Martin Baumgarten

The CHINON 506 Sound Macro XL(existing light 220 degree shutter opening) was designed around using the former KODACHROME 40A Tungsten/ASA 25 daylight with filter, and EKTACHROME 160A Tungsten/ASA/ISO 100 Daylight With Filter. So, in auto exposure mode, the only two films made by KODAK that will work fine are: TRI-X 7266 ISO 200 Daylight without Filter (will be rated at ISO 160) and VISION 200T Color Negative (will be rated at ISO 100 Daylight With Filter or ISO 160 Tungsten without filter). However, since the camera has manual exposure mode, you can use any other film, and just compensate by adjusting the meter until the exposure is correct. For example, with EK100 Daylight film, the camera will read it (with the Filter out of the way) as ISO/ASA 160. So knowing it will be under-exposing the film by 2/3 of a Stop, just reset the meter manual setting via the knob on the side until the viewfinder needle is in the correct setting. I'm not sure on this camera, but CHINON has an auto exposure fine tuning knob that you set with a coin on many of their cameras. If yours has this, the lines are set in 1/3 Stop increments, so if you adjust it to the over-exposure side by 2/3 Stop, you will be able to also shoot EK100D on automatic. Good luck!

The SANKYO XL-420 Supertronic camera is a nice portable slim sound or silent Super 8mm camera. It offers manual exposure control, and since the camera's light meter is designed only to read the previous ASA/ISO 40 KODACHROME and ASA/ISO 160 EKTACHROME films, you'll have to use manual exposure setting for most films. You can still shoot TRI-X 7266 automatically, since exposing it at ISO 160 is close enough for most users. I do suggest finding an owner's manual for it, as even one tip of help that can avoid a major mistake, will save time and film costs.

Hi Kevin. Do you have the owner's manual? Check the batteries using the battery test position of the main control and then the meter button. If the needle doesn't deflect with either test, then there's something wrong with the needle display. This may or may not also affect the aperture control. To see if the meter is even responding to light....run the camera in automatic and look thru the film chamber from the rear without a cartridge in it. As you move the camera from a darkened area to a lighter one, you should be able to see the aperture open and close while running the camera's motor. If not, then there's more wrong with the camera than just the needle viewfinder display. Good luck!

I think, that as long as raw bulk filmstock is being manufactured by someone, motion picture film can continue as long as there is a place to slit and perforate it down to the gauges desired. Having seem Super 8mm film sell at crazy prices all over the place; some Sound film has sold in excess of $50 per 50ft cartridge. If it ever comes down to it, were film is produced in extremely limited quantity at very high prices, I would just be forced to shoot less of it, but would still do it. There's a magic in film presentation on the screen that just can't be replicated the same way by anything digital. The projector running, the lights darkened, the screen comes alive with film grain, contrast, hues, and a unique image structure that makes this analog realm so special and wondrous. FOMA is back making filmstock again, and although Black & White only with their Fomapan R-100, I could settle for just that in the end, if I had to. I was outside shooting some EKTACHROME slide film earlier, and with an ancient KODAk made in the 50s, which has a sharp lens. Telling film based photographers and filmmakers not to use this wonderful analog technology, would be akin to telling a water color artist, oil or acylic painter, pen & ink, pencil, charcoal etc artist to forgo all that and just do something digital on their computer using a palette. There are so many ways to express oneself artistically, and who is to say one way is better than another. Anyhow.....I would stock up on enough film to keep me going to the end of my life, if they all ceased production tomorrow!

Hi Pav, nice to see effort going into processing information. As the film world shrinks and things keep adjusting, I think there will be a few more smaller processing labs once many of the large ones shut down. Did you like using the BRAY machine? The website states it can process film as small as 8mm, so have often wondered if it would be any good for doing Super 8mm film.

This sounds more like a problem with the lens itself. Have you removed the lens and examined it critically using a small maglight to check for fungus or some other lens deterioration problem? There could be some kind of lens or coating damage or grease on a lens surface deep inside this multioptics lens. A severe off-collimation problem would be across the frame, not just in a small area as you mention. Rule out an optical problem with the lens first before considering collimation. Try another lens if available, even any decent C-mount lens and check for a similar problem.

I've push processed films here many times, for myself and for customers. Going with a 1-Stop Push does increase grain and contrast, but marginally. Pushing is relative to the light level, since technically film isn't actually pushed to a higher filmspeed. What happens is that you are boosting the information that is actually recorded on the film, so that the image density comes up to a 'normal' level. If anything in a given scene is below the threshold of a film's ability to record it exposure wise, it won't be recorded, so there will be nothing to boost. That all withstanding, the parts of a scene that do get recorded by the imaging silver, albeit very low due to technical restrictions of the light level and camera's specs, will be increased in density so that the resulting images will be usable. My personal and professional recommendation here though, besides pushing the film....is to purchase a couple of low light Super 8mm cameras [XL types which have anywhere from a 1.0 to 1.4 lens opening and a shutter vane opening of anywhere from 200 to 235 degrees. The more light they let in, the better for such work. The gain will be easily 1-Stop over your NIKON or greater, so that in some situations you won't have to consider push processing the film....or by doing so, will still gain a 2+ Stop advantage over your NIKON or any other non-XL type Super 8mm camera. You don't even have to spend a lot of money to do so, as so many of the ones I'm thinking about are very cheap to buy off eBay; CANON 310XL, GAF 220 XLS, SANKYO 320/420 XLS, YASHICA 50 XLS, YASCHICA 20 XLS, CHINON 132P XL, 133P XL and many others. Of course, many or most of these only shoot at 18fps, so I hope that's in your workable range....since that will still give more exposure power gain over filming at 24fps in Super 8mm. If you want a fancy looking camera that will cost you more money, there's plenty of those as well. Don't worry that a given "XL" camera might be a sound camera, since they shoot both sound and silent cartridges. So many of the later generation sound Super 8mm cameras are very compact anyhow, often just as small or even lighter weight than previous silent models. And for image sharpness, used with care they will be fine in most situations. TRI-X 7266 can be push processed as well, and I've pushed it up to 3 Stops. It looks still very good going 1-Stop up, but the grain and contrast really show at 2-Stops or higher. Even so, the grain can add character and mood, and sometimes that can be an advantage. Tri-X as reversal film is ISO 160 under Tungsten illumination (as all photographic film loses some filmspeed in the absence of blue and UV daylight. Exposed for Negative processing the filmspeed drops down some more, to an effective ISO/E.I. 100 under Artificial Lighting, but it can be pushed processed to ISO 200 or IS0 400 easily, with of course some gain in grain and contrast. I recommend doing a test under various situations so that you can refer to your test film(s) as a guide to any future filmmaking projects or jobs; and of course carry some detailed shooting notes with your camera bag. As a B&W Negative, the Tri-X film can be processed in a variety of developers to alter the 'look' of the film and grain structure. For example, processed in B&W Reversal chemistry but without reversal, it will have a high contrast look to it. Processed in a continous tone Negative Developer it will have great image tone, and your choice would have to be whatever the lab offers, or if doing it yourself, however you would like it to look after doing some tests. You can do lots of testing with only ONE cartridge; just shoot a series of increments intended to be processed differently and break down the film and process each segment the way you want to test it. One cartridge can yield 5 test segments if you do each in 10 foot increments, or 10 test segments in 5 foot increments. It will take some work to break down the film in the darkroom, and then container and mark each one for however you want to process it. But when completed, you can have as thorough a test film under a variety of lighting situations and processing methods, to reference to for the future. Hope this helps.

