Martin Baumgarten

Also, it is probably still possible to film the monitor screen using FujiChrome Single-8 R25 which is Daylight balanced and then the film is polyester based to start with. Since this is color reversal stock, once you have shot your test and tweaked settings to your liking, you can just reshoot the monitor and make as many as you need. The filmstock is still floating around out there and processing is still available as well.

Anytime anyone publishes a book on such a technical topic as filmmaking and so diverse as the world of SUPER 8mm, there are bound to be some small errors of course. I'm sure this book is as wonderful as everything that has been coming off the presses at ATOLL MEDIA! I look forward to buying my own copy before too long. Clive Tobin is correct though, not all Super 8 cameras have the built-in Daylight conversion filter. KODAK in their infinite 'wisdom' did offer several variations of their famous "XL" cameras that only allowed use of EKTACHROME 160 TYPE G (or TRI-X since it would fit into the camera and be exposed at ASA 160). The "Our Gang" cameras and the two numbered models, XL-33 and XL-55. All of these cameras actually have a small plastic notch piece to prevent using any other cartridge other than the EKTACHROME 160 Type G (but the TRI-X ones would fit). There is a workaround....and that was to cut a notch in the cartridge so it would fit into the camera, and then put an 85 Filter on the lens, AND a piece of it taped over the Exposure Meter Window. This would then allow use of EKTACHROME 160 Type A films or similar. Today, it's a moot point since as is stated...the neoprene rubber drive gears on those cameras crumbles to a mess with age and most no longer run. The cameras could still be used if a replacement gear were fitted though. Other cameras without the Daylight Conversion Filter are: BEAULIEU 6008S BEAULIEU 6008 Pro BEAULIEU 7008S BEAULIEU 7008 Pro BEAULIEU 9008S BEAULIEU 9008 Pro [The above Beaulieu cameras offered either a conversion filter built into the lens, or as a screwin filter, but NOT in the camera body] and... COMET plastic simple fixed lens camera with adjustable aperture settings BENTLY B-3 plastic simple fixed lens and fixed aperture camera BENTLY BX-720 (same camera as the COMET above) and some other independant branded versions of the above plastic cheapo cameras. The processing reels in the Morse G-3 tanks are made of stainless steel....and later in the Arkay G-3 and Doran G-3 versions, of plastic (and without the re-exposure window on the tank either). The stainless steel reels were made in two versions, one which only does 16mm and 35mm and the latter which has 3 positions for Super 8mm, 16mm and 35mm.

Since my lab offers custom manual cine film processing, I thought discuss what 'good' KODACHROME KMA-40 film processed as B&W Reversal and in Sepia looks like. However, I can't seem to figure out how to upload the iamges....but will email them to anyone that asks so you can see how they look. So, don't throw any unused KODACHROME film away, it can still be used. I'd rather shoot B&W or Sepia SOUND film, than not have any sound film at all. For that matter, all my frozen silent stock of Super 8mm or Regular 8mm can still be used. Of course, Sepia tone processing in reversal looks great with conventional B&W Films such as TRI-X, PLUS-X and FOMA R-100.....more brown and different from what KODACHROME looks like. The Sepia tint seems to almost glow in highlight areas. The image quality on KODACHROME processed as Black & White Reversal varies. If the films are old or poorly stored, there are sometimes some yellow stains or streaks, or some other oddities. Done in Sepia, all B&W positive silver is converted and even the base takes on a Sepia tone, so less chance of any yellow stains ever being noticable since there's such a strong tint bias. I've seen image quality all over the range as I get film in for processing. I've gotten good results from Regular 8mm as well. The film does have to be pushed a bit in order to get 'normal' density from films rated at ISO 25 Daylight (with Filter....helpful if you want to gain cloud details) or ISO 40 (without Filter)....which is what most Super 8 cameras rate the film at. If you wanted the film processed without any pushing, it would have to rated around ISO 10, which is quite slow. I really haven't noticed any significant grain change either way....but will conduct some more tests of my own since I still have plenty of my own cold-stored stock in the freezer. Lastly, 'good' KODACHROME film can be processed four different ways: (1). B&W Reversal (2). B&W Sepia Tone Reversal (3). B&W continous tone negative [using a good continous tone B&W Negative Developer such as D-76 etc] (4). B&W high contrast negative [b&W Reversal Process without Reversal] Hope this helps shed some light on a filmstock, that while no longer processable in Color Reversal, can still be used as B&W.

BUT, it's beautiful, delightful to hold, a fun conversation piece, highly sought after collectable......AND....they can converse with you in all of the popular languages. Also, remember...full refund if not delighted. HA. Sorry, their ads just make most of us crazy. They often state that film and services are readily available. I emailed them asking where to buy film, when they stated this regarding a UNIVEX 8-A camera. This camera uses single strand Regular 8mm film on now somewhat rare to find, 30ft camera spools. Of course, there isn't any source for single strand film, unless you slit it yourself, or have me or some other lab custom make it up for you (and I have the camera spools). Anyhow, I have noticed that whenever they have that type of camera on there, they don't state that film is available, but do say it will make beautiful movies. Similar nonsense with some AGFA Movex early model that uses a special cartridge for single-strand Regular 8mm (Straight 8mm as it was called back then). Anyhow, hey.....wondeful collectable and beautiful cameras that are highly sought after and........

