Martin Baumgarten

Hi Colin,

The OLYMPUS PEN 8 EE was made in two versions, a cream colored smooth paint scheme and the spackle black paint scheme. They were available in three lens variations:

(1). Basic camera with lens shade facia using just the basic internal 13mm F/1.8 fixed focus optic [normal focal length for 8mm format]

(2). Camera with F/1.8 focusing 9mm to 20mm manual zoom lens.

(3). Camera with F/1.8 focusing 9mm to 27mm manual zoom lens.

Both camera versions have interchangeable lens options, so using the Olympus screw mount {about 19mm or 3/4 inch} you can use just the prime built in 13mm lens, either of the zoom addon lens units, or a Telephoto or Wideangle addon lens. The mount is NOT compatible with the common Regular 8mm D-Mount, and is smaller than the common C-Mount.

Removing the front zoom or lens shade addons via unscrewing them, makes for a very compact camera.

Exposure is automatic only, however you can dial in the ASA/ISO filmspeed on the dial just below the lens, and thus be able to fine-tune your autoexposure via adjusting this dial [e.g. light or darker images as well as compensating for perhaps a weaker responding exposure system as well as the difference in battery voltage of modern replacement batteries]. There is also an aperture scale on the right side of the camera, visible through a body window port. While a bit crude, if you tape some gripable tape or rubber to the ASA dial, it's also possible to force the camera to do a Fade-out or Fade-in by rotating it in the direction that will close the lens down or open it up. Also possible is addition of filters to the lens and then just adjusting the ASA dial to compensate for the Filter's Exposure Factor.

OTHER FEATURES: Camera runs at 16fps, Reflex viewfinder (although no reflex focusing, must focus via lens scale if using either Zoom Lens module. Focusing is fixed focus 8ft to Infinity with base prime 13mm lens at F/1.8 and minimum focus changes with Depth-of-Field in brighter light. If using either Telephoto or Wideangle addon lenses, focus varies from shorter DOF and greater minimum shooting distance with Telephoto, to very generous DOF and minimum focus distance when using Wideangle. Electric remote release via rear port, Cable release socket on top camera run trigger button, Run Lock Switch on right side of body to allow a release lock, or a continous run via first depressing the top button and then flipping the run lock lever forward to "L". The "R" is for Run position, and if put in the "L" position it will prevent accidental exposure. To remove the lens, you first must unscrew the Zoom Lever from the lens since it will hit the ASA dial otherwise.

Do make sure the light meter works, easy to do via watching the lens aperture scale move when you have the meter battery installed......otherwise, if she's non-functional, you're limited to full aperture only and can still use the camera, but then only by adding Neutral Density filters in various light situations to control exposure.

Hope this helps, and that you have fun with your camera!

I would suggest contacting Dwayne's Photo Lab since they must have hundreds of empty Super 8 Sound cartridges, and to contact Retro-8 in Japan for Single-8 cartridges.

Magnifico! I have been working the past few years on making Super 8 Sound film; experimenting with both Color and B&W Reversal. My one big project was trying to use the wonderful FOMAPAN R-100, but there are some difficulties, and the high cost. I have felt that the new EKTACHROME 100D should be a good replacement, and have bulk stock here to work on for this project. However, I'd be interested to know if he is willing to sell sound striped stock, as that would make things a lot easier for me. The film lubrication & cartridging and packaging alone is plenty. I figure the film which has some reduced contrast if rated at ISO 50 and is pulled in processing, could also be offered that way, allowing for easier use in bright light; in addition to ISO 100 and even ISO 200 (with push processing). --- Over the past 30 years, I've offered reloading of KODAK Super 8 into FUJI Single-8 cartridges, and also vice-versa, of FUJI's Single-8 into KODAK cartridges....usually it was Sound film. This was more so at the end of sound film, as FUJI kept making it for a year after KODAK ceased production of their now long missed Ektasound films. While those that would be interested in actually using Super 8 sound film is small, I feel there's still a market for it. Anyone that has ever shot single-system sound using any of the nice sound cameras out there can attest to good audio quality, even at 18fps. Anyhow, just thought I'd interject some of my own thoughts and praise for this new attempt. Kind regards, Martin Baumgarten

ADDENUM to my previous post: The unit for the ELMO projectors is the ELMO EF400 Continuous Loop Device and will fit on top of all ELMO ST and GS series projectors.

Of all the Super 8 (& 8mm) editors, there are two main design types regarding the film placement. The BAIA corporation editor-viewers and all those made by BAIA under store brand names (Sears, Wards, K-Mart's Focal, Pennys etc) require the film to unravel from the Left side Supply in a counter-clockwise manner, thus the emulsion of the film is downward. They made cheap ones and some better large screen ones. If they are clean and work well, and you are careful, they'll do the job. Those large screens are nice and bright.

However, my recommendation is for the other design type, whereby the film unravels from the left Supply side reel in a clockwise direction, just as it does from the projector.....so the emulsion is in the up position. Editors made in this manner are the numerous ones from GOKO Japan, which also made them for HAHNEL, ERNO, ELMO, SEARS, and many others. They will have a similar if not exact appearance to their GOKO counterparts (since they are made by GOKO), and will also have the "NF System" moniker....referring to the polygon prism method (versus the 2 or 4 sided prisms of virtually all previous editors which have considerable flicker. The GOKO units are nice, easy to use, and use their polygon 16 facet prism (NF system). They did make a couple smaller ones that use a 12 facet prism, and while that alone is not a problem, the sprocket drive used puts too much torque on the film and prism rotation mechanism. These are easy to tell, since they have a film sprocket visible just before the film gate. Whereby the other design has the film move over the filmgate, and the sprocket is a large diameter one incorporated on the side of the polygon prism. This design with the large sprocket on the prism side causes virtually no torque on the film sprocket holes, and allows for very easy transport.

GOKO also made both manual and motorized editors. Most allow attachment of a sound reproducer to which you can listen to the sound track via earphone or headphone. However using a manual crank or basic motorized unit will cause uneven sound reproduction. The main goal here was to be able to find a synch or editing spot to know where to cut the film so that there is the best tradeoff for picture and sound editing on single-system sound films. GOKO's high end machines, their 8008 and 3008 units allow for sound recording as well, since they are capstan run units with stable recording quality at both 18fps or 24fps, with the higher model allowing recording on both tracks and also in Stereophonic sound. GOKO made a capstan run editor for ELMO which is a nice machine but without recording capability. These are all very gentle on film.

Other well made machines that are somewhat less easier to locate are: BAUER, BRAUN (Nizo), and the well made metal bodied MINETTE. The MINETTE was made in both stand alone units with film reel arms, or as a free standing viewer only requiring separate film reel arms mounted onto a baseboard. Lastly, while there were many other units made by other makers such as Chinon, the older well made metal units made by CRAIG-KALART in the USA if clean and in good condition will work fine also.

Hope this helps you out some.

ELMO made a 400ft (60m)capacity top mounting endless loop unit that had the film reel sit horizontally on top of most of their ST series Super 8mm projectors. These have shown a couple times over the past few years on eBay, but they are kind of rare. EUMIG also had a co-axle projector so the film didn't have to be rewound and thus could also be run endlessly; but, there were some problems regarding long term wear & tear due to cheapness of the main axle design. This could probably be remedied with repair if you located a non-working unit. However, my money is for locating the ELMO Endless Loop unit, which is a reliable mechanism, as most ELMO projector products are.

Those carefully worked out format and transfer and resolution details are terrific in showing the practically application of the Super 8 format. And I have to thank you for this great attention to detail, as it will help many wishing to shoot for the HD 16:9 format ratio.

This is only relative to the 16:9 HD aspect ratio, and only IF as filmmakers, you accept 'that' aspect ratio as the standard to aspire to. My own way of looking at all this is, shoot in the aspect ratio that you wish to best express your film story or artistic rendering in. You'll often note that even Cinematic releases when they go to DVD or Blu-Ray will still very often be in the original aspect ratio they were filmed in. Thus.....even with this so-called new standard of Television, viewers will still have black masking bars on the top and bottom of the image in order to yield the correct aspect ratio of the original production.

