at infinity, with the aperture fully opened (full stop). This is where it is really critical - it HAS to be completely sharp at the infinity mark (where the focal ring ends). At near distances, you can adjust for slight differemces btw the scale of the lens and the exact, physical distance measured with a measuring tape to the mark on the camera where the camera gate is situated (if there is such a mark on your camera). Hope this helps. Best regards, /Bengt ;)

$7000? I thought that Paul was talking about $750 for the Ultra16 conversion (machining of both sides of the camera gate), for the recommended cameras on the list. Does it really cost that much more to trim all the drives and wheels? Best, Bengt

Paul, Do you know if ALL the Canon Scoopic models are as easy to convert (widening of the camera gate)? I am asking because I recently bought a very clean and well cared for Sound Scoopic 200 SE, that has had the direct mag sound module removed. It has the same fast 1.8 (T2.4) 12,5-75 zoom as the later M and MS models (and the same 'TV safe action area' marking on the GG), but it has a mirror shutter (flickering viewfinder image when running) a registration pin movement, like an ARRI, and a through-the-lens meter. It also has the larger 170° shutter opening (at 1/50th sec), whereas the older 200 model had a 135° opening and a slightly slower zoom lens. It would be very interesting to know if this Scoopic model, too, could be converted for the wider camera format - thanks. (I have sent the same question to Bernie, by the way). Best, Bengt F

Hi Roland, Thanks for the info. I must try this myself. The balanced quality all the way through is simply amazing. I have a couple of questions re. the processing: 1. Do you wind the film onto a big drum for the processing, or how do you do it physically? 2. Do you have a controlled environment for the drying, to prevent dust from accumulating, and, did you use a wetting agent, like Kodak PhotoFlo? And some additional questions re. the anamorphic lens: 1. I´d be very interested to know what kind of anamorphic lens you have (the make), since the front diameter of the Canon lens is so large (72mm)? 2. Have you custom-built a support (with rods?) from the tripod or camera plate, and how do you attach the anamorphic lens? 3. Does the anamorphic lens in itself has some form of focusing ring? Thanks again! Best regards from Stockholm, Bengt

Hi Marc, It´s somewhat hard to determine the grain structure in this small size, when it is scanned at a lower resolution like this is (which 'hides' the grain a bit), but it seems that the graininess is not so badly affected. Furthermore, in a location like this, it kind of fits well for the atmosphere. It might look different if it was projected onto a big screen with a really good projection lens, though. Moreover, it is possible that the contrast has been reduced a bit - this is also hard to compare, as the scenes are different. So, perhaps you need a higher contrast ratio. However, it might be nice to have a balanced lighting and a 'softer' negative to start with, as it is always easier to add contrast digitally in post, than try to soften a contrast that is too high (washed-out whites or skin tones, for example). Is this the actual camera (Krasnogorsk K3) that you are going to use in your shoot ? If it isn´t, try to shoot another test with the actual camera that you are going to use - this is a demanding lighting situation for ANY lens, and I´d say you probably need the best and fastest primes (I´d avoid a zoom lens at all costs) that you can find for this. You will probably be shooting on a stop close to full most of the time, so you need a lens that is very contrasty and has a high resolution already at full open. There are not many lenses that has this - perhaps Zeiss Ultra primes? If you have focused the lens on the K3, and the scanning is done here at a level where these things can be seen, it is pretty unsharp - you might want to consider another lens. And if the end result is critical to you, shoot another test - there is always time to do this BEFORE the shoot, rather than after . . . Best, Bengt, photographer ;) Stockholm

Nice looking sequence in black & white, Rolando! And you have done a great job of the processing in D-76. The contrast is superb - did you 'tweak' it digitally, what I mean is, did you make the contrast higher or the blacks deeper? I have just bought a very fine used Canon Sound Scoopic SE model (from 1972) here in Sweden, and I´d be very interested to know what kind of anamorphic lens adapter you have been using on the 1.8/12,5 - 75mm Canon zoom? Can you focus it separately? I know that Panasonic makes a 16:9 widescreen anamorphic lens with a 72mm thread and that it costs a small fortune (see below). Also, do you have any hints or tips on filming with a Scoopic? Any particular issues to look out for? This camera has an updated external lead acid 12 Volt rechargable battery cell, which seems to work just fine. All the best from Stockholm, Sweden, Bengt :)