To shoot a split-screen effect in Super 8mm, using a cartridge loading camera you really only have two options (post effects in software notwithstanding of course). Since the cartridge doesn't allow full rewind, you can do limited short effects by using a Film Cartridge Rewinder; such as ones made by EWA (Germany) or CRAVEN (England), some years ago. These normally limit rewinding of film to about 100 frames (should only be done when you've filmed at least 10 feet from beginning or within 10 feet from end of cartridge.....some instructions will state within 5 feet, but it all depends on how long a rewind you desire). Some have been able to rewind film by even as much as 200 or more frames, and some devices stated that it was possible to backwind up to 300 frames. However, the film is just being pushed back into the supply side, and there's always a risk of developing a film jam; so caution and testing with old junk film is advised to learn the technique. It's also possible to backwind manually up to 100 frames by using this technique: (1). Tape over the cartridge core to prevent film takeup (after first having filmed at least 5 feet). (2). Film your intended scene up to 100 frames in length [5.5 seconds at 18fps or 4.1 seconds at 24fps] to be split-screened or other double-exposure type effects; for split-screen using either a Matt-Box or other simple device to block off Half of the image. (3). Note the Footage Counter on the camera and jot that down, then Remove the cartridge from the camera in a film-changing bag (or in the light if you don't mind an inch or so being fogged in the cartridge gate). However, you'll need either a completely dark room or film-changing bag to rewind the film. The film did not take up snuggly on the takeup core, since it was taped over. So, using a thin plastic or rubber glove on the hand or finger gater, push the film upward back into the cartridge. You will do this until the film becomes snug, and DO NOT force it once resistance is met. The film you shot will now be wadded up into the Supply chamber of the cartridge. (4). Re-insert the cartridge into the camera, using a film-changing bag, dark room, or room light if you don't mind a short fogged piece of film at the begining of your scene. Proceed to film the Second Half of your Split-Screen effect....having first moved the Mat or Cardboard etc to the other side of the lens so you refilm on the half that wasn't exposed. Lastly, the only easy way to do a complete Split-Screen effect using 50 foot (15m) Super 8mm cartridges is to film the entire First Half of the desired Split-Screen effect, and then to open the cartridge carefully, and reload the film to the beginning....then to refilm on it once the film has been rewound/reloaded and the cartridge sealed up. This is a service I offer here at PPS, NY and have been rewinding cartridges for customers since 1981. To do this yourself though, you'll need to make up a jig and it's all a bit complicated of course.....but it's possible to do so, since I do it quite often here in the lab. Hope this sheds some light on what is involved. Good luck.

The main companies that made Super 8mm processing tanks are now gone, but the equipment shows up fairly often on eBay. Both Superior Bulk Film Company and ESO-S Pictures who sold a version of the fairly well designed and easy to load "Powell Tank" closed their doors in 1984. The famous rewind tanks, of which the last incarnation of the Morse G-3 was the Doran G-3 ceased production a couple years ago; however these show up on eBay often...just have to double check if they do Super 8mm; those reels have 3 positions. JOBO FotoTecknic in Germany ceased production of the large 50 foot (15m) Spiral Reel processing setup quite a few years ago. They were quite expensive new, and are rare to find anywhere. The Russian made LOMO tanks are quite common and available showing up on eBay monthly. These work well, if you are careful and learn how to load them. The only drawback to the LOMO tanks is that the reels can break easily, the threaded center hub strips out easily with lots of use, and the dimensions of the reel spacing varies from spiral reel. However, I have been able to file down the center hubs until the spacing was correct. Since the LOMO tanks are affordable, reasonably easy to learn to load for most darkroom techs, and show up often, I would recommend these. Another way to process 8mm movie film is to build a small rack which you would then tray process. Since the film is all immersion processed at the same time, as with spiral reel developing, good consistant results can be gotten. As with cameras, since there is such a vast supply of items out there, it really doesn't make sense to have limited new production runs made of needed items....as the cost could be quite high. I only use manual processing methods in my custom film lab here, and have been processing movie since 1974. Having used virtually every method there is to soup movie film, I recommend spiral reel processing or rack processing for the most consistant results. The many other methods, if used carefully, can also produce fine results: Rewind Tank, Hose Method, Reel & Trough Method, Separator Strip & Reel & Tray Method (however...hard to find for Super 8mm), Rotating Drum in Trough or Tray Method, and some others which are variations on these. There's still plenty of interest in shooting and processing Super 8mm and also Regular 8mm motion picture films. For that matter, you can also still shoot on 9.5mm film, which I also process.....and FUJI Single-8.

The LEICINA is a pretty robust camera. Double check all your knobs to make sure it's not on single frame. Of course, check the obvious: Battery chamber connections....rotate the batteries to ensure a good connection etc, make sure you have a film cartridge in the camera or an old empty dummy one, since the camera will not operate or come to life without one (unless you tape down the small film chamber button which is normally depressed by the cartridge), and check the film cartridge itself. It's summertime now, and it's very easy for humidity to swell the emulsion in the cartridge film gate, and cause it to stick. So, pull the film down an inch or two with your finger, and then rotate the film core clockwise until you feel the film snug (do not force it!). With a quick double-check, the camera should come back to life. If it was running fine before and not now all of a sudden, it's almost always something minor as in the above. Good luck, hope you get it sorted out pronto.