Many still like to project their films, and rightly so, even the film competitions are projected. By projection, I don't mean only in film, since even that isn't convenient or practical, thus the use of Digital Projection. And via Digital Projection, the original aspect ratio can be maintained on the screen, with minimal adjustment of the masking black side curtains to always show each aspect ratio at its best. So, I think in the end, all other considerations aside and notwithstanding, having fomented your ideas for your film project's end presentation......decide what aspect ratio your film will be in and work around that. Even the accepted film industry standard of 1.85:1 aspect ratio for non-anamorphic or other WIDESCREEN releases....is still wider than our now forced upon us all HDTV 16:9 system. So to show them correctly, as envisioned by their DPs is to show them masked with top and bottom black bars even on the HDTV, unless you watch them cropped down.

I recall watching an excellent epic presentation, on a 24 foot WideScreen, while living in England some years back, "The Battle of Britain" shot in full CinemaScope, across a couple continents to get all the aerial work & costumed recreators in.....with 4-track post synched sound and dialog on reel-to-reel.....and it was all filmed in REGULAR 8mm! It was a perfect example of how professional a film can be made, with a large host of actors, props, professional filmmaking technique, and yet, all done on the tiniest of film gauges. What a shame it would be to have to visually crop down such a production IF it was supposed to fill the 16:9 HD screen. For my two cents here, consider all the ramifications, costs, and technical considerations, and work in whatever aspect ratio you feel best conveys the not only the storyline, but the FEEL of the production you want to make.

In the end, you can film in Super 8's normal aspect ratio, but allowing more breathing room in your composition, if planning to crop the final image to fit into a wider presentation ratio in the video release.

Rumman, you already own perhaps one of the best Super 8 cameras ever made. The CANON 814 AutoZoom and the LEICINA Special, while both wonderful cameras, still won't necessarily yield you any better images. The NIZO already has the world renowned sharp Schneider-Krueznach optics on it. Also, the smaller diameter of the lens allows use of lower cost filters.

The noise level among all 3 cameras here is about the same. The quietest Super 8mm cameras ever made, are most likely the Sound NIZO cameras. To make yours quieter, just make your own sound barney for it....easily made just using a couple large oven mitts, cut an opening for the lens in front and the handle on the bottom, and use simple ties to keep it snug on the body. There's other methods, but something along these lines will work easily and reduce at least half of the noise from the camera...and with the microphone being placed near the subject and being a directional type, do some sound tests, you can pretty much eliminate camera noise.

The LEICINA Special is an interesting camera, but it can be a bit complex to use until you fully get used to it, and the NIZO is still easier to shoot with. And for a compact camera, you already have it....the NIZO S-481 is more compact than either of those other cameras which are also heavier. IF you want something for low-light use, you'll need to consider buying an "XL" designated camera, of which all three of these mentioned here are not. However, the NIZO does allow long exposure times, both in manual or automatic B mode, with exposures per frame up to ONE MINUTE! The LEICINA has timed functions, but you must also have the optional special functions box, the LT-1 or something like that...can't remember the exact designation at the moment.

This is why I always recommend that Super 8 filmmakers own a few different cameras. It's handy to have a couple cameras made just for low light use, and they don't have to be super expensive either. The Chinon made GAF SS-250 for example, has an F/1.1 lens, 220 degree shutter opening, films at 18fps, uses an external meter port, and can film in very low light. I used one once years ago with EK160A film to film off a theater movie screen. This is just an example, there are several affordable low light level cameras....another good one is the CANON 310 which can film just about in any light level. Many of these cameras are limited since they often do not have manual exposure override or EE Lock on them, film only at 18fps(which is fine for most work), and their meters only read the former standard notch codes for ASA 25/40 and ASA 100/160. But you can still work with that in low light even with films that are faster than those, since most often you'll need the aperture open fully regardless.

Regarding an INTERVAL TIMER, your NIZO already has that builtin......allowing you to shoot from 2fps down to one frame per minute, as well as expose each frame relative to the interval duration if you want to. The optional or after-market timers usually attached to the cameras via a mini-jack, so the camera has to have a magnetic closing shutter. Many of the timers made by MINOLTA, SANKYO, CANON etc will work on other camera makes as well. If you want a remote function, SANKYO made a radio control release unit, that could also be used configured with an external timer.

For Blowup, yes it is possible to blow up Super 8 to either 16mm or 35mm, but the cost is high and is based at the lab on the per foot cost of the format you are having it optically enlarged to. There are resolution and grain considerations, but it can be done....and has been done many times. Over the years there have been quite a few theatrical release films that have employed Super 8 footage for both short and long sequences as part of their 35mm production feature. e.g. Flatliners, Natural Born Killers, JFK to mention some.

So, save your money for film, use what you have, and maybe pick up a couple other cameras for continous low light filming for a fraction of what it would cost to get another high end camera or two.

Sadly, the NIZO S-801 Macro will only read Tungsten rated films up to ISO/ASA 160. So, it's close enough for the Vision 200T film, but not acceptable for the Vision 500T filmstock. The CANON will read both film types. That being said, you can always set exposure manually with the NIZO. Use the built in meter, knowing that whatever reading you get will be off by a little over 1-Stop, then factor that in and set the aperture manually using the manual override and the builtin viewfinder aperture scale.

Hi Steve,

The BOLEX reflex eyecups made to fit the BOLEX H-8/H-16 reflex cameras, work great. They are nearly a perfect fit and allow comfortable use for the naked eye. If you wear eyeglasses, they still work okay, but you'll have to press harder against the eyecup for full field vision.

Another method is to use the eyecups made for 35mm SLR cameras, those aftermarket versions. You'll have to remove the rubber eyecup from the small viewfinder frame, and might have to adjust it via cutting it a bit to get it to fit, but it works also well.

There are vendors on eBay lately that have been selling both BEAULIEU and BOLEX eyecups, at reasonable prices. I just bought another BOLEX eyecup from a vendor in Israel and they were fast in shipping it to me.

These BOLEX reflex (Rex) eyecups work great on many other Super 8 cameras, as I have fit them to several of GAF Anscomatic ST series cameras [sT-111, ST-111E, ST-602, ST-802, ST-1002 and others], and many other versions of these CHINON made cameras under other brand names.

Hope this helps you sort out your situation and keep you filming,

in Super 8!

Best regards,

Martin Baumgarten

Hi dubbing is an involved process. The old way via analogue was to loop the scenes or play them ready to record the audio directly onto the film. This is rarely done now, and you would still need to work in a similar fashion, timing all your scenes with dialog and having your voice actors dub their lines either using an audio into the computer, or an audio dub into the digital tape, or just record the lines via careful timing and trying to match the video onto a DAT, tape recorder or other audio recording device. Using the software in the computer, you can then move the audio around relative to the picture segments and either compress or expand it to make it fit, via dropping it into those segments. This can be as simple or as complex as you want it to be.

The NIZO S-481, it is a fairly quiet camera, but I would still suggest using a sound barney on it (which you can make yourself) and/or making sure that the sound recording microphones are near the subjects and at least 5ft or more from the camera for directional mics and 10ft or more if using a omnidirection mic. If filming indoors, try to keep the camera setup outside the room and film through an open doorway. This will keep most residual camera noise away. The camera is not crystal-synched but this can be done if desired. I have found it's not really necessary, since this NIZO, as do many Super 8 cameras, run quite smoothly enough. Shots of 30 seconds or less aren't any trouble at all, and I have done sequences on cassette tape over 2 minutes and it still all matched up quite nicely. I do recommend recording audio as the film is being made, even if you decide to dub some it later, as you'll have the original recording as a reference, both for duration and inflection of your actors' voices.