I'd like to add to some of the wise comments already posted regarding this topic. I've been shooting anamorphically in the Super 8mm format (and Regular 8mm at times) using mainly a 2x compression lens format (2.66:1 aspect ratio nominally), since 1981. Having tried all three pre-HD-era A-lenses (1.5x, 1.75x, 2x), I decided to settle on the 2x compression format since that is what the majority of printed films that are in "Scope" are/were released in, and for simplification and standardization. My main lens of choice is the famous KOWA Prominar Anamorphic 16-H (aka 8-Z) which is small enough to make it easy to use, yet large enough to allow use on a vast variety of Super 8mm cameras. Due to realistic size and weight limitations, this combination has worked great allowing me to use the camera for on-the-fly-filming, as well as more serious tripod work over the years. Some years ago, it was relatively easy to buy these custom made adapters which screw into the camera's tripod socket and support the lens in front of your main zoom/prime lens. With a variety of adjustments, it could also be fitted overhead to the movie light socket on top. These items can still be hunted down, but you'll have to search for them amongst the circles of users/former users........thus try contacting The WIDESCREEN Centre in London (although, they're not into it anymore like they used to be years ago, but might still have items or can get them), contact the remaining camera clubs, and also The AUSTRALIAN WIDESCREEN ASSOCIATION. Most of these can all be found online nowadays. Having tried various adapters, I ended up settling with perhaps the simplest adapter made, "The Custome Mount" which via a small metal drilled out base block, attaches to either tripod socket or movie light socket, and has a long rod coming out which can be adjusted back and forth and locked via a small Allan Key Screw. This is likewise threaded on the front end and has a threaded knuckle or fitting attached to it, which has a vertical shaft drilled through it. A vertical rod fits into this and is held in position by an other Allan Key Screw. The top of this shorter vertical rod is also threaded to which it fitted a "lollipop" ring, which has been drilled and tapped also as the rods are, with 1/4 Inch Whitworth threading. The large ring has two further drilled holes with are fitted with two nylon/plastic grub screws. The diameter of the ring is custom, so they had several to fit a variety of Anamorphic Lenses. The entire setup is attached to the camera, the main rod is slid inward until the rear of the A-lens meets the front of the zoom/prime lens. I used a couple Series Adapters to create a cradle for the rear of the A-lens, and adjusted it all with the zoom lens on my SANKYO XL-620 focused to minimum distance....thus maximum physical extension. But lining the inner lip of the Series Adapter on the Camera's Zoom Lens with high quality vinyl electrical tape, in a couple layers, it made for a snug usable fit. The A-lens is held in the ring via the 2 Grub Screws.....but to ensure security, I also wrap a couple layers of high quality vinyl electrical tape around the rear of the lens barrel so the 2 Grub Screws have something to grab/bite into. I heard a horror story many years ago, how one filmer had his KOWA lens drop out this setup and get damaged. I have never had mine come loose using this setup, even filming from a helicopter over Niagara Falls years ago and in other precarious positions. Now regarding some of the facts: [1]. Yes, the rig is now heavier and larger to handle, so you have to be more careful. If using a rig that holds the A-lens in place and keeps it from rotating, you won't have to worry about realigning the A-lens each time to the correct orientation. You CAN shoot as easily as standard format once you get the hang of it, and depending on what A-lens and camera and adapter combination you are using. And.......you're going to get super wondeful CinemaScope images! [2]. Yes, with most A-lenses you will have to focus BOTH the main/prime AND the Anamorphic lens. This is no big deal most of the time. Since the distance setting will coincide between both lenses, for planned shots of action, preset things up. You can film family, kids, sports...etc.....once you get the hang of it, it's almost as fast as not having the A-lens rig setup. And....you're going to get super wondeful CinemaScope images! [3]. Yes, there is some light loss, usually about 1/4th to 1/3rd of a Stop, very little really and in general use, you won't notice it exposure wise most of the time. And....you're going to get super wondeful CinemaScope images! [4]. Yes, there are focal length considerations due to the physical size of the A-lens and camera lens, and the optical relationship between them. e.g. on my SANKYO XL-620 the widest focal length I use is about 15mm. But since the KOWA is a 2x lens, the actual relative focal length in the image on the horizontal axis will be 7.5mm....so as wide as the zoom lens is anyhow. And....you're going to get super wondeful CinemaScope images! [5]. Yes, it's a hassle.....but then so is anything filmmaking related at times. Scripting, acting, lighting, processing, editing, sound scoring, filming, filtering, etc etc. Tell me what isn't a hassle? And....you're going to get super wondeful CinemaScope images! This takes some getting used to, but you get used to it fast. It varies from camera to camera, with smaller lens cameras being able to use most of the zoom range. So, Super 8mm cameras with a zoom lens not larger than 5:1 works best with the KOWA lens. This doesn't mean you cannot use others, just that the minimum usable focal length will be much longer than you want. e.g. on a NIZO S-800, the minimum focal length is around 40mm, yielding a 20mm effective result. However, the purpose of using it on a NIZO or BEAULIEU at the time, with their long large lens, was purposely to film at a super telephoto length in CinemaScope. For much smaller Super 8mm cameras, there's also the KOWA D-16 (compact) which is smaller and lighter. For those wanting an ultra tiny compact setup, there's the famous HYPERGONAR-8 which is very tiny and can be used on small Regular 8mm camera lenses, some 16mm cameras, and any of the small fixed lens or tiny zoom Super 8mm. This lens works great on the FUJI P-2 which is a Single-8 camera. While it's a 1.75x lens, it's close to the 2x format for some scenics to be shown with a 2x projection lens in some projects. From a pure standpoint, you'd want to use it for a project in that resulting aspect ratio of 2.35:1. There's more to this entire subject to discuss, and it would take more to read and ponder and I can tell some of you are falling asleep already. So, in the end, is it worth it? I and many other Widescreeners thought so and still think so. I don't shoot as much in Widescreen using a A-lens as I used to, and that's probably because I began to think....gee....if I die off, people are going to go thru my films and think they are all distorted and then just toss them out! So, lately I've been using Super 8mm as it was intended, just to document my life, family, friends and whatever. But for more serious productions, the A-lens Rig comes out into use! With HD TV, they couldn't even agree exactly what they should use....and settled somewhere in the middle. They could've at least made TV the same as the theatrical cinema release standard format of 1.85:1. So, even if you watch a proper film in it's correct format on your HDTV, it will still have masking lines on the top and bottom of the screen. What I'm getting at here, is that it really doesn't matter if you prefer an odd format over that of others......even a 'normal' cinema film still has to be either cropped or masked to be shown on TV via DVD or BluRay. Finally, remember.......you're going to get super wondeful CinemaScope images!

