Kevin Olmsted

Thanks so much for the information! I normally store the camera and accessories in a dedicated case I purchased, and I store the case separately. The case is unique to me only because I couldn't find any other exemplars online. This is sadly the only Nizo I own. I find Nizo Super 8 cameras to be beautiful and feature thoughtful, ergonomic design, something modern cameras are severely lacking. Even if this was packaging for low cost models, it still beats modern camera packaging. My Canon R5C came in a... brown cardboard box. I also collect camera-related manuals and marketing materials, so the printed elements of this package are especially appealing to me. Thanks again!

Hello all! I used to be a lot more active on the Super 8 forums, and am still active with the format, just not as much on here. I have a large collection of Super 8 cameras - mostly Bauers - that I've just started to re-catalog and photograph. The eventual goal is to post them on my website. I'm looking for help on a particular package I have. I purchased this from a private estate sale about 15 years ago. I assisted a former co-worker with organizing his late father's massive (mostly still) camera collection, cataloging and documenting the collection that took up 5 packed rooms in his house. In return for the help, he gave me good deals on some of the movie cameras from the collection. This Nizo 116 was part of that lot. It came in this suitcase (mechanical hinges, living hinge snap closures) and came exactly how it is presented in this photo. No manual or documentation was included - only the camera, lens hood, shoulder support and wired remote trigger. The placard in the lid is affixed to a foam pad and looks professionally assembled. Does anyone know what this is? It doesn't seem quite like a retail product package, it feels more like a sales or marketing item. Even a Google reverse image search turned up nothing. If this sub-forum isn't the right place for this kind of post, apologies and please let me know where to post. I appreciate any information someone might have.

I am definitely a Bauer guy. I have a few Bauers and I love all of them. Excellent lenses, good variety of features and thoughtful ergonomics. I have a Porst 1500XL (Bauer 715XL), S 209 XL and a C 900 XLM. The 715 is a fine if not slightly overrated camera, but in my opinion the 209 and the 900 are Bauer's top cameras. They are pretty much identical; the 900 is silent while the 209 is the sound version. The 715 has incredible zoom lens but the 900/209 has a faster lens and fewer elements which I think results in a slightly brighter, crisper image. The 715 also weighs a ton and requires some modification to get on a tripod (the tripod hole is at the far rear of the camera body). The weight and feel of the 900 is near-perfect. I'm a run-and-gun kind of photographer; I like to have a camera that is lightweight, with a good lens, and I can just pull it out and start shooting. Don't know what your circumstances are but I hope this was helpful.

I've ordered from super8arena.com and had a very good experience. I've also ordered from super8camera-shop.com and had an equally pleasant experience. From both sites I received excellent friendly communication and the cameras arrived well-packed and in the exact condition that was described and shown on the website. Both are recommended. I also agree about the previous shipping comment. Shell out for the express shipping.

I'm an amatuer Super 8 enthusiast. I prefer silent Bauer cameras for their overall good portability, ergonomics, durability and better-than-average lenses. One could expect to pay at least $100 for a decent model. You seemed to indicate you want a decent camera at a decent price to 'test the waters' of Super 8 filmmaking. After all, it may not be your cup of tea, so you wouldn't want it to be a huge waste of money. In that case a Bauer, Canon 814 & 1014 and especially Beaulieus might not be right for you as a first-time camera unless you know your going to be serious about it. I don't think that Canon 814's, 1014's or just about any Beaulieu are good 'starter' cameras. In the world of Super 8, I would say those models represent some of the highest-end of Super 8 cameras along with a select few Nizos and Bauers. I doubt any of those will run you any less that $250-300. Some can climb past $700. I agree that the Canon 310 is a good starter. You might even be able to grab a Canon 512 or 514 at a respectable price. Older Bauers (the "C" models) can also be had at good prices on ebay. I suggest looking at super8wiki.com for a good list of cameras and their features. Also super8arena.com and super8camera-shop.com are both European sellers of CLA'd Super 8 cameras and that can also give you good price/features comparison. I've bought from both of them with no problems. Their prices are a bit higher than average eBay prices, but offer a different quality of camera. If your fishing on eBay for a starter be aware of the the more low-end consumer models: Sears, JC Penny, Bell + Howell, Argus, Bentley, Kodak, AGFA, Eumig (the Viennettes are nice) and Technicolor are some. These are the cameras that might be below your 'starter' level as they lack a lot of features you, as an experienced photographer, might want. Mind you, though, none of those cameras are awful. They do their job, nothing more. Hope my information is useful!