When filming and recording sound at the same time, make sure to SLATE your shot at the beginning (and/or at the end if possible) so you have a reference for the start point. Otherwise, it can be very frustrating to locate the exact start point. Shots were the actors' mouths are not distinctly visable can be more forgiving in having audio off slightly, but of course any facial shots closer up will require as tight a lip-sync as possible. That being said, I have seen many amateur and independant films where virtually all audio was dubbed later and it was apparant that it wasn't lip-synched, but still looked good as the magic of film pulled you in. As an example, look at all the spaghetti westerns that were filmed in Spain with a variety of actors from various countries speaking their lines in their native tonque, and then the voices were dubbed in for whatever country the film was released in. While watching these, you soon forget about the exact dubbing and get into the story of the film. So, to some extent, it's all relative to how you make your film, the story, the filming style, and other various techniques.

This is just from my own involvement, others will have practical application tips to add, and there is information on the net that can be helpful. My own films, I always shoot at 18fps for Super 8mm, even though many if not most professional productions are done at 24fps (25fps in Europe). Best regards, Martin Baumgarten

The process I use depends on the type and age of the KODACHROME film I am developing. For very old KODACHROME-II films and very old KMA-40 films, they are processed to a B&W Negative using conventional KODAK D-19 technical developer, with time and temperature based on what information the customer has provided to me about age and storage history. Otherwise, for most films exposed prior to 1985, I will process the films not longer than 3 minutes and at 68 F (20 C), with first having a 2 minute prewash stage. I used to use an anti-fog agent, but have not really noticed any benefit to doing so for very old films that suffer from severe age fog. Afterall, that silver has been ionized and will react to development, and no chemical added can distinguish between silver that has reacted to light energy or to radiant energy.

If a batch of films come in, I will test one first, and base the processing on my results. If films are severely age fogged, I will often lower the Developer temperature down to about 65 F so that I can still keep development time in the 2 min to 4 range. It's a delicate balance between getting images and getting nothing. You have to be careful to not make the times so short that you'll just get cloudiness in the images with little detail. Some films are so severe that to the eye, it looks like the film is completely black. But upon examination under a strong light, you will see the images. I transfer all films done this way to video for the customer, who gets back their processed film and usually the DVD. The films that yield a somewhat closer to normal density negative image, can be transferred via most any telecine method. The films that are so extremely dense will require a more conventional telecine transfer with a bright projector lamp in order to be able to see the image and render it to video.

B&W Reversal Processing of KODACHROME films: This really can only be done successfully with films that are in good condition, not too old, or have been cold stored prior to use, regardless of age. Otherwise, there isn't enough silver for the reversal stage due to the severe age fogging in old films, and the images will either be very faint with little detail, or nothing at all.....just clear film. To reversal process good KODACHROME film, just use the normal B&W Reversal process. Prewash the film 1 to 2 minutes prior to development, and you will have to push the development in the First Developer by at least 2 minutes over normal time. The reason is that KODACHROME will lose its effective filmspeed if processed to the exact time you would process Plus-X or Tri-X for example. If you do not compensate the time, then the final images will be too dark otherwise. IF you are using the newer KODAK D-94a formulation to process the film and the new permagenate Bleach solution, then you will have to conduct a test to determine your time in the First Developer based on density after processing, and also will have to extend the Bleaching time by twice as much in order to bleach out all the negative silver.

REM-JET Coating Removal: In the motion picture process, this is soaked to soften in a remjet removal bath stage, then buffed with buffing rollers at the tank exit stage while being rinsed with water at the same time. In manual processing, you will have to remove the remjet after all processing is completed. It is troublesome, and slow to remove. After the film has been properly washed free of the Fixer, soak the film in a solution of Borax & Water (2 to 4 tablespoons per Liter), at a temperature of 75 F to 80 F, for at least 5 minutes, longer if necessary. After soaking, remove the film from the processing tank or spiral reel, depending on what method you are using. Transfer the film to a takeup reel, and then place into a tray of the Borax solution. If you can make up a special plastic tray by gluing a small stud in the center upon which the reel can rotate, all the better. Then setup a rewind arm; I use a portable 3ft setup with 2 small Craig 8mm/16mm rewinds on a 3ft 2" x 4" board which I can clamp to the lab sink or countertop via a large C-Clamp. Use a good photo-grade sponge and have a 2nd tray of Borax solution, as you will pull the film from the holding tray, thru the sponge which you will keep soaked and submersed in the 2nd Tray, and the film will then pass to the Takeup Reel on the Winder Arm. The remjet backing should come off, just be careful to wind slowly and watch the removal upon takeup. Be advised, this is a very messy process, and you will have to rinse the sponge out many many times, usually after every 5 to 10 feet of film. It depends on how much came off during the processing itself, usually, not too much. Generally, you will have to wipe the film completely at least twice to get all the remjet off. Then once removed, you will have to wash the film for at least another 2 minutes to remove all traces of the Borax solution. Then use a Wetting-Drying Agent such as KODAK Photo-Flo Solution, chamois if desired and hang up onto a Film Drying Rack to dry.

NOTE: IF the remjet is very hard to remove, even after soaking for a long time, even if you have increased the solution strength by double, then you will have to use more physical force by squeezing the sponge harder and pulling the film thru just a couple feet at a time and checking for removal, and if not all off, backing the film and going over those 2 feet of film again, until the backing is off. On some very old films, you will find that there often are still small traces of the remjet backing, and even film cleaner won't remove it easily. For Newer and/or Cold Stored films, the remjet will come off.

SEPIA Tone: If you prefer a nice rich Sepia Brown Tone to the reversal image, then substitute KODAK T-19 Developer for the ReDeveloper. This is a simple solution of Sodium Sulfite and Water....but NOTE.....use plenty of fresh air, since not only does this stink of rotten eggs, but can be dangerous! No reversal exposure is necessary when using this Developer. The formula is as follows:

KODAK SULFIDE ReDEVELOPER T-19

Kodak Sodium Sulfide (Anhydrous) 20.00 grams

[NOT Sulfite!]

Water to make......................1.0 Liter

I have been able to use Sodium Sulfide Flakes, but they must be ground up prior to mixing using a mortar and pistol and it can be quite time consuming. If you use this, make sure you use a breathing mask and do the grinding in full fresh air.

Exact times, temperature, method, all depends on what chemicals are available to you in processing your own films, and also what processing method you are using: Rewind Tank, Reel & Trough, Rack & Tray, Spiral Reel & Tank etc. No secrets, just normal B&W Reversal Chemistry, either the original long time formulas, or the current D-94a process.

LASTLY, if you desire a NEGATIVE image instead of Reversal, you can make use any any conventional full emulsion speed continous tone Developer (e.g. D-76, Microphen, HC-110 etc) and adjust your process as necessary based on density results. I recommend shooting your own Control Strip so that you can fine-tune the Negative Development to whatever Gamma or Contrast Gradient you desire. Since most would be transferring the Negative images to Video with electronic reversal......a remote possibility is to print the film and strike a positive from it; but that is costlier.

Hope this is useful to you.

Martin Baumgarten - November 2010

The FUJI Single-8 format, via their cartridges, is still very much supported worldwide...though not anywhere as large as Super 8. That being said, even with the demise of FUJI's fine R25 and RT200 filmstocks and the official end of their processing coming up eventually, the support it has will allow filmmakers to continue using Single-8. Super 8 film is identical to Single-8 gauge-wise, and is on celluose-triacetate, versus FUJI's polyester base. So, it can be successfully reloaded into the FUJI Single-8 cartridges, but with less volume; nominally about 40ft (12m) versus the original 50ft (15m) of FUJI's original stock. So, it's a little bit less, but still allows one to use the many exceptional and fun to shoot with Single-8 cameras that were made.

RETRO-8 Enterprises in Japan and GK Film in Germany both avidly support the format. In England there was a rather strong support club, The Single-8 Society...and I would imagine they are still around in some form, but I haven't found them on the internet. [NOTE: I have a ZC-1000 camera and plenty of frozen R25 filmstock for sale, on consignment here if anyone is interested. It will go back on eBay again when I have time.] Actually, since Super 8mm film is being loaded into the Single-8 carts these days, it's better in some ways, since now anything shot with a Single-8 camera will intercut more easily with anything shot in a Super 8 camera on similar filmstocks; and no focus shift problems between intercutting the thinner original Single-8 stock with Super 8 footage.