I don't own the UWL lens for the NIZO, but have used the AMBICO Hemispheric (aspheric) wide angle and also the CANON aspheric Wide Angle, and they will work if using 2 of the 4x close-up lens behind it. The focus is set to Infinity, and for sharp results you'd want to be closed down at least 2-stops from wide open or more. Sharpest results are obtained around F/8 or better. The other problem is the NIZO since it will begin to vignette quickly, so you will actually have to move the zoom slightly to avoid that. This setup has worked on a SANKYO XL620 at the widest 7.5mm position, the NIZO 560 and 480, and on a BEAULIEU using the smaller Angenieux 8mm to 64mm F/1.9 lens (note the Series filter thread is different at 48.5mm versus the 49mm closeup lenses. Anyhow, you'll have to check for vignetting and slightly adjust your zoom, since the degree of vignetting depends on the design of the aspheric lens you're using, and the spacing of the closeup lenses and necessary adapter ring(s). I never purchased any of the UWL lenses since they aren't made of glass, and I thought they were thus overpriced for acrylic. The AMBICO and CANON ultra wide lens adapters are glass and also well coated. Good luck, hope this helps.

Technically, they are correct, no wash is necessary between the REVERSAL BATH and the COLOR DEVELOPER. However, all the other technical information others have provided are fine, concerning a FULL IMMERSION type of processing, such as via RACK & TROUGH or SPIRAL REELS. BUT, my answer concerns the original question in processing using the R E W I N D Tank method...and there are other concerns regarding this. The REWIND TANK process is a compromise processing method of sorts, since the film ONLY picks up fresh chemistry the moment it passes between the two reels in winding. The film is continously wound back and forth, and since it winds up upon itself with no gap between film layers.....only the residual chemistry that is contained within the film emulsion...is doing the work. Compromises and a different type of methodology is necessary to yield decent quality when using a REWIND TANK (Morse G-3, Arkay G-3, Doran G-3, Fairchild Rewind Tanks, Aerial Film Rewind Tank Processors, LOMO Rewind Tank, and the Beacon Motorized Rewind Processor among others]. Proper rinsing between most stages, will help avoid the imprinting problem, and minimize large amounts of residual chemistry remaining in the emulsion to avoid contamination staining. You can NOT apply the same standards for processing of still film, or movie film on spiral reels, to the REWIND TANK type process. There isn't an exact control of each stage to the same critical nature, and if you try to do so, you'll just get awful results in the end. I've been processing movie film manually since I was in my teens, and we also had the MORSE G-3 REWIND TANKS as field units, camera testing, and emergency backups while in the military. Anyone that has successfully used a REWIND TANK method for the developing of motion picture film, particularily reversal film processing, will attest to the necessary variations. That all being said, I hope you can work out a method with your G-3 Tank and get good results, and post the results back on this newsgroup.

IF the film actually got wet, then it's pretty ruined. However, as mentioned, if it's still sealed in the foil packs, it should be okay. As for film that has been shot, if can be cold stored to minimize aging effects after shooting, if unable to get it processed right away. It should be sealed in high quality zip-lock bags, and try to get out as much air as possible. If desiring to freeze exposed film for a longer time, say months or years (if that's how long it will take you to get it processed or doing an experiment), then double bag it as an extra precaution. Even exposed cold stored film will still process quite well long after it's been exposed.