For anyone interested, here is my review of the Sony HVR-HD1000U after a week of shooting. Before I bought mine I had a hard time finding reviews online. I found a few on digitalcontentproducer.com and some customer reviews on B+H, but that was it. My review doesn?t go into a lot of technical specs, issues or information. For that I recommend the above website or the product brochure, they do a much better job than I could. This is my average joe look at the camera: The overall: I would say this camera looks like Sony's HDV answer to Panasonic's AG-DVC10/15/20 family. If you?re at all familiar with them they have a very similar size, weight and feel. The camera is lightweight and comfortable and has a very stylish look; much more attractive than Panasonic?s upcoming HM70. It comes in at about 6 lbs empty and is about 18 ½?l x 9 1/2?h x 10?w. I mention this because the dimensions are not listed on the Sony website or in the product brochure; I had to call Sony and ask. I figured its good info to know in case any potential buyers out there shop for a case at the same time they buy the camera. This being my first CMOS camera, I wasn't sure what to expect regarding battery life. I've read about CMOS chips drawing less power than CCD?s and after using the 1000U, I can attest to that. With the tiny stock battery it came with (NP-F570) I got almost 3 hours of 'messing around' time (playing with features, stop/start record, LCD on the whole time) before the battery ran down. I also bought an NP-F770 and the charge indicator said I had well over 6 hours when it was at full charge. I haven?t run it down yet but use has been sporadic. The specifics: I?m going to kind of circle around the camera and mention all the features that I found to be of note. I?m not going to go into a lot of technical spec-type info, there are better-written articles out there (like digitalcontentproducer.com) regarding that aspect. Lens ? It?s a small lens (37mm) but it produces a nice picture. In lower light, especially indoor, dimly lit environments, there is of course more noticeable grain. Otherwise the picture is crisp and bright; producing nice HDV video from the single 1/3? CMOS. Function Ring ? It is very smooth and works well. I use mine for focus 90% of the time, the rest brightness and shutter. One caveat: it is quite slow, and as far as I can tell, you cannot adjust its sensitivity. Don?t expect to be doing any fast rack focusing or crash zooms with it. Adjustable sensitivity would have been a nice feature. Access ports ? This may seem trivial, but I thought it was a feature of note here. There are 6 total access ports on the camera: three on the right side and three on the rear. The mem card/USB/HDMI port cover is an actual hinged door, which is nice. The other 5 port covers are the typical hard rubber style with the sort of built-in umbilical. Normally (on pro and consumer cams alike) these are pulled out and twisted to the side to get access. On the HD1000U the ?umbilical? is firmer and curved so when you pull out the port cover it falls into a position that is already out of the way and makes for faster, easier access. This is a minor feature but I felt it was thoughtful design. Shoulder Pad ? It mentions in the brochure that the shoulder pad is adjustable but no pictures show the method for the adjustment. There are two screws that go through the shoulder pad into the body of the camera. When you remove them the entire shoulder pad comes off and you find a series of about 12 screw holes on the bottom of the camera. You find the two that match your comfort level and screw the shoulder assembly back in. The screw holes/receivers in the camera body are metal which should stand up to repeated adjustments. XLR Inputs ? There are none. Okay, most people looking to buy this camera probably know that, but for me it was almost a deal-breaker and something to consider when looking to buy this camera. My past camera (DVX-100) had them and, even though this camera is meant to be my ?bridge? to higher end HD cameras, it was still a big deal. I bought an XLR adapter with the camera and I recommend anyone who uses a boom or lav mic frequently to get one. Physical Buttons ? Aside from the record/photo/mode button/knob cluster on the handgrip (which are similar to just about all the other prosumer cams out there) there are only four other buttons on the camera. That is of course not counting the duplicate record/zoom buttons on the top handle. The four buttons, located on the left side of the body, are manual/auto mode, nightshot, backlight and battery power. I personally find the manual/auto button to be the most useful followed by the battery check, backlight and then nightshot. It would have been nice to also see one or two user assignable buttons and maybe a white balance switch. Viewfinder ? The viewfinder isn?t near as clear as the flip-up LCD for getting an accurate picture but both function well. There is a cable that connects the VF/LCD to the camera body. I think this was a purely aesthetic design decision; it makes the camera look more ?pro.? I think the cable could have easily been run inside of the body but it doesn?t seem to hinder the rotation/extension of the VF assembly too much. Menu System ? I read some online reviews that said the menu system was confusing and/or complicated; I didn?t find this to be the case. You can dive into the menus, which never seemed to get deep enough to annoy me, or you can use a quick menu. The quick menu pulls up frequently used items in an easier-to-use interface (six large icons on screen at a time). You can customize it to the items you use most, which is nice. Microphone ? Well, it?s a microphone? it?s a stock stereo shotgun mic. It isn?t a Sennheiser but it isn?t bad, either. Not as directional as I?d like but that?s just personal preference. Memory Stick (not included) ? It?s too bad Sony didn?t incorporate more function into the memory stick. It is simply there to store still images. It would have been nice if you could store multiple user settings or scenes. In a nutshell, here is my opinion: I got exactly the camera I paid for. It?s a great camera for those on a budget who want to start using HD but want a little more camera than what they could purchase at their local Best Buy. For event/wedding videographers it?s a dream: it?s inexpensive, it looks very ?pro?, it?s HDV and has a few higher end features. For amateur/indie filmmakers it?s definitely a good starter camera if you don?t mind the lack of XLR?s or 24p. If you look at the specs of the camera you know pretty much what your getting for your money, and it?s in a pretty attractive package. I wanted this camera for two things. One is amateur short film production. The other is what I call ?raw element acquisition? for lack of a better term. I do a lot of motion graphics and animation so I shoot raw video elements (frequently on a greenscreen) that will be incorporated into lots of design elements. So I wanted a camera that would allow me to step up to HD, but I didn?t want to pay a ton of money for a camera that, for now at least, I might not use to its fullest potential or frequently enough to justify the higher cost. I?m happy with it and would recommend it. I got the camera, a nice Petrol bag, XLR adapter and an extra battery for right at $2K so I?d say it?s a good deal. One other accessory I might consider for the future is the wide angle lens adapter?