Matthias, the concept you are wishing to use from the still format usage, is not usable in practical terms with Super 8mm (or any motion picture format). This is because in creating a still image via a slit-scanning method...variations of density still create an image across the single large frame from which a photo will be made. In movie film usage, there are 18 frames per second (or 24), and thus if the film was just moving past the gate without an intermittant movement to stop the film for that fraction of a second to achieve the individual frame image.........the results are just streaks of light, without any real detail to them. Sorry, maybe someone can add something to this concept.

Hi, film stored in a loft (attic) can most often be subjected to high heat in summer periods, and this will have very damaging effects on photographic film. But, if for some reason it was air conditioned and has been cool, the KODACHROME if of late manufacture might still be okay (albeit only processable in some variation of B&W: high contrast neg, continous tone neg, B&W Reversal, or Sepia tone reversal). The color negative stocks are more critical and should've been refridgerated at the very least for such a long duration. However, despite some contrast loss, fog build up, and some color shifting, you might still get something useable for experimentation out of them. Since this information on processing KODACHROME is somewhat hard to find, I have to mention it here, that I offer processing of these films at Plattsburgh Photographic Services. So many now think all KODACHROME is a lost cause, and that is not the case. There must still be tons of SOUND film out there, while no longer processable as Color Reversal, it's great having sound film in B&W (or the rich deep brown tones of Sepia). Anyhow, enough of the plug, I don't care if anyone sends me film for processing or not, the main issue is....IF the KODACHROME is still good, it can be used and processed. Hopefully soon, there will be some affordable processing by a major lab somewhere....so keep it on ice so to speak and DO NOT toss it out!

The LEICINA Reg 8mm movie cameras sadly are only auto-exposure. Why? Who knows, but it sure would've been nice to have a true manual exposure option on these nice cameras. All there is, is an autoexposure bias control knob which is part of the ASA/ISO setting knob. As you can see from the detailed repair instructions, servicing can be quite complicated. Also, unless the autoexposure system can be repaired (once you determine what has failed and provided you can get parts from somewhere), the camera's aperture cannot be set. The adjustment is purely electrical. It might be possible to rig an internal mechanical setup to the aperture blades and render manual exposure, but this would be complicated and require testing to know what the values would be. The camera without a working autoexposure system can still be used. Although it will require some initial testing to see how to use it under various light conditions. If the aperture is stuck fully open, then you can use the original F-Stop value as a starting point, and with the use of Neutral Density Filters, you can achieve some basic kind of exposure control. It will be much slower to use and much more limited, but for certain situations, the camera can still be used. I have used one similarily and had great results. However, without a working aperture, the lens will have very shallow Depth-of-Field at longer focal lengths (if using the zoom version) and will still be quite good if using the fixed small lens version. Good luck! Other than that, I suggest getting it repaired professionally somewhere, or just buying another working model somewhere.

The wonderful but complicated LEICINA RT-1 really demands that one have the owner's manual and refer to it as often as necessary. This camera uses a different convention compared to virtually all other Super 8mm cameras. The AutoExposure bias knob should show a change in the aperture display in the viewfinder when changing it to another position. Keep in mind the change is in 1/3 Stop increments, so it will require considerable rotation of the knob in either the Plus (Over-exposure) or Minus (Under-Exposure) direction to the aperture scale move. If yours does not move, then either the exposure is locked, the power is off, there isn't a cartridge in the camera (required in order for the camera to be operated....so it helps to have a junk scrap cartridge available to play with the camera's settings in a 'dry run' mode), the batteries are weak or a poor connection from the battery chamber to the camera body (make sure the contacts on both camera body and battery chamber metal fingers are clean), or something is wrong with the autoexposure mode. The Builtin Daylight Conversion Filter is moved in and out of position via the 4 position knob on the right side of the camera body. The Filter change can be seen if you look down the front of the lens, with the zoom in about the halfway position and either using a small flashlight or under a light source....you'll see the filter move in and out of position. There isn't any viewfinder indication, which would've been nice to have. But then, many Super 8 cameras don't indicate the Filter Position in the viewfinder display. And lastly, yes....that troublesome Tripod Socket. The LEICINAs are made in Germany and are threaded from the factory with the European Tripod Thread Standard which is larger that our quarter inch "Whitworth" thread. Usually they were fitted with a small screwin adapter which reduces the size to our quarter-inch one, but these can unscrew by repeated tripod use, if it's not seated in tightly enough. BOLEX tripod socket adapters will fit the LEICINA (and all other still and movie cameras that have the european sizing). You can find these for BOLEX on eBay and from various vendors. So, once you get that adapter, you'll be fine. They are usually under $10 USA, but pricing varies depending where you buy them. That nice low center of gravity on these LEICINAs really helps make for rock steady images (and the unique film gate design also contributes). Hope you sort this all out soon and get to use your new camera!