Well, it's not all doom and gloom. Super 8 Today Magazine has put tremendous strain and time constraints on the Editor to put this out, which despire the cost, has been mainly a labor of love. Many of us miss the long discontinued "Super8Filmaker" Magazine, and this was a nice modern homage to that former ediface of the peak Super 8 era in the 1970s. Something else may come again in the future. Having put out a club magazine that was nowhere near the quality, I can understand the effort involved. We have the internet, something that didn't exist back in the heyday of many hobbies.....and it's the fabric that keeps so many things alive by allowing rapid contact and communication across the spectrum of our passion for film. As for KODACHROME......lamenting time is over, KODAK been trying to kill it off for many years and we had the warning. I know it wasn't or didn't seem long enough warning, but we had one. Remaining KODACHROME filmstock is not dead in the water, at least it can still be used and processed four different ways in some form of Black & White, and while not as cheap to process, it's not super expensive either. PPS processes it here. As for DS8's future, FOMA will continue to offer it, now that they have resolved their film base production/procurement issues. As for the perforation problems on the GK filmstock with Velvia, I wasn't aware of any problems. I suggest letting GK Film know about the problems so they can be addressed. As with any very small scale production of some product, there is always the potential for some errors. There are some other companies that have the film slitting and perforating equipment, so possible options still exist. As long as rawstock in film is available, it can be made into a variety of gauges by those that have the resources to do so. Considering the ever rapidly changing technology out there, we at least can still shoot film in various gauges on a variety (albeit lesser variety) of filmstocks. The 9.5mm filmmakers are glad to even still get film for their beloved gauge! Some cameras may become less practical to use due to production costs for limited filmstock runs. A good example of sorts is running the Double 8mm Magazine format; just too many hassles and costs for most....and there's a million spool loading cameras. I love the quality and feel of those well made BOLEX H series cameras also, but at least if for some reason DS8 were to die out entirely, there's still Double 8mm and 16mm to make films with. These types of complaints have been voiced over many years in many magazines and club meetings, and here on the internet. The comeback has always been, "Use it or Lose it", and while so often our numbers among the small film gauges are smaller, this does apply. At least you can stock up, and freeze the film. I know it holds up pretty good as I'm still shooting on film with early 1980s expiration dates (but that batch is nearly gone and others follow). The wealthy millionaires which so often support other hobby interests regardless of costs or whether it makes any profit just to indulge their pursuits seem to lacking amongst our numbers. Anyhow, dreaming about stuff is fine, but in the end....get out there and use what we have, make a film, and have fun seems to be the real answer.

Do NOT rotate the cartridge takeup core.....UNTIL you first depress the Pressure Plate to relieve the pressure on the film.........OR you could end up breaking the film. Depress the Cartridge's Pressure Plate with a small screwdriver or tweezers..keeping away from touching the film as best you can. Then rotate the takeup core clockwise and the film should easily glide down over the depressed pressure plate and move through the cartridge and takeup on the core. To help the film glide/transport through the camera better and easier (once you've determined that the cartridge is not the problem, and you've tested the camera otherwise without film via running it and with fresh batteries etc), get some good spray Silicone and spray a clean cotton flannel cloth, then wipe the camera's film gate liberally with this. Also, to help the film in the troublesome cartridge, [AFTER having first pulled down a few inches and wound up the slack on the takeup core to make sure the film is indeed transporting okay].....pull the film in the Cartridge Gate upward a little so you can get underneath it....then wipe the Pressure Plate with a Cotton Swab that you sprayed with the Silicone. Prestone Silicone Spray works fine, as does the heavy duty Silicone spray available from hardware shops etc. ALWAYS make sure the Silicone is applied some moments after you have sprayed the cloth or swab.....to ensure that the propellant has evaporated. This leaves only the silicone behind and it won't harm the film. Alternatively, a good movie cleaner with lubricant or movie film lubricant will work as well. But, the silicone method has worked for me for decades...resulting in very stable film transport and images, many times on cameras that had steadiness problems. Anyone that has used EKTACHROME 64T can attest to how wet that filmstock is with lubricant. KODAK had to use plenty to get that thick filmstock to transport well in the cartridges. Lastly, a word about the cheap plastic Super 8 cartridge. Unless there was an assembly problem, it's much sturdier than many think. I still have the very first cartridges that I opened and reloaded film in from 1981, and they have run over half a dozen reloads in them each and still work fine. The builtin pressure plate is very sturdy and can be firmer sprung than that of many spool loading cameras. The difficulty the cartridges have is in their coaxial design, in which the Supply Side is a stationary hub, and the film has to rotate around it sitting on a Slip Sheet Disc. The other potential problem is the sharp curves the film has to take in transporting through the cartridge, where there is only one roller as it exits the supply side on its way to the gate, and only a rounded plastic moulded hump on the takeup side. In practice, this has worked since the invention of the "KODAPAK" Super 8mm cartridge. But I mention all this since filmstock being used now is thicker lately, the cameras are getting older (so there are many tired cameras out there, from mainly lack of use and age), and that high humidity can sometimes cause film sticking initially when first using the cartridge after opening the foil pack. Hope this helps you. If the problem persists with other film, consider just getting another camera....plenty out there, and many can be bought very reasonably priced and even cheap.