I apologize for any erroneous info I may have inadvertantly put in my original post. Michael, you are absolutely correct. Capturing at the highest quality level posible is the best way to go. After all, you can always bring the quality down but not up. I mentioned the 25Mb Dv because unlike some of the HDV camcorders out there, I believe the tape on the HVX-200 can only record 25; nothing higher. Just making sure that someone renting it would know that to take advantage of the HD aspect they would need to rent P2 cards or a Firestore as well. I've never rented gear so I don't know how that would work. I guess if the choice was simply between the two cameras mentioned, I would choose the HVX200 for the main reason is, as Michael stated, get the highest quality source material. Since the original post doesn't have a lot of detail, I still address the NLE as a possible variable in the choice of cameras. If the shooter is also the editor, one should make sure their computer can handle higher res video. Andrew thank you for correcting me on those items. I have a DVX-100 and knew the chips were 4:3. I use an XL2 at work but everything we do (at 100 mph) is 4:3/30i so I've never dove into the more 'cinematic' elements of the camera. I should have looked before opening my mouth. Kevin

Hello! One camera being HD and one being SD, I think that is the first thing you need to ask yourself. HD or SD? I don't think it's really worth renting the HVX-200 unless you're going to really take advantage of the full-blown HD that it is capable of. So if you go that route, are you getting P2 cards in with the rental or a Firestore-type device? If you shoot on tape, you can only shoot 25Mbps DV in which case a DVX-100 would more suit your needs and likely be cheaper. Also, are you just the DP or are you editing it as well? You'll need to make sure your system can handle the HD. If your shooting SD it seems the decision is more between renting an XL2 or a DVX-100. Being more a Panasonic fan, that's my recommendation. Just personal preference but I like the color better and I believe it responds better in lowlight; I also prefer the various picture/color adjustments it offers. Also (I think) the DVX-100 supports true progressive frames, whereas the XL2 uses it's 'frame' mode which somehow fakes it. Again, mostly personal preference. The frame mode on the XL2 looks very nice. With the XL2 you have the advantage of renting additional lenses to suit different needs. I recommend getting a manual lens instead of the stock lens; the focus and zoom on the stock lens do not disengage from the servos when switched to manual and feel a bit sluggish when you want a real fast crash zoom or rack focus. All in all the DVX-100 and XL2 are well-matched cameras, each with different advantages and disadvantages. The XL2 offers interchangeable lenses while the DVX caters more to filmmakers with more advanced cine options. If your going HD then the choices change. I've shot a little bit on the HVX-200 and it is very nice, though unless you really need the full HD, you might also look at less-expensive cameras like the Canon XH-A1 or the Sony HVR-V1U, both shoot in their own forms of progressive and look very nice. On a fixed budget, a less expensive camera might free up money for other accesories. I didn't think that maybe you meant the XL-H1 instead of the XL2 in which case I still recommend the HVX-200. Your still shooting HDV on the H1 versus full HD on the HVX-200 and your only real advantage is the interchangeable lens. I've shot with all the cameras I mentioned in this post except the XL-H1 but looking at the specs I don't think it's worth the $9K price tag. I hope some of this info helps! Kevin

