Claus Harding

Hi Joe, Don't know if you got any PMs about this post, but I can send you info about setup if needed, as I have worked with these beasts for many years. Claus.

Here's another production shot from "GP" showing the lovely little '65'. Note the rangefinder. C.

John, Nice to hear from one of the original participants. I suddenly remembered from the extras on the Blu-Ray of "Grand Prix" that they did indeed use a Ford GT as the main chase car, and here is a snapshot off the screen. It looks like the same set-up (different lens and mag) and the same car... It still doesn't solve the mini-mystery for me about how this camera, which looks like the 65HR, was used on this film two years before Panavision's web site says it was released. Would a director really take on "beta-testing" of a rig under such conditions or am I mis-identifying the camera? Claus.

Well, "Le Mans" (1971) is credited as having been shot in 35mm Panavision, but the camera in the pic looks like the Panavision 65HR, a handheld 65mm camera. The whole rig resembles what was used in "Grand Prix" (1966) except Panavision indicates the 65HR wasn't introduced until 1968...the cams in "GP" sure look like this one, though (you can see the operators walk through several crowd scenes) :huh:

One I highly enjoy is Garrett Brown's commentary on the Blu-Ray of "The Shining." A fine combination of technical and esthetic points involving the SteadiCam, along with anecdotes about the shoot, all told well and with a quiet sense of humor.

Given both the concrete and historical/symbolic importance of Kodak on film, I'd say this is not just another company seeking protection. This is the one that could be the nail in the coffin for so much smaller film-making if they suddenly start shutting down S-8, 16mm and so on. God, this is bitter. Call me a sentimental fool, but this affects me.

Will, My first thoughts, after the amazement, was: are we sure this is not 16....?

That does look outstanding. Even in 720 the compression is quite ugly, though, so yes, only a 1080 upload could give one a better idea of the ultimate quality of the footage. But it certainly is stable and sharp with lovely color.

I would include Werner Herzog's films as well. "The White Diamond" is stunning as is "Encounters at the End of the World" to take two examples.

Dear god, I wish they would strip that down for Super-8 use..... :) Claus.

Another option for transfer on the east coast (Northern Virginia) is Tom Houston at Filmmaker8: info@filmmaker8.com He uses a Workstation setup and has done excellent work for me in 1080 at very reasonable prices. The image is a frame blow-up from a Standard-8 reel from about 1962. Claus.

Since the Nizo 6080 got brought up, just a caution: The main drive belt in it (and its smaller siblings) is a small rubber belt that, if and when it goes, is hell to try and replace. I lost my last Nizo sound camera that way. Also, the 6080 was the last big sound camera made by Nizo when their finances were going under, so there are dark stories about poor quality control and such. As a model it is a lovely camera, it's just a pity it came out just before "the fall." That said, I have now had three Nizos since the 70es and I have always enjoyed their line, so one recommendation to add: The Braun Nizo Professional, my current camera. Nice and heavy, killer lens (one of the best made for Super-8) superb ergonomics and a unique automatic long-term exposure mode where you can set it up to catch the dawn in time-lapse, for instance. It runs at 25fps instead of 24, and if indeed it is right on-speed, it has made absolutely no difference to me when viewing it on a projector or in a transfer. It is not as quiet as a sound camera and the ASA only goes to 160. I have shot Kodak Vision 250 with it indoors with great results. Claus.

Brian, You need to check your link; it wasn't working (at least not on my WinXP machine.) Claus.

Would you recommend ziplocks as well for Super-8 cartridges in the fridge, sealed in their pouches, or are they fine as they are (pouch plus box)? I am talking 100ASA B/W reversal and 100ASA color reversal. Claus.

Carl, Beautiful post; your last paragraph is one that should be cut/pasted by many who don't "get it." Claus.

Hello James, Your best bet might be to try one of these two sites: http://8mmforum.film-tech.com/cgi-bin/ubb/ultimatebb.cgi http://www.mrelmo.co.uk/smallformat/index.php I am a member at both, and there are lots of people with repair experience who could possibly help solve your problem. Good luck, Claus.