That's true, the NIZO Pro doesn't have the same features, but it's better since it does have manual zoom, manual exposure, a variable shutter (which can be locked so exposure time is shortened), aperture readout in the viewfinder, 2 speed power zoom and other features. The YASHICA due to the time period when it was built, as with many Super 8mm cameras from the 60s into early 70s, had light meters that keyed to a much wider ASA/ISO range.....for films that hadn't even been made yet....but were on the drawing table. As nice as your YASHICA 600 is.....it has it's own drawbacks; power zoom only....and that sucks, no exposure information in the viewfinder (except for a low light level warning), no manual exposure adjustment (nor any auto exposure lock, only the bias settings). So....better? That's relative of course. Anyone dabbling in the Super 8mm field will quickly learn that sadly, some cameras have desireable features that others don't have, and hardly any have all the features many of us want or wanted....so it can be a little frustrating. That's the world of design and marketing, and it persists into many other products; cars, audio equipment, digital cameras etc. [The model which replaced yours just a year or so later, the YASHICA Electro-8 LD-4/LD-6/LD-8 models have the automatic Lap Dissolve feature...and use a variable closing shutter not an aperture fade, so they make great dissolves.] So to recap here, yes it will read both TRI-X and VISION 200T as ASA/ISO 200 with the Filter removed (either automatically or manually by yourself), or as ASA/ISO 130 or thereabouts IF using the Filter since it will reduce exposure by 2/3rds of a Stop. HOWEVER....I do recommend cutting your own filter notch in the TRI-X cartridge....that orange filter will really help make your skies and other daylight details 'pop' via the more correct tonal representation. Due to the inherent higher sensitivity to Blue and UV light, B&W films tend to have skies wash out, water often too bright, and wimpy if any cloud details. That's why for virtually all B&W photography and filmmaking, negative or reversal, use of Filters in the Yellow, Medium Yellow or Orange range are highly recommended. Red, Green or Blue or other filters for dramatic effects away from the norm. So, good luck on your film shoot now. ADDENUM: And, that's WHY I always recommend owning several Super 8mm cameras....since some have features you may want or need for certain projects and other cameras don't have those features.....as well as a nice small travel camera, and some junkers for taping to a car or bicycle etc for those riskier shots.

I tend to agree with Jean-Louis that it's a telecine related problem. The jumpiness is too even and steady throughout your segment to believe it came from the original incamera exposure. However, it still could be the camera...but I have never seen unsteadiness like this from a NIZO; it tends to jump if in the camera, but not so perfectly from frame to frame. Regarding the other issue, of the EK100D film being thicker and running rougher etc. This has also been an issue many times with the previous EK64T as well. A similar situation can occur with FOMAPAN R-100, which normally is not available in Super 8mm cartridges but can be custom loaded that way privately. As with any Super 8mm film cartridge film sticking or jumpiness incamera problem, a nice wipe of the film gate with a clean cotton flannel cloth moistened with pure Silicone will solve that. Should a cartridge give further problems, pull the film out of the cartridge gate so you can wipe the pressure plate with Silicone as well. That has cured 99% of any problem I've ever had with cartridges being problematic that way. Super 8mm film cartridges will jam for a small variety of reasons: [1]. High humidity present in environment upon opening of foil seal pack, causing film emulsion to swell like a sponge...that part that's exposed in the cartridge gate. This will usually cause a film to jam right at the beginning. SOLUTION: pull the film downward and rotate the takeup core clockwise to take up the slack. If very humid, make sure to wipe film gate with Silicone....if a deep film chamber such as a rear loading camera (which the NIZO is), you can just GENEROUSLY wipe the exposed film surface with Silicone and it will wipe the camera gate when you reinsert it. [2]. Film jamming from using the Film Rewind, Double Exposure, or Lap Dissolve function on a camera. What happens is the film will jam, either because the rewind function was begung too early in the cartridge (wait until at least 5 feet of film has been run) or too late in the cartridge (don't inititate a film rewind within the last 5 to 10 feet of a cartridge's remaining film length). SOLUTION: Take up any film slack by rotating the film takeup core clockwise, if no slack....then depress the Pressure Plate in the cartridge by using a small screwdriver or tweezers to either side of the film...and while holding it in, pull the film downward. Do this for a few inches of film, sometimes it has to be done for as much as a foot of film....then keep taking up the slack by rotating the film takeup core clockwise. NOTE: Should the film NOT pull down due to a severe jam....do NOT force it then. The film could just break. Notify the lab of a film jam in this situation when sending it in for processing. [3]. Film jam caused a film pull-down to takup core rotation problem.....or by using high running speeds in a given camera ( Slow Motion ), in which the film takeup core isn't rotating fast enough to keep up with the film fed to it from the cartridge gate, so it overslacks into the takeup chamber side of the cartridge. This either manifests itself via a full jam, or if shot at normal running speeds of 18fps or 24fps, can just cause the film to jitter while it's running. SOLUTION: remove cartridge from the camera and wind up the excessive slack in the cartridge by rotating the film takeup core clockwise until the film is taunt. Do NOT force the film too tightly. If the problem persists on a given camera, then use the film in another camera instead and/or avoid using the Slow Motion feature on that given camera causing the problem (IF the problem only happens in the Slow Motion mode setting). [4]. Film manufacturing problem regarding sprocket holes (perforations) or a faulty cartridge where film is not unspooling from the supply side smoothly due to a warped or jammed Slip Disc (thin plastic disc the film sits on and rotates as it feeds) or a jammed or popped-off or otherwise damaged film feed roller which is just above the film gate where the film turns over on so it's emulsion side out as it runs thru the film gate. Any cartridge related problem requires opening the cartridge to assess the problem, resetting the film in the fixed cartridge or another one, and then sealing up the cartridge. ADDENUM: There's another way to fix jammed Super 8m Cartridges, but it is involved and requires opening up the cartridge and resetting the film correctly so it will run. If the jam occurred early enough before main filming, it's best to just rewind the entire film load and reload it into a good working cartridge. I know what you're thinking, where does one get this done. PPS does this type of service here....but if you do your own film processing, you can learn how to work with the cartridges to use them. It does require making up a small jig to wind the film up for the Supply Side of the Super 8mm Cartridge so that it will rotate on the stationary hub smoothly.