Hello Michael! Thank you for the info! The link looks great, I'm going to read it through. If anything it'll help me with my photography. I think the histogram thing is probably coming from the same place as the rest of the 'sell' for this camera. It's inexpensive but it LOOKS very pro. When you show up to the event/wedding (the people Sony really seems to be selling to) the average joe won't know you only spent a few hundred more on this than he would spend on a nice HD camcorder at Best Buy.

Hello all... I'm fairly new to this particular forum. I've been in video production for almost 10 years now; I don't know why I haven't been here sooner! Anyway, I mentioned in an earlier post that I just purchased an HD1000U. I'm really happy with it so far, despite being on the lower end of the prosumer scale it's got a nice selection of features and a nice picture. I've been shooting HD professionally (at my regular job) for about half a year now but wanted to dabble a bit at home and didn't want to shell out a lot of money yet. Definitely worth the money. I have a question about a feature on the camera. I hope no one thinks me a fool for asking. The camera is equipped with a histogram. There is no explanation in the manual as to what function it serves. It looks to me like the 'Levels' adjustment in Photoshop but when I experiment with the things I focus the camera on it doesn't seem to respond the same way as the Photoshop adjustment. What function does this histogram serve? It seems to be based on luminance but it could be color. What things can I adjust if I want to use this function to it's fullest? My last two cameras (Pan DVX-100 & Canon XL-2) didn't have this, and at work we use waveforms and vectorscopes, which I'm not sure if a histogram relates to, function-wise. My digital SLR has a histogram but I'm only an amateur photographer so I've never really tried to utilize it. Any advice, help or info would be greatly appreciated... Thanks.

Hello, Dalton! I spend most of my time in the Super 8 forum but considering my profession, I should be in here more! Sorry, this post might be a little late. Seems no one here has used the HD1000U. I ordered one and it will arrive tomorrow. I also ordered a Studio 1 XLR adapter for it. I kind of sucks that unless you live in LA, NY, Chicago or the like it's hard to get hands-on test-drives of pro or prosumer level gear. All your left with is B+H customer reviews and online forums. I've used HD commercially for about a year now but I've been looking for an economical way to dabble in it for my freelance work. I've been a DVX-100 user for a long time now and want to try out some HD on my personal system. Really didn't want to shell out like I did for the DVX years ago so this seemed like a good option for now. I've been a long-time Panasonic fan but they seem to have madde some odd choices lately with their features, formats and pricing. I found one HD1000U product review online but it seemed to lean toward the event/wedding shooter. I do that and produce amatuer short films as well. Not that my opinion is worth anything, I'll post a review tomorrow for anyone else interested in this camera. Their aren't enough reviews of this out there so hoopefully it will help.

I don't know if any of this advice is helpful or accurate (I welcome corrections) but here is my experience. I have a little analog Sekonic meter as well. When I shoot with a camera that doesn't auto-meter (especially my Quarz) and I need to use the external I use this formula: 360 divided by (X) times (Y). (X) is your shutter angle and (Y) is your frame rate. So If your 514 has shutter angle of 220 and you shoot 18fps, your result is 29.45, or 1/30 on your light meter. You should be able to set your light meter from there. I've always had good results with this formula so I think I'm doing it right...! I hope this is helpful or useful.

Ahhh... Thank you! Almost all that info applies to me! Problems solved! Well, I hope others enjoy the info I acquired... about a week of e-mails and phone calls! And I ill update when I get more info.