Hi Philip, Although the dedicated film cleaners probably are the best to use (some even include lubrication, for smooth transport through the projector gate), I occasionally use the kind of led-free chemical 'gasoline' (white spirit?) that I can buy from the pharmacy in little glass bottles. I put just a few drops on a very clean twice-folded piece of thick black velvet and the very slowly wind the film through from one rewind to another. I stop now and then, to remove the dust and dirt (away from the cleaning area) and start again, using a new spot on the piece of velvet with a new drop or two of the gasoline. The gasoline vaporizes very quickly and the film is fairly 'dry' as it is being wound up on the film wheel. The wheels are about four feet apart. I find this also somewhat reduces the static electricity, that is if I wind very slowly. It is, of course, extremely important that you work in a dust-free environment, something as close as you can get to a bathroom (without the towels or bath robes, though). This is my simple way of getting rid of the dust without scratching the film emulsion. I bet there are hundreds of different ways. Experiment and try what works for you. Good luck! Bengt in Stockholm ;)

Hi all, Take a look at the samples provided by Justin Lovell at Frame Discreet in Toronto, Canada, and you will have to look no further, in my opinion: http://www.framediscreet.com/super8mmabout.htm Their prices for their transfer work seems modest, considering the attention that your material gets in this house. Best regards; / Bengt in Stockholm

Hi Derrick, I have used Fujica, Würker and Bolex tape splicers (with the slim Bolex being my favourite of these) but my Nr. 1 all time-favourite splicer is the German Hähnel 'Kollmatic' SD-8 (or the identical, also German, Braun FK-1) motorized beveled-edge cement splicer. After an initial period of training on waste film or leader material, I think you will appreciate the thin and smooth splices that you can achieve with this remarkable little AA battery-operated machine. Moreover, with the aid of a very fine-tipped black permanent marker and a magnifying glass, you may 'paint' the one frame where the splice is - and your splice will be impossible to detect in projection (or when transfered), especially if you run at 24 fps with a 3-bladed projector! You have to use a dust blower regularly, though, to blow away the grinding dust from the film base and emulsion, which otherwise might end up on your film or in your splice. I use Kodak´s Professional Cement, which is OK for all film bases except polyester-based (the slightly thinner Fuji Single-8 films, for example). It looks like this and can be seen under 'editing equipment' on eBay from time to time, where it usually sells for next-to-nothing: Good luck with your originl reversal film or preparatory negative cutting - it is great fun! / Bengt in Stockholm ;)

Yes, in fact I just did - I have gotten a new 'VIP' number code and couple of weeks ago, I could log in but not today. I have tried several times today but I got fed up. Any hints, master Giles or Andreas? Best, Bengt in Stockholm