In the 1970s and 80s there was a variety of higher speed filmsocks for Super 8mm. Places such as ESO-S Pictures and Superior Bulk Film Company offered filmstocks in B&W up to ASA 1,000. GAF used to make Super 8mm as fast as their B&W ASA 600 and GAF Color Reversal ASA 640. KODAK's now long discontinued Professional EKTACHROME SMA 7244 ASA 160 Type A, was easily pushable to E.I. 320 and E.I. 640, and I had great success with pushing it up to E.I. 800; albeit the increased grain and color shifting at that point. Also the long ago KODAK favorite of 4XR 7277 ASA 400 was immensely popular with sports filmers. But the films were usable, looked great when used correctly and served a purpose, just as the new high speed films we have today. The current crop of KODAK's produced Super 8mm filmstocks can all be pushed to double their effective filmspeeds quite easily with minimal sacrifice in quality, and beyond if needed (if you can live with any artifact drawbacks such as grainier images and contrast buildup). One reason filmspeeds have been relatively slow over the years is that most filmers shoot in daylight, and that usually requires slower speed film, and the other benefit, which is finer image grain. The days of mom & pop shooting Super 8mm have waned significantly, and most of us using this format (or 8mm or Single-8 or 9.5) are enthusiasts, hobbyists, serious amateurs and even professional workers. So, using a higher speed filmstock in Daylight such as TRI-X at ASA/ISO 200, with proper B&W filtration for contrast and tonal range (via either using the builtin 85 orange filter, or other orange, yellow, medium yellow, deep yellow, green, red etc filters) coupled with maybe a Polarizing Filter or Neutral Density filter, you can easily get the effective E.I. down to around E.I. 10 to E.I. 50 and that will allow shooting in most any bright light situation. The filmstocks available can also be cross-processed, and for example, when using EKTACHROME 100 Daylight as a Color Negative, it could be pushed up to ISO 400 easily if needed. The same goes for TRI-X 7266 which can be done as a B&W Negative, either without Reversal in the same chemistry thus yielding a higher contrast Negative image, or in any one of several continous tone Developers to yield a nice rich toned Negative, which can also be pushed to ISO 400, ISO 800 and even ISO 1600 (the last one with some critical limitations of course for exposure latitude, film response, and grain). So, there are still many options with what is available, and we also have filmstocks made by other sources in this unique format of Super 8mm. I must add, yes, I have used that ASA 1,000 B&W filmstock that used to be available, as well as the GAF 500 Color Reversal, the EKTACHROME SMA 7244 and others over the years. While the grain was higher, it wasn't any worse than when KODAK's 4XR 7277 was still available and that was ASA/ISO 400, which could be pushed another stop or two easily. It's still nice to know we have various filmstocks, smaller than in the past, but still enough to allow us creative folks some serious options for our filmmaking craft. As for the "crop factor", not sure which area you want this to refer to. In projection, it's relatively small on higher end projectors, nominally around 10%. For video transfer, that all depends on what company is doing it and what equipment they are using and how its setup. It's quite possible to transfer full frame complete with ragged edges if one wants it to look that way, similar to the full frame 35mm printers that filed out their enlarger negative holders. So, the results vary, and you'd have to ask what the cropping is, or just conduct some test rolls prior to committing a project to a given laboratory. Hope this helps. Best regards.

Single-8 is still a viable and fun format to use, and virtually compatible with Super 8mm, especially if using the reloaded Super 8 acetate based filmstocks. The reloading of bulk film allows virtually any existing Super 8 filmstock to be custom reloaded into the Single-8 cartridge; either by a lab or by an individual. The drawback to reloaded acetate filmstock is the shorter length; 40 feet (12m) versus the original FUJI FujiChrome R25 and RT200 lengths of 50 feet (15m). Living with the shorter length hasn't detered those that know the fun of these cameras and the advantages; such as full film rewind for special effects, split-screens, titling, double-exposures etc.....and the steady even image registration. Many of the cameras, especially later ones are fun to work with. I love the very tiny FUJI P-2 which fits in a pocket for on go filming, and various models inbetween all the way up to the full featured lens interchangeable FUJICA ZC-1000. While there are two main problems these days: [1]. The shorter filmlength of about 40 feet (12m) when using the various acetate reloaded Super 8mm filmstocks. But ask anyone using these cameras and this format and they will tell you that it's still worth doing. [2]. And the larger problem, film processing. This mainly affects the original FUJI FujiChrome R25(n) and RT200(n) films, since the main service for them is in Japan. ALl other reloaded Super 8mm stocks can and should be easily processed by any lab doing Super 8mm films. The filmmaker could also send them the film from the cartridge in a lab bag or filmcan properly labeled if they are doing their own reloading of the bulk filmstock. So, it would just be proper communication with whatever lab you wish to use in getting the film processed and the cartridge returned to you afterward with the film. I don't normally pipe in here about myself, but I have been processing still and movie films since 1974, and here in Plattsburgh, NY since 1990. Being a small custom lab, I also process the Single-8 FUJI R25 & RT200 and reloaded films, in addition to Super 8mm, Double 8mm, Double Super 8mm, 9.5mm and some 16mm. And think about it, IF those using 9.5mm filmstock which have to put up with much greater limitations than any other format these days, a little patience in using Single-8 pays off in its own way. The new Single-System Sound film from Spain is another current innovation showing that there is continuing support for FUJI's baby. I say, if the camera has what you need and you can work with the filmstocks offered, go ahead and use whatever format it is you feel you'd like to work with. At the very least, it's worth a try to find out what works well and what doesn't.