Regarding home movie film processing.....it's just like anything else, if you have the time, patience, and equipment......you can do it, and do it quite well. Movie film is longer and that leads to lots of extra care required. However, that being said, I knew several teenagers that processed their own movie film, myself included. So, if a 13 or 14 year old can develop their own movie film, and have it look good, I think an adult could do it also.

As with anything in photography, you can be as technical as you want or need to be, within the realm of the medium, the goal is to achieve the results you are looking for. If something works well for you, even without the use of densitometers and other more elaborate and sophisticated methods of processing control, that's fine.....nothing wrong with that. People have been processing their own films, and doing printing and a plethora of laboratory work without the benefit of high end equipment. You can make up your own control strips shooting color charts and gray scales, using care in exposure accuracy, and use these to help fine tune your own developing solutions and technique. There's plenty of information out there to assist anyone interested in doing so. Is it worth doing yourself? Only you can answer that.

Not everyone wants to or needs to be involved in every facet of the process, since in the industry, professionals concern themselves mainly with image capture process. But it wasn't always that way. In the early days of cinema, the very cameras themselves could also become contact printers and projectors, and many of the filmmakers had their own labs to process their films. Even the great DeLuxe lab was doing manual film processing and drying the films on 10 foot or better diameter Film Drying Racks, prior to the commercial advent of the motion picture processing machine.

Anyhow, yes, Single-8 filmmaking is still very much alive, albeit smaller than the Super 8 users. But that goes also for Regular 8mm, Double Super 8mm, and yes, even 9.5mm.

Best regards,

Martin Baumgarten

Plattsburgh, New York USA

---> KODACHROME Processed as Black & White <----- [October 2010]

Yes, KODACHROME can be processed as Black & White, I do it all the time here. In fact, in default, so can virtually ALL photographic films. KODACHROME is a triple layer matrixed B&W film in reality [matrixed with gelatin filter layers for the 3 primary colors], and color dyes are added by 3 separate Color Developers relative to the formation of the Positive silver during the reversal process. All black metallic silver is removed during the Bleach and Fixer stages in the end, leaving only the positive color dyes. There's more to it than that, but that's it in a nutshell for this part of my answer.

Since KODACHROME is really only a B&W film, it is most often processed as a B&W Negative, usually done for all the old K-12 films and K-14 films that were exposed years ago but never processed. They have to be done as a Negative, since Reversal processing would leave a faint muddy image if anything at all, due to the severity of the age fog in the film. This is what is done for such old films here at PPS, at Film Rescue, and also at Rocky Mountain Film Lab (if they're still operating these days). To save images from those old films, that is the only way to process them, using a high contrast technical developer adjusted for the age of the film, and any resulting images then transferred to a video format (nominally DVD) and returned to the customer along with the film original.

However, IF the film is good stock, meaning having been cold stored since new and virtually as good as new, OR film of recent manufacture...... it can be processed as EITHER a Negative or Positive (via B&W Reversal processing). What does it look like? Pretty good if the film has been cold-stored. As a Negative, depending on what developer is used, it will have nice even tones and can be used to telecine the images just as with any negative stock. As a Positive image, done via B&W Reversal processing, the film looks pretty good, but is grainier than what we're used to expect out of KODACHROME. The reason is because processed as Color Reversal, the dyes overlap each other and are themselves virtually devoid of grain. The grain we see is the ghost image of the grain from the original B&W Positive image that is necessary to create the Color Dye image. So, yes, it's pretty good, just grainier, and grainier than PLUS-X 7276 or 7265......but less grainy than TRI-X 7278 or 7266.

This is one reason I'm not worried about using up my KMA Sound filmstock, since it can still be processed as B&W and I'd rather have B&W Sound film, than no sound film at all; or try to race and use up what I have just to use it up and have to pay all the processing costs to do that, without really having enough time to use it properly for some project. But it is somewhat expensive to have it processed this way at any of the labs, unless you wish to tackle it yourself...which is quite doable if you have the equipment: processing tank system, film rewind setup, darkroom trays, photograde sponge (to physically wipe the remjet off with the Borax Bath solution), chemistry etc.

Also, done as B&W Reversal, it can also be Sepia toned just like the other B&W Reversal films, and that gives it a nice look. I'll try to run some tests here when I get out of this busy holiday photography season, and post some frame grab results. Lastly, since the film is silver-rich, it really needs the previous B&W Reversal process........otherwise, if using the D-94a and new Bleach, you'd have to make some adjustments to the Development time and also extend the Bleaching time out. There's some other factors involved here as well in processing, development time aside....and the worst factor is the removal of the Remjet Anti-Halation Backing, which when processing manually, must be done after processing, and slowly by hand using a Borax bath, and then a rewash afterward. A reminder here though, if you have old films that were shot long ago, or just old film that you might want to use that was NOT cold stored.....forget about processing it as reversal; it will just be muddy nothing or very very poor.

AND.....when processing OLD films, the darn remjet backing is very stubborn and you really have to work at getting it all off; meaning a long soak in the Borax Bath [10 to 20 minutes average] to help loosen it, and usually giving the film two wiping passes to get it all off. And even then, you might still have some streaks of it here and there. In the K-12 and K-14 processing machines, they use not only solution but soft buffer rollers rotating at high speed to help clear all this off and then a spray rinse to remove residual traces as the film passes through that stage of processing (done prior to actual developing).

Hope this helps.

Best regards,

Martin Baumgarten

Hi David,

Film is film...so if you can process a roll of 120 or 35mm still film, you already understand the basics and it also applies to movie film. The difficulty and technical consideration which makes it so different is the film length! This requires extra care and attention in movie film processing, all the way from initial film loading, through the processing stages, to drying the film and then downloading it from whatever film drying rack or setup you're using. That long wet movie film is can be like fly paper, attracting all kinds of dust if you're not very careful. That all being said, many young teens processed their own movie film years ago, back when wonderful companies such as ESO-S PICTURES and SUPERIOR BULK FILM COMPANY were around to name two of them.

The SUPERIOR BULK FILM Co. Super 8mm Tank & Reel Unit (also known as the POWELL TANK) is perhaps the easiest spiral reel setup to load. The tank must be used a bit differently regarding adding and changing chemicals since the spout it too small for quick enough solution changes to yield even results, and adding solutions through it doesn't allow the air to evacuate fast enough, thus forcing the lid up and off if not careful. Anyhow....the next spiral reel type that works great is the former JOBO FOTOTECHNIC Super 8mm Reel & Tank. They were very expensive, but work fine (I have the 16mm version since I could never get my hands on the Super 8 one....long story, but in the nutshell, idiotic sales people at some german camera shops in Frankfurt, refused to believe such a thing was available, and the USA division was useless. I ended up getting the 16mm version since store manager was so....well...I'll leave it at that). Anyhow, these JOBO ones are rare as hens' teeth.

This brings us to the venerable LOMO Tank, of which there are a few varieties, but for Super 8mm, you need only concern yourself with the UPB-1 or UPB-1A, with the latter being the newest version of the same tank. These will allow processing of 1 or 2 rolls of 50ft (15m) Super 8mm film. IF you load and process only 1 Super 8 50ft film, it is quite easy to use. The difficult part is learning to load 2 rolls, requiring a lot of finnicky care while in total darkness. But, it can be done and has been done by many, and many hundreds of times by myself. As with any spiral reel processing method, you will want to transfer the Super 8mm film to a 50ft projection reel to make it easier to handle in the dark, and also will want to tranfser the film from that reel to another reel, so that when you load the film, emulsion facing outwards, the sprocketed edge of the film is laying in the spiral groove. Otherwise if not, you risk getting uneven image density due to the surge variation of the solution during film agitation. And speaking of agitation, you do NOT want to twirl that reel agitator around! You need to rotate it, but also lift and lower the reel setup as well, and rock the reel back and forth gently.