Cead Mile Failte, Ciaran, My recommendation to you is to look once more at the Beaulieu 4008 ZM II camera, especially if it´s got the precious Schneider Optivaron 6-66mm Macro zoom lens. This is a true macro-zoom design, which lets you film from the surface of front lens element to infinity, at all focal lengths. Furthermore, it is the only Super 8 camera with a true sector shutter (like ARRI or Panavision), which reflects 100% of the light to the film and 100% to the very large and bright viewfinder, which makes accurate focusing on the fine-grained ground glass very easy. This means that the image 'flickers' as the camera is running but so does a professional Arriflex BL. Another thing that I consider a great advantage with the Beaulieu range of cameras is that you can fine-tune your ASA/ISO°-setting, in 1/3 stops, to suit your film type and personal way of exposing your color negative, for example - you are not hindered by the fact that your camera 'reads' the plastic speed notches in the film catridge, which in some cases might give you under- or over-exposed footage. I am of course very biased here (I´ve got four of them but also a Canon and a Chinon) but the reason that I am advocating this camera is that you have full C-mount lens interchangeablitity. This means that you have an enourmous amounbt of lens options open to you, from really superwide prime lenses (like the Century, Fujinon or Angeniueux lenses) to almost any 35mm SLR lens made, via an adapter (Nikon, Canon, Minolta, Pentax, Leica M and Leicina Special, Leicaflex R, etc, etc), for extreme telephoto, microscope or macro work. It is also a camera with a very good image stability (precision-machined gate) and an impressive range of speeds, 2 - 70 fps slo-mo plus 1 frame exposure with a threaded cable release. I have re-calibrated my cameras for the European standard TV PAL sync speed, 25 fps. Regarding battery cells: Yes, the old NiCad cells are usually dead but they can be re-celled with new, fresh NiMH 450 mAh 7,2 Volt cells. This is rather expensive but if you take good care of your new re-celled battery, it will last you a very long time. I usually re-charge mine about once a month, whether I have used the camera or not, because they shouldn´t be left to 'dry out'. You couldn´t do that with the old cells, as they had a 'memory'. Well-known and world-wide reputed Beaulieu specialist technician Bjorn Andersson here in Stockholm can re-cell your battery and also look over, clean and lubricate your camera, if you want it to run perfectly for ages. If the camera has been 'shelved' for a long time, the internal 85A gelatine filter may be dirty or fogged. If that is the case, you could have it taken out. You would then instead use a clean multi-coated glass filter in front of your zoom or prime lens, which can be inspected and cleaned at all times, ensuring that you will always have the best possible contrast in your footage. For this to work, the mount on the camera body will have to be re-calibrated slightly (the flange focal distance has to be shorthened), to compensate for the loss of the internal filter, which in turn is a carefully calibrated part of the whole optical system of the camera. This is why Beaulieu footage most of the time is so sharp and contrasty, providing you have a good lens hood. If you choose the Beaulieu 4008 ZM II, you will never be sorry. That´s a camera to 'grow' with. Did I complicate things for you now? Sorry about that . . . All the best from Sweden, your friend in arms Bengt

Re. optimal lens resolution/performance: I should think that in relatively modern (we are talking the late 70s or 80s here) and fast (f=1.2, 1.4 or 1.8) zoom lens designs in your average 'high-end' Super 8 camera - let´s say Beaulieu, Leicina, Nizo, Canon or Nikon - it would probably be quite sufficient to stop down to around f=5.6, if the shutter angle, light and film stock permits it, to obtain the maximum performance from your lens. Any high-end, modern lens usually benefits from an aperture 2-3 stops less than full, other than (as mentioned above) with the four-element Tessar/Elmar/Xenar/Heliar types and the lenses used for large format reproductions, like the f=9.0 Rodenstock Apo-Ronar, which has to be stopped down to f=22, to obtain the maximum resolution, However, that is also about three stops down from full opening on this rather 'slow' lens design. Other symmetrical, large format lenses (like the Sironars or Symmars), with the common maximum opening of f=5.6, the best performance is usually obtained at f=16. Further stopping down only improves the depth of field. And even if diffraction 'kicks in' at f=45 or 64, it is usually not that noticeable in the larger formats, such as 4x5 or 8x10". But in Super 8 cinematography, with it´s tiny 4x5,5mm frame, it makes very good sense to try to achieve an aperture setting of at least f=4, or even better f=5.6 or 8, which greatly improves the overall resolution and also impoves on any small fluctuations in the camera gate (in front of Kodak´s plastic pressure plate in the cartridge), as well as reduces the fall-off at the far corners of the image. But then again, you might want to deliberately and creatively use a selective short depth of field, to direct the film viewer´s attention to something specific in the image - and you might have to use an ND filter to obtain a larger (next to full) opening. Which calls for a lens design with optimal resolution already at full opening, like some of the Angénieux zoom lenses (or the 16mm Cooke and Zeiss zoom lenses, if adapted properly, for longer focal lengths). Severe corner fall-off, with superwide long telephoto lenses (or settings on the zoom), especially at full aperture and also with a widened camera gate, can be reduced or countered with a 'center filter' (for example by Schneider), which has it´s greatest ND density at the center, gradually lightening up towards the filter ring. To achive a smooth effect, without too much adjustment (corners too light!) you might have to experiment by using a slightly larger center filter, mounted in a step-up ring. Trial and error, as usual. To be absolutely sure about your lense´s maximum performance, you would have to consult the manufacturer´s MTF curves for that particular lens construction - if you can obtain them, they are usually given both at full opening and stopped down to the best aperture setting. Best, Bengt Fredén, photographer Stockholm