Thank you, Michael! Maybe you can help me a bit with something... After I uploaded the picture, I noticed that instead of my picture showing up in the window, it shows up as a link. This is one of the few forums I post on so I don't have a lot of experience with pictures, links, etc. How can I get the pic to show up in the window so people don't have to click on the link? Thanks!

Hello all! I had recently been thinking back to the thread started by Carl Wiedemann regarding possible bad batches of Super 8 cartridges. I also recently had a 'bad' cartridge experience, though I think my experience was a fluke. I decided to try to find the exact meaning of all the numbers on the (relatively) new package labels on the Kodak Super 8 carts. So I called and emailed various numbers and addresses I found on their site until after leaving a message with one of the numbers, I got a call back from a one DeWitt Davis. He graciously answered as many of my questions as he could; I think he was more of a rep than someone involved in actual production. This information may be common knowledge to some folks here, but I thought I'd post all the information I was given for anyone who may not know or is interested. On the bottom row of the label, obviously the first set of numbers is the film type. The next number to the right is the emulsion code. The next two-part number set is the roll and the part number. And of course the last number is the slit number. The rep explained that the film starts on 4ft X 6000ft rolls. That's the roll number. The roll is cut into smaller parts, hence the part number. Then the parts are slit to form the actual individual rolls of film. So the way he explained it the lower set of numbers is what they consider the 'batch' number, because that's how they would trace your rolls back to a particular batch of film. He did not know what the upper numbers and letter (PE: etc, etc) meant. He said he would find out and call me next week to let me know. I also asked why Kodak doesn't print expiration dates on their film anymore. He explained that Super 8 film is considered more of a professional format now, and since Kodak doesn't print expiration dates on their other pro films (16mm and 35mm) there was no need to on Super 8. I have zero 35mm and minimal 16mm experience so others could verify this better than me. I included a picture pointing to the exact numbers I mentioned. Hope this info is useful to folks.

Being a tattoo aficionado and a Super 8 enthusiast, all I have to say is bad-ass! Very nice. It has a great high-energy with the cinematography, high contrast b+w and that awesome song! I know that the tattoo was a Beaulieu, but I shouldn't assume, so what camera was it shot with?

I can't contribute to the anamorphic discussion here, but I can vouch for the Bauer C900XLM. I'm a longtime Bauer fan, but Michael Lehnert introduced me to the 900 and recommended I buy one. I love my S209XL but was looking to replace it with a camera with a comparable lens but was more compact and travel-friendly. I got my 900 a few weeks ago and love it. The macro is very nice and has all your meat-and-potatoes features, at least the ones that I would want for my home movies/documentaries. Backlight, interval timer, manual/auto exposure and a nice selection of film speeds. Not to mention that beautiful Bauer styling... but I digress. I got mine from Super 8 Camera Shop but I've had great experience with Super 8 Arena as well. Recommended.

Thank you for all the great info, Michael. I'm always grateful when you take the time to answer posts. I always know it will be an insightful and informative read, especially for an amateur like myself. I took my Bauer 209XL out in November and shot a roll of Tri-X of the nice snow we were getting. I wrapped the camera in a bag sealed with gaffer's tape around the lens hood and eyepiece. I was outside for about 15 minutes when it started sounding and 'feeling' strange. It ran all the film through fine, though, and the film turned out pretty good. I've shot two rolls on the 209XL since and the camera sounded and acted fine, but now I'm more mindful of weather conditions when taking out a camera. Kentucky can get humid so I've always kept aware of that in cold AND hot weather, especially in regards to the lens. I look forward to your PM reply. I did shoot a roll of 64T in my new C900XLM, it goes off to process next week!

I was going to post in Paul Ash's Leicina thread but didn't want to stray off topic too far... Jim Carlile mentioned one should never shoot an older and/or non-rebuilt camera in cold conditions. Having lived most of my life in the Southwest US, I've never thought about it much. I am a technically proficient engineer so disassembling and cleaning my cameras has never daunted me, but lubrication is just now becoming a concern as my cameras get older. I now live in Louisville, KY, US and a few months ago I shot some film in 19 degree weather. The film came out fine but my camera did sound a bit different when running. After shooting I took it inside and after it warmed up it sounded fine again. What are the optimum temperatures for running the average well-taken-care-of 30-year-old camera? Is lubrication something one can do themselves? Are there newer formulas (is that the right term?) of lubricants that are good for old cameras, meaning they won't damage the camera in any way? Thanks for any help... Kevin