The YASHICA 600 Electro has only two methods to move the builtin Daylight #85 Color Conversion Filter; via the top slot for a Filter Key (or the movie light adapter which had the key as part of its base) which when installed...moves the Filter out of the lens path, and second, via the Film Chamber Cartridge Filter Pin (moves the Filter out of the lens path when a Super 8 cartridge is installed that does NOT have the Filter Notch). So for your uses, in using VISION 200T film in Daylight.....double check the cartridge to see if it has the Filter Notch. This notch is about 1/4 inch from the bottom of the front edge of the cartridge. IF it's not on the film cartridge...then I suggest using a pair of needle nose pliers and carefully breaking off part of the cartridge wall, and make your own notch. The notch is about 1/4 inch from the bottom, about a 1/4 inch high and about a 1/4 inch deep. If you make your notch a bit larger, that won't be a problem...as you don't want it to push the Daylight Filter out of the lens path. To move the Filter out of the way for Tungsten filming, you'll have to use a Filter Key in the top slot, or make you own out of very stiff cardboard. By looking down the lens with a small flashlight, you'll see the filter move out of the way. Alternatively, you could remove the cartridge, and fog only an inch of film doing so, and then tape a small piece of plastic over the Filter Notch so that upon reinsertion the cartridge will remove the Filter out of position (but, if doing so, First make note of your footage counter, then shoot a couple seconds of film so as to not affect anything you just exposed).

From my own many years of experience, I haven't noticed any several refreezing problems, with any films that were still completely sealed. I'm still using up film frozen on and off since 1981. It traveled the world with me, so there were five major times times it was thawed out, twice for a month at at time during winter time when it was all being shipped to England and then 4 years later to New York, and then short durations for freezer servicing. The only problems I have ever noted on any films were films that had lost seal integrity and thus were compromised due to humidity changes, moisture buildup etc. For the best quality continuity of course, I suggest minimizing the amount of time it has to be refrozen and thawed out. However, I must say, I was amazed at the color in some Ektachrome 160A Super 8mm that had expired in 1978 that I shot and processed about 4 years ago. Hope this helps.

Spiral Reel processing or Rack & Tray, since both are full immersion methods, they are the best for critical controlled process timing doing Super 8mm. I recommend that over the G-3 Rewind Tank. However.....the problems you're having with the G-3 need to be addressed. IF you rinse well BETWEEN ALL solutions, you'll have far better results. The "imprinting" of the sprocket holes/perforations on the film as it wraps around on the reels is somewhat normal with rewind processing. However, it should only be within the sprocket hole realm on the film and no where else. If it shows up in the image area, the reels are set too wide, or have drifted wider: usually a problem with the later made Arkay or Doran processors...as the original Morse units that do Super 8mm, are metal reels. Lastly, the "solarization" problem you got is due to insufficient bleaching. The Bleach step needs to be often dragged out as much as 5 minutes/passes longer than what you're using. Keep in mind, with rewind processing, you are trying to pass film from one reel to the other via controlled cranking so it passes in a minute's time. IF only doing one 50ft roll of Super 8mm, then you could wind faster and do it in 30 seconds, but you would also have to adjust all your process times for the process to balance out. So, rinse between all solutions for at least two passes/minutes minimum up to 4 passes; this is NOT the washes, but the inbetween the other solutions stages. Also, to make sure you are getting Full Reversal in your images, you can keep the film in the Reversal Bath for another two passes. I hope you're using the normal 6 chemical step E-6 process. IF you are using the 3-bath E-6 process, you might want to not only rinse well between stages, but also introduce a PreBleach chemical step from the normal full E-6 process. This can be purchased separately and will help with the Bleach problem which is causing the "solarization" effect, via leaving behind silver compounds. When using the LOMO tank spiral reel process.......forget about using the draining of the solution and timing that way in the Developer stages......just remove the reel from the solution allowing 10 to 20 seconds for draining (factor this into the timing), and rinse it in a container of water the same temperature. This has to be done in TOTAL Darkness of course, but you could use a small bucket or plastic dish washing container for this purpose. Even better is if you have another LOMO tank to use. However, even if not, you can use two large black trash bags, which will be opaque, and then put the bucket or container with the rinse water and film reel in that (once you've rinsed the film some), then you can turn on the room lights, drain the LOMO tank, and rinse it out. Then fill it up with Wash Water, TURN OFF the room lights, return the film from the container to the LOMO tank and slowly lower the reel into the tank with water, then put the cover on and turn on the room lights. Since once you're past the Reversal Bath step you can work in room light, remaining timing is easier. Do the same with the COLOR DEVELOPER, and this way you'll have significantly more accurate timing in BOTH Developing Stages. For heating of solutions and temperature control, the heaters made for aquariums work well. I also use those cup heaters, as they will maintain temp in a large container quite well once heated up. They do run constantly of course, but that's not a problem. Use some stiff wire across the tank so the element doesn't come in contact with anything or the tank or container sides which are plastic. Another method is just to heat up some hot water and keep that nearby and keep a thermometer in your water jacket tank, and just add some hot water to help maintain that. With practice you can control your solution temperature, which really only needs to be very accurate with the Two Developers, and more importantly....the Color Developer. All other solutions for E-6 can be off by 5 Degrees either way. The First Developer controls the image density, so if the temp is up or down, you'll have to adjust your time to compensate. The Color Developer temperature if too high or too low will affect color bias; as will the PH and Specific Gravity. If the solution is too dilute you'll get a Magenta cast, if too concentrated it will shift to Green, and temperature will throw it off as well. So.....best to be as accurate as you can with the Color Developer. The other solutions, are not as critical and the Bleach and Fixer could even be done much lower if necessary for some reason. It is important to try to keep them all within a few degrees of each other, or drift downward in temp after the Color Developer....and stay that way. Otherwise you risk emulsion cracking and grain problems with too much inconsistancy.

Processing 'good' KODACHROME filmstock, that is of recent manufacture and/or has been cold stored since new if old, can still be done as Black & White Reversal or with rich brown tones done as B&W Reversal in Sepia. I offer processing here at Plattsburgh Photographic Services, NY in B&W Negative, B&W Reversal, or B&W Sepia tone Reversal. I know this thread is older, but with still so much interest and questioning regarding processing of KODACHROME movie films, especially in the Super 8mm and Double 8mm formats...I figured I'd add to this thread topic. And pricing is pretty reasonable compared to other places, so any one still having old film that they exposed or want to use up for a 'special' look, can still do so.