Hi again, Tony, (I know this doesn´t really belong in this thread - I use this image only to define and explain better where a 'French Flag' is usually positioned: I use a flexible arm called 'Wiggly Worm', which I bought from Robert White in the UK. As you can see, I have also attached side flaps, hanging down from the flag´s top surface: No lens flare there! / Bengt PS. I have removed the camera´s slanting handle, by the way, and instead mounted a rapid attachment plate from the Swedish medium format SLR camera manufacturer Hasselblad, with the help of Beaulieu service technician Björn Andersson here in Stockholm.

Hi Tony, A 'French Flag' or a 'Cremèr' (after the original French manufacturer) could be very simply a thick black rectangular piece of cardboard that you put above the lens shade to shade the front lens from the bright light that usually comes from above - the sun. The professional ones are made from aluminium plates or plastic, often with a matte underside. I have made one from black cardboard, which is light, and I have covered the underside with self-adhesive black velvet, to make absolutely sure that I won´t get any reflections. If you put it on a flexible arm with clamps at both ends (or a thick steel wire that you clamp/fix to the tripod or handle) You may then bend it to fit the focal length, so that it is just out of the frame - you need to have a really strong and sturdy wire, though, so the flag doesn´t dip into the frame while you are shooting or quickly tilting or panning. It could also be used from the side, if you have a strong Tungsten lamp as side or back lighting. Be sure to test it before you shoot, by moving your finger over the outer edge of the 'flag' into the image area, to make sure that it is completely out of the frame in the viewfinder. You will have to add a little bit of extra 'margin', especially if you use the wide angle setting on your zoom, because most Super 8 camera viewfinders show less than what you actually get in the camera. It´s a very basic and simple device that ensures the highest contrast in your original footage. / Bengt

I second that, Tony, Hi Marty, Björn Andersson is THE Beaulieu technician - he will fix it and send it back to you. He has serviced my 5008 MS camera, as well as my other four 4008 ZM cameras, and it is running fine (at European PAL 25 fps sync speed) now. He also 're-cells' the standard batteries with new NiMH cells, which are much easier charge and maintain and they can be charged at any time, with no regard to how much is left in the battery, and they last longer. It could be that the ground glass isn´t in the right place - that is probably relatively easly to fix, I should think. Your camera will be as good as new when he is done, at a very reasonable cost. Best, / Bengt in Stockholm

Hey Tony, Are you on a Mac or Windows platform? If you use a Mac, try the latest version of Safari (ver. 3.1) - it works like a dream on my four years old eMac, now running the amazing new 'Leopard' OS X 10.5.2 system software. If you are on a PC, try downloading Netscape or Microsoft Explorer. You have to watch the film via the .mp4 link to be able to see the full quality. Good luck! / Bengt in Stockholm