Ian's advice is solid; test the camera via getting power to it on the external port. You can use a universal power adapter to do this. Anyhow...those battery holders are often missing, since the standard type that hold 4 double A batteries fit a large variety of cameras. The CHINON made cameras which have the Pistol Grip Handle use the same type (note, not the sloped handle type that has the batteries load under a bottom door). Radio Shack (Tandy) have all kinds of small plastic battery packs, and used to carry a type that would work some years back. It has two power connectors on the top to connect with the two tabs in the handle's battery chamber. Anyhow, yes, getting another camera is not a big problem, this lovely camera which can make fine images often sells very cheaply. However, on the online auction sites, you do have to factor in shipping costs as well. Good luck either way!

The ZEISS MoviFlex uses the traditional Super 8 camera lens design, where the Daylight Color Conversion Filter moves into position between the Zoom lens module and the 15mm fixed internal prime lens. This design is used on virtually all fixed zoom and non-zoom Super 8mm cameras, and they do not use a clear UV filter as is common on the BEAULIEU 2008S and up interchangeable models (only) to maintain focus collimation to the film plane. So, yes, you can remove the filter in your Zeiss without any serious effect at all. As for the BEAULIEU lens interchangeable cameras....they are very usable as they are with the filters removed. Since collimation and shipping costs will be significant to the repair station, I recommend doing a focus test at various focal lengths with the lens fully open, then at F/2.8, and then at F/4. Examine the tests and see where the focus is off the most....make notes of those settings....then conduct another test at those settings, but with the focus changed slightly to just before and just after the correct focus point. Slate your shots so you can tell what you're doing....just make a sheet of paper for example....F/4 at minus focus or plus focus; whatever helps you out. Adjusting the lens for correct focus at the film plane also affects the image seen on the ground glass, so that has to be reset as well sometimes.

This very early 1960s ARGUS 802 does not have manual exposure control. So, it's very limited, without doing some modification so the AutoExposure Light Meter will read ISO/ASA 100 correctly (which may not be easily doable, and would also be dependant on the metering circuitry working correctly prior to modification). The ONLY way you can use this camera as is, with EKTACHROME 100 Daylight is to shoot with it in lower light levels where the exposure would be correct, with the lens aperture FULLY OPEN and the FILTER set for TUNGSTEN (or out of the lens path...since EK100D is Daylight balanced and that filter was intended for Tungsten Color films which back in the day when it was made, was KODACHROME-IIA. To know what that would be, you'd have to meter separately and get an exposure reading close to 1/36th Second Shutter exposure at F/1.8. Since those parameters of exposure would most likely be very early or late in the day, or in deep shade, or on a very dark and gloomy overcast day..........it leaves you with very little options for using it. So, my recommendation (and that of everyone else here more than likely) would be to locate another camera to use. You can find all kinds of bargains on eBay. Also there in the UK, you've got so many Carboot Sales going on every weekend...so hunt around...and bring fresh Double A batteries to try out whichever ones you find. That notwithstanding, borrow a better camera if possible. But I'm all for the buy one for yourself option. CHINON made so many cameras, under their own name, and also under store brand names such as GAF, REVUE, PORST, BOOTS, SEARS, WARDS, FOCAL and others. They usually sell for very cheap, yet are respectable cameras. The GAF ST-xxx series are very good, with the ST-101, ST-111, ST-111E, ST-602, ST-802 being very good.....the latter two versions also run at 24fps (if that's important to your needs). I have seen these sell on eBay well under $50, and even as low as $5 sometimes. It's a gamble since very often the seller claims ignorance....but I have purchased several over the years and have always coaxed them to life for use. Even if the meters don't work, these Chinon made cameras often have Manual Exposure setting.....independant of electrical power; very important feature. Anyhow, good luck and hope you sort something out!