If the cost of these tanks and/or availability is a problem, another quick DIY method is to just build a small plexiglass rack. Using a 16 x 20 inch piece of plexiglass, you will wrap a 50ft scrap film around it, separating the film by a few millimeters evenly spaced. Then make some marks where the film wrapped around with a felt tip marker. Remove the film and now make some curved cutouts 8mm's wide where the marks are. Smooth these cutouts with fine sandpaper and polish well. Drill a hole in the upper left corner, and both upper and lower right corners. Make this hole 1/4 inch, large enough to fit a rubberband through it. Get two pieces of plexiglass, cut to an inch wide and 16 inches long, to glue to either side of the 16 x 20 sheet. The sheet should be centered on these, as these will act as a stand to keep the bottom of the sheet from touching the bottom of your processing tray. You load this by looping a rubberband thru the hole in the upper left of the rack, loop the end of the Super 8mm film thru that loop and staple the film, then wind the film around the rack emulsion up, nice and snug, but don't cinch the film, until you get to the end, and then repeat with a rubberband on the end, and adjust the film so it remains taut. Now you process this film on the rack in large 16 x 20 inch photo trays, having filled them with solution high enough to cover the rack completely. Agitation is via moving the rack carefully in the solution side to side, top to bottom and up and down. You can easily lift the rack, drain the solution off by holding it at an angle, and move it to the next tray. 11 x 14 inch design should work as well, but you will have to make the spacing narrower.

There's other methods as well, and there's also the REWIND TANK, a long time proven method, but is tedious as it can take the better part of 3 hours to process a roll of movie film. There are some pros to the Rewind Tank method, ease of use, easy to load, small footprint of space required, and can be done most anywhere.

Lastly, the other tricky part, what to do with that wet film. I recommend building yourself a film drying rack, easily enough constructed out of Quarter Half Round dowls or full dowls, 2 feet long and attached to 18 inch long crossed slats of wood. The crossed slats, have a long bolt in the center which doubles as a rotating pin to sit the Drying Rack on a stand you'll also have to make. Some have just drapped film around plastic clothesline in their darkroom or bathroom. While this works, it's more professional and practical to use a film drying rack. You attach the film to the rack using large PaperClips bent like an "S" shape, with one end closed and holding a rubberband. The rubberband on either end of the film will stretch to compensate for slight film shrinkage as the film dries. Having a loading stand to rotate this Drying Rack will allow ease in loading and also unloading after the film is dry. After unloading, I recommend splicing film leader onto both ends of the film, then clean & lubricate the film, and finally wind it tightly and neatly onto a 50 foot projection reel and wrap with a 3 inch rubberband. It is wise to let the film sit like this for a few days before projecting it since the film will have small curved areas in it from the film drying rack, which in time disappear......and the tight wind really helps smooth it out. Although, if necessary, you can project the film usually within 2 hours from when you begin processing, if you are organized.

All other laboratory methods apply: cleanliness, solution control, proper rinsing/washing to avoid contamination, temperature control, proper chemistry mixing, processing control, and so forth. Do all that, and you can process your own movie film with professional results, just as you can in processing still film. Is it worth the time and materials? Only you can answer that. I always thought so. However, due to cost of chemistry, Hazmat shipping fees here in the USA on photographic chemicals, and all the time involved to get it right.....you will need to process a certain number of films to make it cost effective for yourself. I mean, you don't want to mix chemistry up that can process 6 to 12 films, and only do 2 or 3; in which over time the solutions will age and become useless...costly.

So, it's relative. For working on special effects on films, and doing complex title sequences, it really helped being able to process our work, view it that evening, make corrections to the setup as needed and continue on with the project the next day, or sometimes even later that same day. But this was film I intended on projecting as a finished product. So many of you now do all this in post in a video editing software program since your projects end up on a video format. Either way, I'm still processing the 35mm slides I plan to shoot on a nice little old 35mm KODAK that I got at a junk shop for $8 the other day. Press on, do your homework, make some plans and come to a decision if the cost and labor is worth it to you. Hey, if hundreds of kids could process their own movie film years ago, and I could do it as a teen, I think you can do it also. Just my two cents here. If it doesn't work out, you still learned something and can sell off the equipment on eBay and recoup some or all or your money. Good luck!

P.S. Super 8 was and still is and can be so much a DIY film gauge for so many reasons, and that's another reason we all love it.

We all agree, buying an ISCO is now insane. What about the HYPERGONAR?

 

Any Cons and Pros from experts in the house?

 

/Do

The HYPERGONAR lenses, are quite small and were made to work with smaller primes than the zoom lenses we're all used to on most Super 8mm cameras. The two small lenses, HYPERGONAR 8 and 16, were intended for those respective formats, since they would allow full coverage on the "normal" focal length lenses. That being said, an A-lens will work with most any lens that it can physically match. As for the larger HYPERGONAR lenses, they are either way too long (as in the case of the 35mm cinema projection units)or are just plain huge and heavy, making them not easy to work with. Also, they don't show up all that often on eBay or in other cine sales arenas these days. Back in the day, The WIDESCREEN CENTRE in London used to export many of them to India since they are perhaps the country where most of the CinemaScope type films have been made.

There are lots of A-lenses in the hands of enthusiasts that for whatever reason don't use them, are too old now to bother with filming, or just love seeing them collect dust. With the loss of so many cine clubs worldwide, most of it due to upcoming generations not being club joiners for a variety of reasons......the venues for members or former club members to sell off these lenses has been drying up. I recommend that anyone interested in obtaining any equipment, as well as A-lenses, to contact any remaining film clubs to see if anyone is willing to sell. It's that, or pay outrageous prices at industry suppliers' shops, or wait until something shows up on eBay or other online auction sites with photographic wares sections. I'm sorry, but my tiny HYPERGONAR-8 lens I'm keeping....works great on most fixed lens small Super 8s, or small prime lenses. Those tiny FUJI P-2 Single-8 cameras or the tiny CHINON Pocket 8 with this lens, really makes for a pocketable CinemaScope filming rig!

This is a fascinating topic and one that has cropped up in the Super 8 film arena many times in recent years. Realistically, the probabililty is slim, but not impossible. The last "new" Super 8mm camera was the BEAULIEU 9008 and was selling in the price range of $7,900 USA depending on how outfitted and where you ordered it from. This was several years ago. So the price range suggested is understandable, although from the lowcost attraction of the gauge, high to many users. While determining what features it should have, IF a major manufacturer were to get into the game, it might be best to feature an interchangeable mount to allow a variety of lenses to be used, whether it be C-mount, PL, etc. That should be very doable. Of course, the camera design suggested is fully blown professional and there would have to be sufficient filmstock support, to support it.

On the other hand, the lower cost end of things, the spring wound clockwork camera made by LOMO under their QUARZ name is pretty good, and it might be quite possible to get them to consider reworking the design and updating it a bit.....or as mentioned maybe having it made in China.

While so many dream of having a new camera, let me remind you of another film gauge, with perhaps the smallest grouping of devoted followers....that some years back did get their wish to have new camera. This is the 9.5mm format, which still thrives with a user group of perhaps less than 500 worldwide. They had two cameras made, both were in France, with one being a 9.5mm version of the BEAULIEU R-16 Electronique. I own the earlier spring wound version. Anyhow, this small group still persists in getting "new" projectors and editors and splicers, even though these are remanufactured 16mm units to suit 9.5mm. I know this is a bit off target here, but I mention this to those that say it isn't possible at all, as they were able to get something new, and while not cheap at all, it was all done in very limited numbers.

Back to our own reality here.....I agree with one posting that a low end workable camera could be made affordably. One of my favorite low end cameras is one made in Hong Kong by the Haking Company and sold under the Halina and GAF and other brand names. A very simple fixed lens, manual aperture unit that produces remarkably steady and sharp images. I can see how an updated version of such a camera could have a better viewfinder and also allow some type of lens interchangeablity. Although, it is possible to add an add-on wide angle or telephoto to those simple cameras.