Hey Emil, What a great short film! Dynamic, intense cinematography, with dramatic low-key lighting, and very well edited. The story is well told and the sound is used very well to enhance the dramatic flow of the narrative. Also, very nice and smooth camera movements, especially in the beautiful 'dolly-shot' sideways in the cellar, and jittery, disturbing shots in the car chase, when the action and drama calls for it later in the film. The actors are doing a great job in building up the tension (with the odd exceptions of the general in some short scenes) - they seem very focused on the task, which adds to the realism. I can´t believe this is shot in Ektachrome 64 - it looks a lot sharper than other short films I have seen with this low-speed reversal stock. Did you sharpen it somewhat in post? It looks as though you had shot this with a faster stock - the quality is outstanding (I watched the .mp4 file), especially in the close shots, like the ones of the general. The picture is so incredibly steady (except for one shot where they are hiding beside the road, where they are waiting to hitch a ride with a car) - it looks just as good as Std 16mm, in my opinion. The colors are clean and very natural looking, with perfect saturation and contrast. The exposure with this reversal stock is dead-on, perfect! Reversal usually doesn´t leave you much room for errors in the exposure. Did you use it without the 85B filter all the time, with the Tungsten/B-lighting? The colors are perfect, especially the skin tones. Furthermore, if you used only seven rolls of 64T, that is just above twice the amount of material needed in the final cut! That is really impressive! You must have 'nailed' most of the scenes in the first takes, then? Bravo - good planning. Did you need a lot of light to light the actors? Did you use the fast f=1.4 Optivaron 6-70mm? The focus is perfect almost all of the time, considering the sparse amount of lighting and the relatively short depth of field in the close and telephoto shots (except perhaps in the close shot of the general´s boots and cigarette). The vignetting in the wide shots in the cellar doesn´t bother me - I think it rather adds to the eerie, confined and claustrophobic feeling of the whole sequence. (Is it a wide angle lens attachment or is it just a vignetting lens shade?) I also like the low, wide camera angles a lot, especially in the scene with the military doctor giving the girl a syringe shot. The intercutting with her face, torn in anxiety, is very effective. The sound is great in this sequence, too, with her muffled screams, as it is in most of the film. Did you use 'wild' sync or did you use lip-sync in some scenes? The 'foley' effect sounds are very well done (steps, the rattling of the closed door, etc) and the whole sound mix is very clean and well-balanced throughout, with a dramatic music sound-track that underlines the tension and suspense - this music is well-chosen; it reminds me of the theme from "Jaws". The rifle shots are in perfect sync and the firing effects and sand ripples are very well done. Where you using real, sharp ammo or blanks in the rifles? It is also very impressive that you got help from the Dala regiment military in the making of this film - you must have had a very well-made script or story-board from the beginning? I can imagine that it must have been a severe problem, if the camera was 'under-cranking' the speed. You have really done a great job of adjusting the speed back to normal - it seems very natural. Did you experience sync problems in the scenes where the actors are having a dialogue? In the climactic scene at the end, where the feeing couple is finally stopped by the general, the sound is in sync all the time and the gun shots are perfectly matched with the action, when the girl shoots the general - for an instant, we don´t know who has been shot. It´s a 'classic' dramatic tool and it is very well used here. The girl´s dialogue is muffled or lost in parts but it doesn´t impair the story-telling much. The last scen, where the boy and girl comes together and kiss, seems almost a bit comical and out-of-place - I wouldn´t have minded a more sudden or dramatic ending, more in line with the rest of the film. All in all, a great cinematic experience - thank you so much for sharing! All the best, Bengt in Stockholm