Well, it's both....budget and imagery. Super 8mm filmmaking (not factoring in the transfer to video/digital costs since that can vary widely and many do it themselves) IS CHEAPER than shooting in 16mm or 35mm, when you compare the run times. If you buy the film direct from KODAK and use an 'affordable lab', then 50 feet of film will cost about $30 USA to shoot, that works out to about $10 or less per minute of run time at 18fps or under #12 per minute of run time at 24fps. That is signficantly lower than either 16mm or 35mm. That $30 figure is also factoring postage costs to the lab. According to the current Eastman KODAK Motion Picture Product Catalog (via PDF off their website) A cartridge of TRI-X 7266 film will costs $11.12 versus $21.62 for 100ft of 16mm. The Super 8mm comparison is biased in its own favor if shooting at 18fps, but even shooting at 24fps you will get 2.5 minutes of run time (in film or transfer) compared to 16mm runtime of 1 minute & 23 seconds at 24fps. Factor in the processing costs and it's very obvious, Super 8mm wins cost wise at either 18fps or 24fps. Using EKTACHROME 100 Daylight 7285 for comparison, it's $14 for Super 8mm 50ft compared to $36.93 for 16mm 100ft. If you buy 200 cartridges, the cost is $12.18 each! There is some additional savings in 16mm if you buy in bulk and spool the film down yourself of course. For 35mm the cost is $475.73 for a 400ft roll, so $118.93 per 100ft (although in 35mm loads are generally longer). Processing costs are also higher when you leave Super 8mm, and although based per foot, it will work out substantially higher. Perhaps the realm where cost is less relative is in Film-to-Video Transfer, as the cost here is usually relative to the labor involved, and can be about the same laborwise for all gauges, with the cost per foot, due to their physical length differences, being notwithstanding. Since Super 8mm can be and often is, so much a DIY filmmaking experience, many that stick with it, also often sort something more affordable out for transfer than the rates at some labs. So, it's very clear, there is substantial savings...and were there not, then there just would not be so many newcomers at young ages getting into the hobby, craft, and artistic and fun area of Cinematography which we know as Super 8mm (no slight to our Regular/Double/Normal/Standard 8mm fans, as much of this applies to that gauge as well). Just my input into this topic, as it has been discussed in the cine realm for decades!

The hype that Super 8mm is 50% larger than Regular 8mm is just that...hype. It was based mainly on projection cropping since they are less severe on the Super 8mm projectors...well..the better ones. The 8mm projection gate cropping standard was based on the one used for 16mm, and applied to the smaller frame, it was harsher than it needed to be. Later higher end projectors for Regular 8mm didn't crop as severely. Many enthusiasts even filed out their projector gates to a more 'normal' perspective. Thus, focal lengths for both formats aren't all that dissimilar. The "normal" focal length for Regular 8mm is 12.5mm and for Super 8mm it's 15mm. Although many Regular 8mm camera lenses for normal are 13mm. Remember, the 'normal' standard has more to do with perspective, in maintaining that relative to all gauges. What's really usable for normal, is relative of course. I think most of us prefer a wider angle than what is set as normal focal length. That being said, the basic prime lens builtin to virtually all beam-splitter Super 8mm cameras if you were to remove the front zoom standard is 15mm. And the same goes for those later model Regular 8mm cameras that had zoom lenses, but with a 12.5mm or 13mm prime lens in there. [Normal 8mm, Double 8mm, Standard 8mm etc, with apologies for those outside of the USA since it's common for us to refer to the old bootlace as Regular 8mm]. Anyhow, this gives you a reference starting point, and the other posting stating that Super 8mm was 1.3x larger is on the mark, so I would use that to compute relative focal lengths, to get the same image magnification compared to the Super 8mm counterpart and vice-versa. Hope my two cents here helps.

When adjusting the exposure in Manual mode on any of the NIZO S-xxx series cameras, yours included, the battery power voltage makes no difference. Since the camera relies on power to set the exposure, the knob becomes a potentiometer and you're just regulating voltage to the galvonometer/needle/aperture unit. So the setting (F-Stop) you see displayed, IS the one you are setting it at. Some else useful, is that once you know the variation the 1.5 volt batteries will make on your given camera, you can always take that amount into account when setting the exposure in Manual mode; thus having factored that in, you will always be able to use the builtin light meter. The NIZO S-481 is a nice camera, much more compact owing to the smaller zoom lens size. Also, that smaller lens allows ease of use of many lower cost filters, after market wide angle lenses, and of course, being able to shoot easily with an Anamorphic lens as well. Not all Super 8mm cameras require battery power to set them in Manual Exposure mode, but the NIZO S series do. The main thing here for you though, is that it works and works fine. Good luck on your film projects!

Well, if using either the JOBO 1000 or 1500, then the reel capacity is 5 - 35mm reels, or the length for 8 inches (225mm) and the wrap-around length of the diameter is 10 inches (202mm), so that 8 x 10 inch paper can be processed. IF you were to design your own round film frame, whereby you'd wrap the Super 8mm film around the outside, then the maximum amount such a design would allow is 16.5 feet. This is too short for a 50ft (15m) length of film. So, you'd have to design the film reel, so you could wind film up on an inner part of it, then to a 2nd stage, and then onto the outside, which would be the 3rd stage. If the smallest inner part would hold say, 10ft, the 2nd stage 13ft and the outside 16.6 feet, the Total would still only be shy of 40 feet. Even so, such a design would have to be a bit complex, yet easy enough to master for loading an entire length of film. With some flexibility, it should be possible to accommodate an entire 50 feet of film. Personally, I prefer manual film processing, since as nice as machines are, they have their drawbacks of course. On another note, you sent me a message regarding the JOBO processor for Super 8mm. [i'm at Super8mm at aol dot com] This is an entirely different design; the JOBO Super 8 tank is a large 12 inch diameter spiral reel design, which sits on a loading platform with a feeding finger, and has a shaft for holding a 50ft film reel to which you would've already spooled the film onto from the cartridge core. This is all done in total darkness, and the spiral reel is then loaded into the processing tank, which has a light-tight cover. The design layout is virtually identical to the one for 16mm and other spool film formats. None of which is compatible with your JOBO ATL processing machine of course, sorry. Hope this helps. Get inventive and make a rack design you can load into the film processing tube for your ATL. Good luck!