I agree with Alessandro. Figuring out the issue with your projector is your most pressing issue, especially if you plan on using it frequently. I don't use my projector a great deal so I con't contribute to that opart of the discussion, but I do a lot of splicing. I bought a Fujica Single 8 splicer, an inexpensive viewer/editor and some Kodak splicing tapes and taught myself how to splice. I figured it out pretty quick; my first splice was almost perfect! I think anyone with patience can do it with ease, even the first time. Once I sat down and got into it, I actually found it quite relaxing to just plug away at my little film! You can almost always find at least one of those Fuji Single 8 splicers on ebay for $5-$10. They work with Super 8 film and they are built like tanks. I bought a cheap little Baia viewer/editor for $15 to start with but I stepped up and got an Elmo. Press tapes can be found on ebay; I bought mine at urbanskifilm.com. Good luck on your editing/splicing endeavors! Kevin

Thanks for all the advise, guys. I think I'm going to just send them all in. Can't hurt, right? I was planning on sending them along with 4 rolls of Tri-X I recently shot, so sending everything at once will probably save me in the long run. Kevin

Well, I'm not sure about those last two points in my case. At that point in my life I had a decent amount of experience with still photography but, as I mentioned, those were the first rolls of motion picture film I ever shot. So I would say the chances of them being exposed properly are 'medium to good.' As for the proper storage, I would say 'less than good.' They were kept in various boxes in closets in New Mexico and Nevada for the last few years. They were never exposed to extreme conditions but not the best. I tend to agree, it might be worth the risk to have some nice memories. I think it's just a cost thing for me. $45 would be a lot of money to potentially throw away.

Hello guys, I'm looking for some help on a recent discovery I made. Whenever I've shot film, be it still or movie, I've always taken or mailed the film straight to the lab for processing so I never really think about expiration dates. A few years ago, my wife and I took a business trip/vacation in New Mexico along with my cousin. I had owned a few Super 8 cameras for about 5 years by that point but never had the opprtunity to get film and shoot with them. My cousin bought three rolls of Kodachrome through a catalog and we took them and documented the trip with them. My cousin said he'd take care of processing. Soon after the trip, jobs came up and we both moved. I found places to buy and process Super 8 on the web and started really getting into it at that point. Those Kodachrome rolls were lost and forgotten by all of us. So I get a call from my cousin recently and he found the rolls in a box in his closet. I told him I had a few rolls of film to send out for process so he sent them to me. Now I have three exposed rolls of Kodachrome 40 that were purchased and shot around May 2004. Should I even bother sending these rolls for processing? They were stored in average conditions after exposing. I know it's only $15 per roll but I don't want to waste $45. If there's a chance they might even have decent images it might be worth it because those were the first rolls I ever shot... Any advice here would be appreciated. Sorry for the long post... got lost in nostalgia... Kevin

Keep in mind I didn't get express shipping but here's how my order went: I placed the order on Dec 12. It was dispatched by super8arena on Dec 13, the next day. According to the usps.com site it arrived 'on the dock' to be sent to the US on Dec 15. That's where the information stops. I just checked the usps site and it still says the box is sitting in Germany somewhere, waiting to be sent here! This is normal for my experiences with usps. I don't know if I don't use the site properly or if it is as bad as I think but it's never had the detailed tracking that FedEx or UPS has. The package is sent out by Deutsche Post and the tracking number is carried over to usps when I guess they take possesion of it. The number registers on the usps site but doesn't update very well. I can't say I completely understand the process. If anyone on the forums living across the pond (or in the US) that can explain the process, it would be very welcome. You should get your package soon. Remember 'holiday shopping season' extends well into January nowadays so that might cause a delay. Let us know when you get your package. Cheers, Kevin

Just a quick update... I got my order yesterday morning. Everything was in perfect order. Everything was well-packed and exactly as described. They have nice large, clear photos on the site so you know what your getting but it's always nice to open the box at everything meets or exceeds your expectations. The shipment took a little longer than expected but it was the holiday season so I wasn't surprised or upset. I recieved excellent communication from them in regards to the progress of my order throughout and even got an concerned e-mail from them when it hadn't shown any tracking progress on usps.com's woefully poor site. Many thanks to Mr Bigaj and the super8arena folks on some very excellent service. He is a credit to the Super 8 community.