Really though, there is such a massive glut of Super 8mm cameras out there, and many can be repaired and kept going for many many years. The more complex later electronic CMOS IC types might be more limited as repairing those when the computer chips fail is impossible without parts. But the electric-mechanical cameras can be kept running a long time. That's one of the reasons I have a soft spot for many of the Chinon made GAF ST series cameras that while they have some drawbacks, the basic design is pretty robust and can be kept running with maintenance. Some cameras made were and are a nightmare to even try to repair, and others are worth it; compared to the cost of having something new made today. Regardless of opinions, pro or con, Super 8 does have it's place in the realm of filmmaking formats (and so does Regular 8mm for that matter which is not dead either). Either way things go, it's nice to see such dedicated interest in keeping this unique and viable format of filmmaking expression alive and well into the forseeable future. I'll keep using it, along with my still film cameras, until the day they pry them from my dead cold fingers.

Best regards to all here,

Martin Baumgarten

Hi Nicole,

The battery voltage is so close as to not make any difference. To let the replacement batteries sit stable in the chamber, you can make up a small cardstock sleeve and/or using electrical tape wrapped around until it's built up enough of either. I've made up such battery supplies for my various cameras from all types; although some of the very small ones might not last as long. Even so, that's a moot point not to go ahead and make one up for yourself. With some cameras, a slight voltage change, of nearing a half volt will cause the light meter to underexpose slightly, and on others hardly any difference. The voltage variation here of using Two 1.4 volt cells will make 2.8 volts, that's only a tenth of a volt difference, and won't do anything. Stray light reflecting off a shiny surface is more of an exposure enemy than the voltage. I do suggest making sure the light meter is activated and working before running any film. This can be done by viewing thru the film gate while the camera is running, and observing the aperture closing down as you aim it towards a table lamp or light source and then moving it away again. While not fully indicative that the meter is accurate, it will let you know at least that it is responding to light and the battery is powering it. My only other recommendation here is to only shoot a few feet of film in that camera, and to finish the cartridge in another camera that you know works fine. This way you won't feel like you wasted an entire cartridge of film and processing just to find out if the camera works or not. You can always make some titles and/or shoot other stock footage that you can use as cutaways in projects later, with the rest of the film. Good luck and I hope your camera works fine.

He's correct, it is easy to have a knob move out of position. I should've also stated that it's very helpful to use a fine grade electrical tape to tape down all knobs and buttons on the side cover BEFORE removing it. Taping them in a cross pattern will keep them from moving or dropping out. A good grade electrial tape will also not leave any sticky residue on them after you remove it later.

[PLEASE, do make sure NOT to move any of the small circuit board dials which mate to their corresponding knobs on the cover panel!]

So....if for some reason you decide to tackle this yourself, first set all controls to their NORMAL settings, Power Switch the center off position, and then tape them down carefully, each with two pieces of tape making an X. You don't need to tape the Power Switch, just make sure it's in the center or off position. Then unscrew the four panel cover screws carefully. Once unscrewed, lift off the cover panel gently and upward, so as to not cause anything to move underneath.

Since the tape will hold both the Meter Battery Check Button and the Backlight +1 Exposure Button in position, they won't fall out. Once the cover is off, there aren't any boobytraps to spring up at you. The only two springloaded areas are the small spring for the Meter Battery Check Button at the top of the circuit board, the the small spring loaded metal button for the +1 Backlight Button. Now, carefully examine this backlight button, using a small pin or tweezers, work it up carefully and see if it pops right up back to position. It could've just been some debris in there that caused it to stick in the first place. If it pops up okay, and you can depress it gently with your finger and it comes back up, all might be okay. If not, then there's a problem with the spring underneath it. It's quite possible to just remove it with the tweezers and set it aside so that it's not activated at all. This way, you'll just have normal exposure, and should you need to do a backlight compensation, just do it in manual mode. The spring can be replaced and it can be repaired, but to get more into explaining that would possibly be too involved for you here. I just wanted to keep it easy so that you could sort this nice camera out fairly quickly IF you wanted to try it yourself.

Once finished, carefully position the cover panel exactly back over the camera and gently lower it back down into position. Once in position, make sure it's sitting correctly on the camera body. If it's higher on one side, it might just mean a gentle nudging of the knob(s) closer to that side to get it to sit down. Once it's in correct position, then carefully replace the four screws, and screw them down carefully. Do not fully tighten them until they are all in position, then tighten one down and go to the screw diagonally opposite and so forth. Remember, very gentle torque here, this is not an engine cylinder head! Once together, carefully remove the electrical tape that you had holding the knobs in place, and try out the camera. Hopefully, all will be well, and at the very least, you'll have a working camera without the Backlight Button functioning. Good luck either way! I decided to go into more detail and post this, since many others use these fine NIZO cameras and might want a go at it themselves.

Hi Robert, In my opinion, the EUMIG Mark S 802 D is a much better projector (provided it's working correctly). First, it's a sound projector so it will play magnetic sound films, both in 8mm and Super 8mm formats, with the Regular 8mm also correct for the 56 frame audio advance. Second, the projector uses separate film gates and film sprockets so that each of the two formats is projected correctly. The machine is built like a tank, and taken care of, should last many years. Also, repairing it is usually worth the cost should it need sorting out in the future.

The CHINON 2500GL is a non-sprocket driven projector, silent only....no sound, similar to the GAF and other type dual 8mm using a single claw and adjustable film gate. Thus the single film claw is doing all the work of pulling the film down from the supply reel and pushing it thru the gate. This places a more potential wear on the film, especially after repeated plays, and of course any film that might have some perforation damage, the film could slip or jam. These type units are also used in modified form for telecine transfer, but since those special purpose machines and not for regular projection enjoyment of films, it's a different situation altogether.

So, my money is on the EUMIG, but do double check to see that both sets of film gates and sprocket wheels are included. They are often hidden within the projector cover side panel that is removable. Last thought here, since they are both selling so cheap.....get both of them if you can afford to. I mean, really, the CHINON is selling for less than what a replacement bulb would cost with shipping. I'm sure having it would come in handy for various uses later. Good luck!

Hi Bureaucrazy (real names here please!), You asked for the "Best Frame Rate", that is relative of course and requires a two-fold answer.

[1]. For the best frame rate to film a specific scene, such as the pan you mentioned, normally film is run faster so that it smooths out while projected or transfered at the 'normal' rate of playback speed. This variation from whatever your 'normal' filming speed is would apply to whatever you're trying to film, such as very slow moving shots which are "under-cranked" or filmed at a slower frame rate so they appear speeded up, the opposite of smoothing out that pan shot. Or by filming at an even higher rate to smooth out or slow down faster movement.

[2]. For the best overall quality, most would defer to the industry standard filming rate of 24fps (25fps for our European filmers). Here in the USA, using Super 8mm, I find the slight gain in using 24fps not worth it personally. This is were subjectivity comes into play and only you can decided for yourself if the imaging difference is worth it to you. Super 8mm works quite well at 18fps since the film moves well thru the cartridge with the torturous path it has to take.

If using NTSC and the transfer speedup of 19.97fps is disturbing, you can also transfer exactly at 18fps using some machines and services these days. So, IF you decide to film at 24fps, back to your panning situation, you would still want to film at a faster rate than 24fps, nominally about 30fps to smooth out the movement visually. Most Super 8mm cameras that offer speed variations, with either have a 32fps or 48fps option, with some of the very high end cameras such as BEAULIEU allowing you to fine tune the speed to your own liking. Other cameras such as the fine NIZO S-xxx series only jump to 54fps after the 24fps point. So, your various options on the cameras for this Super 8 format also should be taken into consideration. On one of my cameras I can shoot normally at 18fps, use the 12fps for undercranking...thus having a speeded up effect, and use 24fps for smoothing out pans, filming from moving vehicles etc, and still have a faster 48fps for slow motion.