I have found it quite invaluable to keep all types of Super 8mm cartridges on hand for such testing of camera meters. One way to keep a cartridge is to just ask the lab to send it back to you, or one like it. Just a short note here as a reminder on KODACHROME, that anyone still having good unused KMA40 or KM25 filmstock on hand....that it still can be used to make movies processed as Black & White Reversal or in B&W Sepia tone Reversal, or even as a B&W Negative.

The YASHICA 600 was built around 1970 and as with many better Super 8mm cameras of that era, allowed reading of cartridge notch codes for filmstock speeds that weren't even offered yet. It will work fine with the Kodak VISION 200T since without the filter it will be exposed as TRI-X 200 would be. I would run a test on a variety of subject matter, as well as using a Gray Card and a Color Chart under correct Color Temperature range for fine tuning in video transfer later. Also, via the Exposure Override Knob, you can adjust the exposure in 2 increments above and under the meter's reading to either get more or less negative density.

My final reply to this topic....it's going on long enough. The CANON 514 XLS was designed and engineered to accommodate the 6 filmspeeds as outlined in the owner's manual. As with any Super 8mm camera, there can always be some inbetween variations via a combination of settings due to the Cartridge's Filmspeed Notch, the Filter Removal Button/Lever in the Film Chamber, and the Daylight/Tungsten external switch/knob. This thread has proven one thing for sure......to really know, TEST your own camera via what Richard mentioned. There will be some that allow usable variations so that EK100D can be used in Automatic Metering mode, others, that won't be the case. Every Super 8mm camera made doesn't have the same options for setting the filmspeed, nor do they all have the same method of adjusting the light meter setting via either the Film Chamber Filter Removal pin/lever OR via using the External Filter Selection Knob. Some cameras have the photo cell behind the Filter, so it will read thru that Filter, and only has an exposure change factored in that way. The only way to really know is to test any given camera. Many can be used regardless, by doing some other method of using them, or by modifying the meter's adjustment potentiometer on the circuit board, or even if needed.....by modifying the film's processing. I didn't get the same variation on my CANON 514 XLS here that Richard did. I can only report on my own results and experience, and what the manufacturer states in their literature. There can and will always be variations at times, outside of the mainstream information......so the key of course, is to RUN TESTS! Good luck and good filming results to all on here.

I had a feeling this would get confusing Richard. I try to stick to the facts, and in the Super 8mm camera equipment world, it can be quite confusing at times. One of the 'problems' is that filmspeeds have changed over the recent years, and the original filmstocks available at the time many cameras were made, have been discontinued. Before I get into this, let's just go over some basics which can be confusing. [1]. Originally, most Super 8mm Color Reversal Stocks were Tungsten films, requiring the use of the builtin Wratten #85 Daylight Conversion Filter. Today, those stocks are gone now. We have EKTACHROME 100 Daylight Color Reversal which doesn't need the builtin Filter.....so using this film means setting the camera's Filter Knob to the Bulb Lamp setting and/or having the cartridge just push the Filter out of the way since there's no Filter Notch. [2]. The only Super 8mm Color Films requiring the Daylight Conversion Filter (or a separate add on filter to do this) are: the discontinued EKTACHROME 64T, VISION 200 Tungsten, VISION 500 Tungsten, and a FUJI filmstock being privately packaged. [3]. Over 35 years ago, Kodak TRI-X 7278 B&W Reversal had an effective filmspeed rating of ASA 250 and it remained that way into the early 1980s, then was lowered to ASA/ISO 200 on all their packaging. PLUS-X 7276 was ASA 50 without the Filter and ASA 32 with the Filter, but the cameras rated it at ASA 40 without Filter and ASA 25 with Filter. TRI-X could only be used with the Filter IF you cut your own Filter Notch into the cartridge. Back to the dilema here regarding the CANON 514 XLS Sound/Silent camera. And for the record, I have my CANON 514 XLS on my lap and the instruction manual to refer to in addition to my own experience, to avoid more confusion. The CANON offers 6 filmspeeds to use....and really....and this goes for most Super 8mm cameras.....the Daylight speeds are default settings owing the light loss of when the builtin Daylight Conversion Filter is in position. The camera has two filmspeed setting prongs in the film chamber, and using these allows for a small variety of film cartridge settings via the cartridge notch. (1). both prongs pushed in, for ASA/ISO 40 Tunsgten without the Filter in position, or the default ASA 25 rating when the Filter is IN position. (2). one prong pushed in, for ASA/ISO 160 Tungsten without the Filter in position, or the default ASA 100 Daylight rating when the Filter is IN position. NOTE: This does NOT work with EK100D since the camera will rate the film at ISO 160...NOT ISO 100....and that is WITHOUT the Filter. [WITH the Filter IN position, which you can't do anyhow, unless you either screwed one on the lens or cut your own Filter Notch.....the meter would expose for ISO 100.....BUT.....since the Filter would be in use....the film would be all orange and again, underexposed since the Filter would lower the amount of light reaching the film....effectively really being now ISO 64.] (3). both prongs out, for ASA/ISO 250 Tungsten without the Filter in position, or the default ASA 160 Daylight rating. To get that with TRI-X film, you'd have to cut your own Filter Notch. The ONE exception here is an internal metering workaround done to accommodate the former EKTACHROME 160 Type G. Since the cartridge doesn't have the Filter Notch, the cartridge wall pushed the film chamber filter removal pin in, and removes the Filter from the lens light path. That cartridge has a slightly larger filmspeed notch than that of EKTACHROME 160 Type A. That longer notch allows BOTH filmspeed setting prongs to remain out, setting the meter to ISO 160....but without the Filter. The camera has an electric-mechanical interface from the Filter system to the meter, so that when both prongs are not pushed in by having this larger filmspeed notch AND the Filter Pin in the film chamber pushed in to remove the Filter....the meter defaults to ISO 160. There are quite a few cameras that do read the filmspeed notch correctly and will meter correctly when using EK100D, but this is not one of them. The closet films exposure wise that will work made by KODAK are TRI-X 7266 being rated at ISO 250 (close enough for most work) and VISION 200 Tungsten which depending on the length of the meter notch, will read at either ISO 160 or ISO 250. Here I must say, I do not know since I do not have a VISION 200T cartrige here to double check. If it's ISO 160, then it would be fine since the slight overexposure is okay.....but if it's ISO 250, then the slight underexposure in dim lit situations could be a problem. Older GAF ST-111 and similar Chinon made cameras had stepping meter notch readers that could read filmspeeds from ASA 16 to ASA 250, and will read the "Tungsten" Notch of ISO 100, which means WITHOUT Filter, and since EK100D is a Daylight balanced film, that is what is needed. There are many other cameras, and some of the higher end cameras can either read the notch or have some exposure biasing knob for Under & Over Exposure fine tuning in 1/3 Stop increments to a Stop over or under. AND even then, there's some disparity in the earlier cameras regarding use of the now discontinued EK 160 Type G film since it didn't exist prior to KODAK's XL series cameras. So much for easy dropin loading, point and shoot and have auto exposure, eh? My goal is just to get newbies and others to not end up wasting precious film & processing costs and then getting ticked off and just saying, "screw it, I'm shooting video!" Ugh! My two cents here to keep film alive. In the end, what does all this mean? The EK100D will be underexposed about 1/2 a Stop, and for some situations it might be okay......you'd have to test it out yourself. But I recommend only shooting a few feet of it in AUTO mode, and manual override all other shooting as I stated in my previous post (via using the EE Lock etc)....otherwise, you'll be mighty upset at getting back an entire roll of film that is too dark!