Sorry, goofed up here previously in attempting to reply. The ILFORD ID11 will work fine for processing TXR or PXR films as nice continous tone B&W Negative images. [on another note regarding Color Neg: sorry about my silly typo it's C-41 of course, NOT C-42] The tip for cutting the film into smaller segments is NOT intended to process your entire film that way....as you'd get some uneven processing as well as emulsion damage problems. The purpose is to process TEST shots using only one cartridge of film, and then to compare the results and decide which route would be the best option for whatever you plan to do on your film project. This way, only the cost of a single cartridge of film is involved, yielding several tests if needed....and of course low cost processing of these tests, instead of having ot send several equivalent cartridges of film to the lab for processing (or the involved work of doing several films yourself). For professional processing results, I suggest learning to load the LOMO spiral reels correctly and using that (or other similar ones: Powell Tank, Superior Bulk Film Super 8 Tank, JOBO Super 8 Tank etc). While it's actually easier and quicker to load the film in the dark once you've practiced many times with scrap film in room light.....it is also quite possible to set up a Video camera which has Night-Shot on it (using IR imaging) on a tripod. The viewfinder (NOT the flipout sidefinder!) will be facing away from the workbench or table and will not harm the film, since you eye will be over it anyway. That way, should you need the extra assurance of seeing what you're doing, you'll be able to. Regarding a change in processing time for shorter bits of film......that is not necessary. Using the LOMO tank and the 1500 ml of chemistry or thereabouts, for either one roll or two rolls of Super 8mm, or even short bits...the times are all the same. If you want to just process some short bits of film, for TESTING, using a NIKOR or similar type roll film tank will work.....but yes, the film bits will touch and there will be possible scratching and some parts with incorrect processing due to emulsion contact. But then, the purpose of doing this is for TESTING to see how modifying a certain process will look. Then applying the test results to real project film and processing that correctly in proper equipment to yield usable results. As for development times, it depends on exposure, desired negative density and contrast etc. KODAK states " TRI-X 7266 Negative Processing This film can be processed as a negative by conventional methods and will yield satisfactory results. Some loss in speed and an increase in granularity will likely occur." I fully concur, so do some exposure and processing tests. Typically, a loss of at least 1/2 Stop will occur when processing as B&W Negative. You can make this up by slightly pushing the film as well. It looks quite nice either way, adjusting exposure or increasing development time slightly. But, you will need to shoot a few short segments and bracket your exposures and see what you like. Or, if using Automatic exposure, shoot and then cutup the film and process a segment one way, check the density etc...and then make the necessary time adjustment to process the rest etc. Good luck!

Hi John. You can use your C-42 kit to cross-process Ektachrome 100 Daylight without any problem. It will be developed as a Color Negative, but without the typical orange masking that a true Color Neg filmstock has. Thus, it will be very easy to telecine, just using the NEG position on whatever video camera you are using for transfer. It will help if you have one with exposure adjustment also....but if not, if you can just vary the light output of your transfer projector...that will also work. ALSO, there isn't a difficult to remove remjet anti-halation backing on the EK100D film, as there is on the Vision 200T and Vision 500T films. So, really, it's very easy. Transfer via using the NEG mode, works quite well, and there is minimal color correction needed.....as long as the original filmwork was done under the right color temp conditions, using a Filter for Daylight and without for Tungsten etc. As for projecting the film, it's not normally recommended, but you can do so. The reason they all state not to, is to avoid any projection tram lines and other projection wear, so the neg stays clean for transfer or for printing (which few consider but is available). We used to shoot film and process as NEG in both B&W or Color and use it to insert into shots where something strange or other-worldly is going on. And yes, you can just transfer it as a Negative and then flip it later in your software. Since it doesn't have the orange masking.....it reverts quite nicely to a Color Positive image. LASTLY, also yes...you can cross-process TRI-X 7266 (or any 7278, or even PLUS-X 7276/7265 if you have any) as a B&W Negative film using B&W Negative Chemistry........use D-76 or similar for a nice smooth even toned film useful for transfer or printing, or use a higher contrast developer for a high contrast look. IF you use a typical B&W Reversal Kit/process, and just process it as a B&W Negative, it will have much higher than normal contrast.....so be forewarned. Using just a single roll of film, you can shoot several tests, and cut it up into segments and process each segment differently, and you'll have good comparison tests of various processing effects, without having to waste lots of film. Hope this helps.