So to recap, BEST frame rate....a relative term that only you can determine which will work for your needs. Relative to what features and functions most decent Super 8mm cameras have available, you'll find my 18fps example falls in the ballpark. IF you prefer to use the industry rate of 24fps, then you may not be able to use incamera options for some features you'd like to employ for your film work. Hope this opinion helps you.

Hi David,

Sorry to hear about your camera problems. On the NIZO S-801, the Backlight Button is springloaded for only temporary use on short filming shots...having to be held in by your finger. If yours doesn't come back out/up, then the spring and/or switch detent are defective or have moved out of position. You will want to have full and correct exposure control in making movies, since reversal filmstock is like shooting slides, and requires nearly accurate exposures; being within 1/2 Stop or less or where it should be for best results. You do NOT want to use the camera without first conducting some tests to see if it is accurate to use, both metering and/or manual aperture settings.

I recommend trying a test to see if the exposure is locked in Backlight mode (+1 Stop) and if so, to repair the camera:

[1]. See if holding the camera sideways to the left allows the button to come back out.

[2]. Measure the exposure off a plain wall, and try and see if there's a variation between holding the camera on its left side, upright, and on its right side. If there's an exposure change of 1-Stop, then as the button moves back in it is affecting the switch.

[3]. If no change in exposure reading during Step 2 above, then repeat while holding the camera upright and lightly pushing against the button which is still pushed in. If it's only the spring that is out of position or broken, the light pressure will activate the switch on the circuit board and you should notice an exposure reading change of +1.

[4]. If none of the above changes anything, compare the meter reading from the camera as it is, against a known accurate light meter. Compare readings, factoring in a -1 Stop to compensate for the large zoom lens optics and viewfinder prism which rob some of the incoming light. If the readings are off by 1-Stop, then the camera is NOT reading normally, but with the +1 Stop Backlight factor activated. However if the readings are within a 1/2 Stop or better of each other, the camera is metering normally and you should be able to use it normally. Although I recommend a film test FIRST prior to committing it to any project.

[5]. I recommend getting this repaired. If parts or a good repair tech isn't available affordably for you, then the easiest option is to just have the button removed so the NIZO meter stays in normal mode. This is something any camera repair tech should be able to do for you, or you might even be able to do so yourself. It just requires removal of the side cover, carefully, then removal of the Backlight Button and spring parts from the center of the Filter Knob control on the circuit board.

[6]. Remove the panel cover screws, then remove the panel, making sure NOT to move the knobs from the Normal Setting positions. Remove the Backlight Button and spring parts carefully, using tweezers. Take care not to upset any other settings of the knob potentiometers on the circuirt board. Then carefully replace the side panel, paying strict attention to making sure the knobs all seat back into the spots where they belong. If the cover panel is seated correctly, replace the panel screws carefully, making sure not to overtighten them. Test the knobs to make sure all function correctly. I suggest putting a tiny piece of some good tape over the opening to prevent dust from entering.

Hopefully you can sort out your camera so you can use it.

[7]. If repair is NOT an option at this time, and the meter is working and stays in the Backlight +1 mode, you can still use the camera....but in Manual Mode ONLY. Meter your subject, then reset the meter in Manual Mode factoring a -1 Stop setting from the reading the meter provided. This will at least allow you to use the builtin light meter and the camera, albeit in manual exposure mode. Of course, to make sure the exposure meter is working correctly, you will need to make sure you have the correct 1.35 volt batteries or the closest WEIN Zinc Air cells which are 1.4 volt.

Good luck!

Martin Baumgarten

Hi Thomas Larang. When you turned on the lights to re-expose the film after the Clearing Bath, how did the film appear? Was it a very light whitish tan color, like cream, and with faint nearly clear slightly brown tinged images? If not, and the images were black negative ones, the film did not bleach correctly. So what happened after re-developing the positive image, you ended up with both neg & pos images, thus total black, nothing. Always test the Bleach first using some scrap film to make sure it's working correctly. You can also turn the lights on after the film has been in the Bleach for at least one minute, and then keep it in the bleach until all the black metallic silver negative image has bleached out to a creamy white tan color. Make sure you keep agitating the film at proper intervals.

I prefer to rinse/wash the film between steps, especially after the Bleach, to remove all traces of it.....this will also help preserve the Clearing Bath solution, and generally will help extend the life of all solutions and avoid contamination which just weakens the working strength of the chemicals.

So to test that Bleach, take a piece of the film you have already processed, if you still have it....and place it in the Bleach and agitate and hopefully within a minute or two, the black silver will bleach away to a nearly clear film base. If not, the Bleach is not working for some reason, usually due to incorrect mixing, or the components of it are not strong enough. I prefer to use the standard B&W Reveral Formulas from KODAK, which work fine with Fomapan R-100. However, since you already have the chemistry, if the Bleach tests that it's no good, you can substitute the KODAK formula or another similar B&W Reversal Bleach and use that.

Without more information, this is the best that I can offer you. Good luck.

Kind regards, Martin Baumgarten

Hi, I thought I'd interject some information regarding use of the KOWA 16-H/8-Z lens, since I have shot quite a bit using this lens in both still and movie formats. Hopefully this will shed some useful light on the topic.

---> The KOWA 16-H(8-Z) 2x compression anamorphic lens can produce extremely sharp and wonderful images, both for motion picture use and still photography. As with any optical system, observing the limitations and careful use will produce the best results. Yes, you'd think that adding on another set of optical surfaces to your main imaging lens would degrade the image, but that's not true in practice when you consider that TWICE the amount of visual information is being compressed into the horizontal axis. Care of use isn't any more than maintaining correct focus, and of course shading of the lens, just as one would with any compound lens such as large zooms.

---> But keep in mind here.....that 2x compression will yield a 2.66:1 aspect ratio, which is much too wide for HDTV which is 1.66:1. A 1.5x anamorphic would yield a closer working aspect ratio, if you prefer to have a full HD screen image, with less cropping. Otherwise, you're going to end up with a "letterbox" effect, even in the HD format! Unless the wider aspect ratio is preferred for the subject matter being filmed.

---> Anamorphic lenses have their drawbacks, and the most obvious one is that there is a practical focal length "cut-off" point for the backing or main lens. With the KOWA 16-H, {depending on what type of main/prime lens to A-lens separation you have due to step-up/down rings}, the widest focal length you can use on most Super 8mm cameras is somewhere around 15mm. This will translate into a practical effective focal length of about 7.5mm wide angle on the horizontal axis. So you will still be gaining more than you would if the prime lens were at 15mm in shooting at 1.33:1 ratio (4:3). For most short range zoom Super 8mm cameras, those with zooms up to about 5x/6x, the usable wide end range will fall somewhere in the 15mm to 20mm range.

---> Using large zoom Super 8mm cameras, such as the BEAULIEU Schneider 6mm-66mm or NIZO S-800(etc) the useable range will fall somewhere around 40mm, owing to their lens construction. An exception here is using the earlier 8mm-64mm F/1.9 Angenieux lens, which is small and will work better with the KOWA 16-H lens. But, for shooting in Widescreen for telephoto only or super telephoto, this works fine.

---> The best way to support the anamorphic lens (A-lens for short) is via a professional type compendium type adapter such as one made some years ago by Animex in Europe, and by EWA, or the fine rigs made by Les Rechter in Australia (member of the AWA - Australian Widescreen Association), and also the "lollipop" type adapters made by various companies and individuals and those easy to use ones made by the WIDESCREEN Centre in England (especially their former Custome Mount and Custome Mount Deluxe units). In all these attachments, the full weight of the A-lens is supported by the bracket, which is nominally attached to the camera's tripod socket via a Base Block with a bolt, or on some cameras supported from the top via an optional socket made or intended for optional movie lights or microphones (e.g. NIZO 6056/6080 and similar cameras). The main advantage to using any of these units, especially an easy to use and design lollipop holder, is that the A-lens is fixed in the correct orientation and you won't have to reset it again after focusing, as with Filter Thread only type Adapters. There will occasionally be some slight tweeking necessary depending how you're using the setup. I have an add-on Filter Attachment for the front of my KOWA 16-H (and a vendor on eBay also is selling these recently), allowing for use of 72mm Filters and addon lenes. I also find that using 52mm filters in between the camera's zoom lens and the A-lens works great also; e.g. using my SANKYO XL-620 Supertronic camera (and others).