The CANON 524 XL-S camera is a nice camera, but it has the same metering limitations as many others since it was built around using the former KMA 594 (Kodachrome Sound film ISO 40 Type A/Daylight 25 with Filter) and ELA 594 (Ektachrome Sound film ISO 160 Type A/Daylight ISO 100 with Filter). The film chamber pin which moves the Daylight Filter out of the way, was originally intended for the long discontinued EG 464 (Ektachrome ISO 160 Type G). This film was designed with a lower Daylight Color Temperature so it would produce more acceptable results in mixed lighting situations (thus is really looked lousy in tungsten light alone since it's 4400 Kelvin Color Temp rating still resulted in a very orange image). I have to add all this, since this backfill information isn't always known by many getting into Super 8mm film today. When KODAK was making the previous PLUS-X 7276 (previous to the now also discontinued PXR 7265), it DID have the Filter Notch. The intent was that those shooting with PLUS-X, which was ASA/ISO 50, would be exposed automatically by most Super 8mm cameras at ASA/ISO 25 WITH the Filter being used. The actual filmspeed with Filter was ASA/ISO 32, but the film latitude being what it is, KODAK stated the film fact sheet that it was quite useable that way (and it was for the most part). Towards the ending couple years of PXR 7276, KODAK for whatever reason didn't always have the Filter Notches cut into the cartridges...this varied from batch to batch...never a clear cut reason; so it must've been in error. Anyhow, TRI-X 7278 and the now TXR 7266 never had the Filter Notch in them. Even with the 'new' B&W Reversal Process using D-94a, TRI-X's filmspeed is still ISO 200. Back to the camera.....so, if NOT using the Filter, either via switching the knob to the Bulb Lamp symbol for Tungsten.....or using a cartridge that doesn't have the Filter Notch (which neither the last of the PXR 7265 or the still current TXR 7266 don't have), the camera's light meter on the CANON 514 XL-S will rate PLUS-X 7265 as ISO 160, the same as TRI-X 7266. So the film will be underexposed. The only work around for this on this camera is to either have the meter modified so it will read correctly for that film.....or to meter manually via using the Exposure Lock device. Meter the scene.....and knowing that the reading is Under by 2/3 of a Stop, make NOTE of the reading....say for example it's F/11....then aim the camera at something a bit darker until the exposure dial in the viewfinder shows it just a little past F/8, and then lock the lever for the Exposure Lock and film your scene. While bothersome initially, this works quite well and quickly once you get used to it. There is one other way, and that is to have the film processed in either the original B&W Reversal formula so it's at ISO 50 as it once was....or have it PULL processed by the lab so also the effective exposure density will be at ISO 50. And....lastly.....you can make your own Filter Notch in those PLUS-X or TRI-X cartridges, and take advantage of using the builtin Daylight Conversion filter (originally intended for color films since virtually ALL Super 8mm Color Reversal films were Tungsten). B&W photography or filmmaking should make use of Yellow, Medium Yellow or Orange Filters to render more normal sky and cloud detail, so that there is more correct tonal separation....otherwise sky, water, and some other non-specular hightlights with detail in them don't wash out to white. AND why not use that filter that's already in the camera...it will cut the incoming light down by 2/3rds of an F-Stop helping with filming in bright light situations ( but you'll need a good Neutral Density Filter at times also), and render decent tonal range in your B&W Reversal images. With PLUS-X 7265 though, if you still have more to use.....you'll still have to do the manual exposure method even if using the Filter. However, with TRI-X, the film will be rated at either ISO 160 without the Filter (close enough for most filmmaking to the original ISO 200 speed) or at ISO 100 WITH Filter ( close enough for most filmmaking to the original ISO 130 speed). For finer exposure tuning of course, you can use manual override via the above outlined method on this camera, to control your image density of various subject matter as you see fit. AND Lastly, using the EKTACHROME 100 D filmstock, without Filter (you don't want to use the filter....unless you want an overall orange color cast for some strange effect...and that would require you to cut a Filter Notch in the cartridge anyhow), the film will be exposed at ISO 160, the same as if shooting with the now discontinued EKTACHROME 160 Type A or G. So, as with the PLUS-X 7265 example above, the film will be UNDER exposed as the camera will close the lens aperture down more as it's exposing the film at ISO 160...NOT ISO 100!!! So, use the Manual Exposure method I outlined above and you'll be fine. Or just use another camera altogether. Hope this wasn't too confusing.