Hi again, Kevin and Tony, Re. the KOWA 3.5 and 4.5 mm wide angle lenses: Upon closer inspection of the KOWA brochure, it seems that some of the lenses might not be useable on a Beaulieu Super 8 reflex camera. On for example the 'LM4NCL' 1.4/3,5mm lens, the rear lens element section protrudes too far back it seems, about 5mm or more beyond the C mount thread, which would perhaps be too narrow for the window of the guillotine mirror/shutter. One would have to try the lens physically on the 4008 ZMII camera body to be absolutely sure that the rear-most lens element doesn´t touch the edges of the window in front of the mirror. I will try to measure up the exact distance in my cameras. The threaded mount is called CS (not C) and is probably mainly intended for non-reflex cameras with a separate viewfinder or for cameras that allow for such a short distance. According to the HR f=2.4/3.5 mm lens specifications, the distance is 4.5 mm. Some of the lenses might not be highly color-corrected (mainly intended for black & white use) or are specifially manufactured for 3 CCD cameras, with a beam-splitter that directs the light beams to three different image chips, each with slightly different back focus, depending on the image distance of each of the colors Red-Green-Blue. Re. the 1/2" format: I am no expert on this format but at a chip/frame size of 4.8x6.4mm, it is nearly 1mm higher and 1 mm wider that the Super 8 mm frame, which has a projected/masked image of 4.01x5.46 mm (according to SMPTE). The full frame of the camera is slightly larger, depending on camera type and gate. The 'Super-Duper 8' or 'MAX-8' 1.58:1 'widescreen' camera format is roughly 1mm wider than Super 8, perhaps slightly less. Thus, an image circle of 8 mm is clearly sufficient to cover both the Super 8 and the wider 'MAX-8' gates. Best, Bengt

Kevin, I discovered in the KOWA PDF catalog/brochure that there are three more very interesting focal lengths: a 3.5mm (super) wide angle a 4.5 mm wide angle and a 6 mm wide angle all of them are extremely fast (f=1.4) high resolution (HR) lenses for the 1/2" video format, in C mount (a distance of 17,52 mm from the back lens flange to the film). According to the text, they are able to procuce a detail of 100 lines/mm at the center of the image (the 6mm even 120 lines/mm). Check out the 'LM -4 thru 6- NCL' lenses on page 6 of the KOWA catalog/brochure. Bengt

Hello Tony, Some thoughts on this from Stockholm; Although I haven´t even used or processed any of the Vision2 200T carts that I have bought yet, I would still recommend you to use a negative stock. You will have much greater freedom in editing and post-production and there is also the greatly extended range of detail in the shadows and the wider exposure latitude, which will give you a usable image even if you overexpose (gives better contrast) or underexpose (gives lower contrast and increased grain). If you scan the material directly after processing, you will greatly diminish the impact of white dust and specks in your completed film. Then store the negative in a dry place and don´t touch it, if you aren´t doing negative cutting prior to telecine transfer. With reversal stock, I have found that you might want to view the processed material, either in a good viewer or a projector, which always increases the risk of scratches and dirt from static electricity on the original. Furthermore, you have almost infinite possiblities in non-linear editing and related software to enhance contrast (a must in my opinion), correct the colors (which always seem to be too warm and 'brownish') and enhance the sharpness. Some of these options are there if you shoot reversal stock, too (if you scan the reversal original), but the way I see it, there are more options open by shooting with a negative. Re. Pro8mm; There are discussions elswhere in this forum and at Filmshooting.com about the short, 'left-over' 35mm ends, that Pro8mm apparently uses for their slitting down to Super 8mm. There have been arguments aginst this film stock being 'fresh' or outdated - I don´t know if are any tests made or if someone has experienced color shifts. There are also some who have reported that there are cartridges jamming, from the slightly thicker film emulsion in the negative stocks. To counter this, Pro8mm apparently doesn´t fill the carts full to 50'/15 meters but loads slighly less film. I am also interested in the sharp Vision2 50 Daylight version (which doesn´t require the W85A daylight filter) but so far I have only bought film stock from Kodak, to be on the safe side. I am hoping for Kodak to release this stock in Super 8 in the future. Re. choice of camera; I agree - the Beaulieu 4008 ZMII is THE preferred production camera! I have four of them (one of them is a ZM, with the 8-64 lens) and they all run at exactly 25 fps. The largest benefit in using this camera, IMHO, is the possibility to use other lenses. From now on, I will use the 'FrameMaster' precision pressure plate (sold in Germany) to prevent sharpness 'breathing' and unsteadiness in the camera gate. This combined with a good quality zoom - the f=1.8/6-66 Optivaron or the T1.4/6-80 Angénieux - or even better, some really good prime lenses (Zeiss ZM, Nikon, Canon, Angénieux, Kinoptik, Century, Schneider Cinegon, Switar, etc, etc) will ensure images of outstanding quality, very close to Std 16mm, if you use a fine-grain film stock and shoot from a tripod or a Steadicam-type stabilizer. A tip: always use a good matte box/compendieum and a 'French flag' on top, to ensure that you will have the best possible contrast and freedom from flare and other reflexes in your multi-lens zooms. All the best from Stockholm, Bengt