Jorge, the ground glass image is what shows the actual focus sharpness. Make sure when setting ground glass clarity, you either remove the lens from the camera, or shift it into a way off macro position so that the lens image is nothing but white light.....keep the aperture fully open as well. Now, adjust the viewfinder dioptre so that the ground glass is clear and you can see its texture. IF you try doing this while an image is showing, it will throw off the adjustment since visually you'll be distracted by an image. All you want to see is the ground glass grain texture only. Once this is set, focus the lens sharply on an object, preferably newsprint taped to the wall and then compare the distance setting on the lens scale to that of a good measuring tape. As long as the lens is in good condition and not damaged or off-focus, the measurement at 5ft, 10ft, and 15ft settings should match up between the lens scale and the measuring tape. The aerial image usually is always clear and in focus when you remove the ground glass screen away. If it is not, then there could be some other problem. The Ground Glass screen setting might need some adjustment, since it is on a movable platform to flip in and out of the viewfinder path. If you already have the camera open to set the X/Y alignment, you should be able to see the Ground Glass Frame as it moves in and out of position, and check to see that it is fully in the in position. If the moving device has come out of adjustment, this will have to corrected of course. Anyhow, to double check this, you'll have to check the actual focus in the film gate. This is not easy to do without a filmgate prism of some kind. However, you can make do with another method. Cut a small piece of Sctoch Tape. The tape is translucent similar to ground glass, and is very thin, enough for this experiment setup. Make the X mark on the tape's STICKY Side. It will have to be the size of the Super 8 Frame of course, and then carefully place the tape on the Film Gate so it is flat and accurately lined up. Another method is to use a piece of clear or light gray Super 8 scrap film.....however, this is very difficult to keep accurately in place in the camera's gate. Place the camera on a sturdy tripod, set it from a wall which has an 8 x 10 inch piece of white paper taped to the wall, set the camera's distance at 5 feet (the minimum focusing distance for either the 6mm-66mm Schneider, 8mm-64mm Angenieux lens etc), Now using a small strong light, such as a MagLite or small bright multi LED light (flashlight, handtorch etc), shine this through the Film Gate with the Shutter in the OPEN position. To get a proper beam of light, you will need a small mirror at a 45 Degree Angle, otherwise there will be too much light loss. Adjust the zoom lens somewhere to 40mm to 60mm, so that the illuminated field on the paper is easily visible. The X pattern should be sharply in focus on the white paper. You will y have to dim the room lights to be able to study the image. Allow your eyes to get used to the darkened room, before doing this test. This will take at least 10 to 15 minutes for them to get used to the dark enough. Otherwise, even with a small bright light, the image will still seem a bit dark and it will be frustrating to determine image sharpness. To get a brighter image, you will have to set the camera closer to the paper, but would first have to reset the lens macro focus setting in the viewfinder until it is sharp. I recommend taping the Macro Lever so it doesn't move on you. I recommend taping the camera lid so it doesn't close on you. You can also set the camera on it's side on the Tripod, so that the film chamber is more readily accessable and it makes your work easier. Use a good grade electrical tape that doesn't leave residue behind. I do recommend having someone help you, as an extra pair of hands also with a small flashlight so you can see what you're doing without losing your night-vision will be very useful. Also, while more difficult, it is possible to use an old scrap Super 8 cartridge as the basis for building a FilmGate Focus Checker. Gut the cartridge so you can build your unit. With a small front surface mirror at a 45 degree angle, an accurately positioned piece of etched glass, marked plastic etc to represent the Film's Emulsion Position at the gate of the cartridge....all cut so to fit into the camera gate when the Dummy Cartridge is inserted......and then a strong Film Lupe such as an 8x power minimum but ideally a 20x or so, will help you see the focused image. With such a Gate Checker, you won't need to fiddle in darkness, but can examine the film plane focus and compare it to the viewfinder. This type of a gizmo will work with any side loading Super 8 camera. IF using a rear loading Super 8 camera, it's a bit easier to build as no mirror is needed. You would only have to have a small focusing telescope type design built thru the rear of the cartridge wall and lined up with the small ground glass or plastic focusing screen. KODAK used to offer something similar many years ago for their Double 8mm Magazine cameras and their 16mm 50ft Magazine cameras. Focusing disparity on Super 8 cameras from what is seen in the viewfinder to what is captured on film, has always been one of the problems of many Super 8 cameras and filmmakers. It either requires several actual film tests and processing of course to check and double check, all requiring extra time and cost. Also, if a fixed lens (or removable lens even) can be checked and either remarked as to how to set it by scale to know for sure the focus setting, it will be immensely helpful. The only other option is costly lens collimation, and this of course just isn't worth bothering with on lower cost cameras. Lastly, despite the cost of film & processing........one can use a single cartridge of film to check many cameras, or even just to check one, by only using a few feet, and then using the film in a known working camera for movies. Then only a small section of film has been used for the test in another camera or cameras. Do slate the test sequences so you know which camera it belongs to! I hope this helps. Otherwise....welcome to the age range of those of us who have eye focusing problems as we get older! Best regards, Martin Baumgarten

My copy arrived a few weeks ago. Very rich quality, typical of the work we've all come to expect from Atoll Media. I enjoyed perusing this short but interesting work of Mr. Lutz. I was hoping for more details, perhaps larger photos, but then, I do such a variety of laboratory taskings here myself....only need to go to work to delve any deeper into it. I'll say this for certain, the book leaves the reader wanting more! And it will help stimulate a filmmaker's ideas and perhaps make some considering doing more of their own special effects work themselves. Thank you for making this available. Best regards, Martin Baumgarten