---> One potentially frustrating aspect in using the KOWA initially is that BOTH the Prime/Main lens AND the A-lens must be focused. At first this can be bothersome...but only to those that just want to shoot wildly with minimal preparation. It can be done pretty quickly; as you approximate the distance setting first on the A-lens, then zoom in with your Prime Lens and focus critcally, noting the distance and then fine tune the A-lens, either visually or via the distance scale or both. With some practice, it works quite well. Using fixed focus cameras, such as the CHINON Pocket-8, QUARZ Super 8 with zoom lens removed and others, you only need to adjust focus on the A-lens. I suppose it might even be possible on some setups to fit a focus synch rod to adjust both lenses at the same time; but they would have to have similar scale range movements for this to work.

---> Single lens focusing simplicity was one of the main advantages of the ISCORAMA 1.5x compression lenses, as you can leave the Prime/Main lens set to Infinity, and just focus the A-lens. Mind you, this applies only to the true ISCORAMA System lenses, as they did make some others that don't work this way. One of later ones that comes to mind is the ISCORAMA 54 (that big fat HUGE lens) and some others. Another easy way is using any of the monoblock type design lenses which do not focus, such as the HYPERGONAR 8 which is a 1.75x CinemaScope lens (many have used this to insert into films shot in 1.5x and 2x compression since it's a middle A-lens format). And there are many other smaller and earlier 1.5x lenses such as the YaschicaScope, ElmoScope, KinoScope etc. KOWA also made lenses similar to the 16-H under other names, yet the practical application is virtually the same: Sankor, Bell & Howell, Eiki are some names it was badged with. Aside from some small physical differences, they are the same lens.

---> Lastly, while a bit cheeky, A-lenses also have been used for nightmare sequences and other hallucinagenic effects whereby the lens is rotated around or side to side for an unbalancing effect. Hunting down the adapters these days is a bit more difficult, but they are often in the hands of many older filmmakers, and can be found in for sale sections of club magazines, or sometimes simply via a request from any of the websites for cine clubs to ask members if they have any to sell. If not, it means getting a machine shop to custom make something up for you, and this can be expensive.

---> Finally, to see a full 2.66:1 Anamorphic Super 8mm film projected is just amazing! I have had some of my films projected on 24ft wide and 28ft wide screens using ELMO GS-1200 projectors, both Xenon and Halogen versions, just breathtaking. I also have seen an excellent full length war epic shot in Regular 8mm CinemaScope using a BOLEX P-4 or similar camera, all done with sound in post, complete with costumed armies and aerial filming.....truly remarkable work. The technical limitations of the formats notwithstanding, it's all in the storytelling, the cinematic expression of the dream and ideas that makes the film.

There's more I could go into, but this is long enough to read thru,

best regards, Martin Baumgarten

[1]. {a}. For B&W Reversal processing of KODACHROME 40A (K-14) films that have been cold stored and thus should be as normal, they can be normally processed in the older B&W Reversal Formulas (prior to the current D-94a & Permaganate Bleach) as a starting point. You might have to increase First Developer time anywhere from 1-2 minutes to get your density correct. The matter isn't the processing, but the darn Remjet Anti-halation backing removal. This is best done after processing is complete. Make a mix of 2-4 Tablespoons household BORAX per Liter of Water at 70 F to 80 F. The film should be soaked in this solution for at least 5 to 10 minutes, and then slowly wiped off a foot at a time, using a solution soaked Photo-grade Sponge or Soft Cotton Flannel Cloth. Make sure you frequently rinse out the sponge or cloth with fresh water since it will rapidly accumulate the remjet coating. I recommend setting up a Film Rewinder on a board and clamp that to a table or lab sink to allow film takeup. Once the film has been all wiped off, you may want to go over it one more time running it between a set of film rewinds mounted on a board, with a tray of solution and wiping sponge/cloth, to get any remaining traces of the remjet coating. --- Then, reload the film onto the processing reel (which you first cleaned off using an old soft bristle toothbrush and solution) for proper rewashing/Washing and then your Final Rinse (KODAK Photo Flo or similar) prior to hanging it up to dry. For spot free drying, you can wipe the film off using a Photo Chamois slowly as you wind the film onto your Film Drying Rack, or loop it onto a vinyl clothsline emulsion side facing upward.

{b}. For those old films, you will have to experiment, but generally very old KODACHROME films should be Negative processed, and best done using a higher contrast technical Developer such as D-19. Otherwise the negative won't have any tone separation at all and would just be a flat muddy mess to try and work with. Reversal processing such old films has the same problem as B&W Reversal films......totally flat, no contrast, and/or all washed out images regardless of adjustment time cutting in the First Developer. Such old films, along with old KODACHROME-II (K-12) films done in D-19 as a B&W Negative, with the First Developer time cut to 2 to 3 minutes and the Temperature at the minimum of 66 F for the entire process, will yield fair to dense negative images, but with sufficient contrast to transfer a pretty good image to video. This is ONLY recommended for such old films that were filmed on years ago. If you attempt to film on such old film, the extreme age fog in it will prevent you from any acceptable image capture.

[2]. Regarding the ELMO SC-18 projector recording indicator lamp, there isn't any exciter lamp fuse or any exciter lamp at all UNLESS you have the rare Magnetic/Optical version. Most of these projectors are magnetic recording/playback only. Check the fuses in the machine, should be 3 of them, with the machine unplugged of course....also check the continuity of the lamp itself to make sure it hasn't blown out. If the lamp is fine and fuses are fine, the problem is somewhere in the power supply to the lamp. You or someone adept at electrical work, can easily rewire the lamp to a power supply line coming off the main transformer so that it will come on when the projector is plugged into the mains, as it normally would.

[3]. The cartridge notch epoxy method is very ingenius! I so often just use bits of old cartridges and Super Glue them in after cutting them to fit, with a small plastic piece behind it acting as a brace from it to the back wall. I've had to reset the Metering Notch also on ones where I had custom slit down DS8 KODACHROME 25 Daylight or reloaded FUJI Single-8 R25 film into Super 8 cartridges. For those films being used in a manually ISO set camera such as the BEAULIEUs, the metering notch is not a problem. I also cut out a filter notch on all those cartridges that don't have one, so I can make use of the internal filter if I choose to. For example: KODAK used to have the filter notch on PLUS-X 7276 films and then did away with it on the 7265 version. It's nice to have the Filter Notch on both Plus-X and Tri-X films, since it saves having to add a medium yellow or orange filter to the camera lens. Black & White films are best shot in Daylight with such filters to render the tones correct and absorb excessive blue which helps darken skies and make the clouds stand out, and avoid complete white to the sky...giving it some shades of gray relative to exposure and how the sky actually appears. Anyhow, it also saves darkening the viewfinder by using the internal filter for that purpose. I often use an ND6 Filter on the camera lens when shooting with TRI-X 7266 in Daylight, so in combination with the builtin 85 Filter, the effective filmspeed is now down to a managable ISO 25 or thereabouts allowing better depth-of-field and exposure control. Or use other filters for exposure and contrast control. --- While I'm on this side topic here.....Plus-X 7265 processed normally in the older reversal formula is still ISO 50, not ISO 100. So it can still be rated at ISO 50 for those processing the film themselves. The filmspeed gain has a lot to do with the process now, as it was all a compromise so that labs would stop using heavy metal Bleach in lieu of the safer Permaganate Bleach. This is all topic unto itself.

Hope this clears some things up.

Best regards,

Martin Baumgarten