Gareth, I think your idea is a very noble one. You are helping two deserving groups: The poor but experienced Super-8 shooter and the video folks who may never have had the chance to try film. Judging from the way you have structured it, you are doing it in exactly the right spirit. I hope a lot of folks come your way. Claus.

Just to follow up for anyone needing such a filter: I got an 8.5 series Zeiss UV filter used (9/10 condition) for $50. They are hard to find, and don't seem to come cheap these days. However, I can't see myself shooting without one, so I am glad I found it. I truly didn't know about 'series filters' having used regular screw-ins on all my 35mm still film cameras and Super-8s up to now. Thanks again to Glenn for the education :) Claus.

Glenn, Thank you for clarifying that; now I understand the principle involved. I'll look for filters of that type. Claus.

Having had vignetting issues with the UV filters I put on the front of the Leicina's lens, I found out that the lens shade actually unscrews from its mounting ring. This begs the question: Was this done to have you put (bigger) filters in-between the shade and the ring, thus avoiding vignetting, or is it just another example of the ultra-modular design of that camera (perhaps for other purposes)? Thanks, Claus.

For cement, I can recommend the Hahnel Kollmatic (battery-driven with burr wheels) as an excellent precise unit: Claus.

Andries, Yeah, I know the Leicina "got around", being used for many different things; I have yet to see the original support grip you mention. Google time..... ;) Claus.

My Leicina Special and Nizo Pro: Leicina 9/10. The good: Superb body constuction and lens, great images. Full manual ASA range is priceless. The bad: Bizarre ergonomics. Battery compartment is cheap and difficult to deal with. Battery check window and battery check button on opposite sides of camera :rolleyes: Whoever decided to place this heavy camera on such a popsicle stick of a handle must not have had to test shoot with it. The images on film make it all worthwhile, though. Nizo Pro 9.5/10. The good: Great construction and lens, great images. Appropriate ergonomics and beautiful Dieter Rams industrial design. Variable shutter easy to work with, automatic time lapse is great. The bad: Nothing much. A slightly brighter viewfinder would have been nice. If the Special is the talented, but very eccentric cousin in the family, the Nizo is the dependable, solid uncle. The Nizo is, ultimately, more of my "daily shooter". For family films and such it is just easier to use. Claus.

I normally shoot broadcast/corporate, and only twice have I been foolish enough to accept commercial wedding assignments. 1. They don't want you around, but they want every detail on video. 2. They HATE camlights, and yet the rooms are almost always at candle-light level. Result: tons of video noise from gain. Recently, I did tape a post-wedding dinner celebration for the daughter of a friend (she specifically asked me to do it) and little had changed: I rented a Canon XL-2 and of course the dining room and reception had next to no light. I did use the tiny camlight, but the Canon was wide open with tons of gain all evening. So, a grainy, brownish-looking video with a lens going soft because it is wide open. I had no food all evening, because the special events planned for the dinner all needed to be taped. So, on an empty stomach, I shot an uninterrupted 40-min. handheld sequence of a belly dancer, moving around the floor with her. If you have ever held a Canon XL-2 for any length of time, you know how lousy the ergonomics and balance are...my wrist felt like it was on fire by the time the dance finished. I missed one sentence of one speech on video and in the final 1hr, 20min. production, that became the single, big bone of contention.....they loved the video, but put enormous pressure on me to insert the sentence from my backup audio recorder. For a variety of reasons, I couldn't do it, and the hours I spent editing and authoring the DVDs far outweighed the money they paid. I like the family, but I am done shooting such things, no matter who asks. Claus.

Maxwell, Look for silent cassettes instead. Super-8 Kodachrome 40 film, with or without sound, is 'done' as of December of 2010, there being no more processing from Dwayne's in Kansas, the last lab in the world to handle them. Unless you want a last run for the memories and you decide to get some K40 sound cassettes on EBay (with all that that implies) I'd say just get some nice newer stock and run silent. It's the best we can do now. It's not a matter of top-end sound, just the sad fact that this fine little format no longer can offer the nice, compact in-cassette sync-sound anymore.