Paul, Let me commend you on that decision - Beaulieu Super 8mm cameras are for keeps, in my opinion! Here´s a tip for some image improvements on the MAX-8 format: buy a cheap Chinese 'C mount to Nikon F' adapter, and try some neat, mechanical, non-AF Nikon F prime lenses (you can get them on eBay now and then for very resonable prices), like the amazing Micro-Nikkor 2.8/55mm AiS - that will give you some truly great MAX-8 macro or medium-range shots. In the 70s, I worked as an assistant cameraman for an advertising cinematographer & still photographer - he even used the Micro-Nikkor (which was 1:3.5 back then) for 35mm Mitchell or ARRI BL II cameras, for close work - it´s that good! Instead of the fifteen or so lenses in the Angé macro zoom (with twice as many lens surfaces that has to be clean and free from refelections) you only have about five and this will yield superb contrast and very high resolution. For really long telephoto shots (on a tripod, if there is enough light and the film stock is not too slow), try the tack sharp Nikkor 2.5/105mm AiS (from the 80s) - one of the sharpest and most contrasty telephoto lenses around anywhere, much sharper than most AF zooms today. Very simple, basic, genuine telephoto lens construction - no zoom 'comromises'. And, most importantly - have fun with your great camera! Best, / Bengt in Stockholm

Hi all, I have been using reversal films all along, both in still photography and Super 8, since the mid 70s. You kind of learn to 'see' through the different fim types and experiment with filters to get your special color 'look'. I always liked the contrasty, sharp look of Kodachrome II or 40A, although the highlights were easily washed-out and the shadows were mostly black with no detail in them. Ektachromes are much too 'blue' to me, especially in the middle of the day under a blue sky (needs series 81 filtration), and the resolution is not nearly good enough - I really liked the colors of the Ektachrome 160 G, though, which had a warmer tone, without the 85A filter. I will try to stay away from Ektachrome 64T. I have not used the new Fuji 50D daylight stock yet but it seems to me it´s much too saturated, at least for my color taste - it looks like a TV screen turned up too much in color saturation. Kodak Vision2 and Vision3 color negative stocks: I have recently bought some Vision2 200T stock and I am going to make some tests in both daylight, with the 85A filter, and in Tungsten-balanced light without it and I will probably overexpose, by at least 1/2 a stop, to obtain a richer, denser negative. Much of the transfered footage I have seen from the Super 8 Vision2 negative stocks (YouTube, some transfer houses, etc) look very 'dirty', or 'yellow-brown' to me, or has a much too low contrast for my taste - the colors aren´t what I would call 'clean' and brilliant. I would think that it would be absolutely necessary to shoot a few frames of a generally-accepted color checker chart, like the X-Rite/Gretag-Macbeth or similar, in the beginning of each scene with a new lighting set-up or a new hour of daylight. If you don´t, the colorist who will transfer your negative footage and correct the overall color and contrast, will have nothing to go on, except some sort of 'standard setting' for his color transfer machine. But if I give him a color chart for each scene and tell him what I want in terms of contrast and color tone, I suppose you, given some time, could achieve some sort of 'resonance' or 'understanding' of what your personal color taste is like. This is probably a long and arduous 'trial-and-error'-based thing, though - it always is, I find. Perhaps you´d like a 'warmer' or 'colder' tone than the 'standard' selection? Of course there is always the possibility laterin the non-linear editing stage to color-grade, correct the contrast or sharpen up the footage somewhat but you would probably want to get a high resolution, low contrast transfer to begin with. Any views on this? Justin? / Bengt in Stockholm Gretag-Macbeth standard color chart: