Martin Baumgarten

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

Hello Alvin Breathwaite, As long as it's only the indicator light and not the meter itself, you can still use the projector okay. The light being out will just be an annoyance matter. it could be the lamp itself, or perhaps a fuse. These projectors have 3 fuses inside, and I don't remember if the lamp itself is fused separately. You could double check the wiring harness to the lamp bulb itself, and even put an electrical meter on it to check for continuity; putting to rest if the bulb is out or not. Just make sure the unit is completely unplugged from the main power supply of course! --- Yes, these are good machines and every bit as well made as the ELMO ST-180 and ST-600 series projectors. The filmpath is compressed a bit more in design to allow the use of the front surface mirror and builtin rear projection screen, but all other functions are identical. --- Lastly, if after checking and the bulb is still okay, but not finding a fuse or wiring harness trouble.....you could always hard wire it in somewhere in the system so that it comes on when power is plugged in as it's supposed to. If you're not savvy enough with this type of work, I suggest asking someone in your circle of friends that might be. Good luck and best regards, Martin Baumgarten in Plattsburgh, New York USA

Hi Paul. You didn't state if the film itself is jittery or the way it looks in the video transfer you had done. One of the most basic variables here is film lubrication prior to transfer and/or projection. If you have a good film editor, such as a GOKO or better, take a look at the film again and see if the jittering is in the actual film image. This would indicate cartridge or camera difficulty at the time it was shot. If the footage looks steady, then you'll know it was an unsteady transfer...in which case I would have it professionally transferred again with the film first being cleaned and lubricated. I mention this, since if the film is fine, why play around in post with software that so often means having to compromise? So, if the film isn't fine, well, then consider your post options. Good luck!

Hi, I found your posting quite interesting. I have been reloading Super 8 cartridges since 1981, both silent and sound. And yes, those darn 200 footers can be downloaded into 50ft segments and loaded into either sound or silent cartridges; as I have done this many many times over the years. In fact, I still have the very first 2 silent cartridges I have ever reloaded, and have used them about a dozen times each, and it shows that these cartridges are tougher than what many give them credit for. Actually, the 50ft sound cartridges come apart much easier and with less residual damage; one reason for my having saved hundreds of them for an eventual creation of sound-stripe film one day. I have experimented with this project but put it on a backburner for the time being. It would only be single-stripe (main track) when I get back to it again. Some customers wanted the FujiChrome Single 8 films in Super 8 and vice versa, especially the sound films, since FUJI ceased making their sound film about a couple years after KODAK. Another advantage of reloading the cartridges is that it's very possible to reload already exposed Super 8 film so that it can be exposed again; such as for making split-screen effects, or burn-in titles into background shots, and for other specialty purposes. I've done this for some of those film competition participants, whereby the original film has to have everything shot on it (such as the Straight-8 one in England). These days, so many working with Super 8 end up doing all their editing digitally so with their final project ending up on video anyhow, all their effects and title work is done in the computer. That's a far cry from how terrific a projected film appears! Especially in CinemaScope, and with dual-track or stereophonic sound. A filmmaker I knew some years back also shot his films with quadraphonic sound...true surround sound, and in Widescreen. I've worked with those Russian cartridges also, and while novel, have found it just easier and more practical for me to reuse the KODAK ones. I can salvage better than 50% of the silent ones, and 90% of the sound ones. I've sealed them up with high grade electrical tape, the type that doesn't leave any sticky residue behind; sealing the seams on both sides, and then a piece of tape around the complete side of the cart to secure that, and then a piece of clear good packing tape around the rear end of the cartridge to allow it to slide in and out of side loading cameras easily without any risk to the integrity. I have also sealed them with model cement and super glue....model cement works best and is slow since they have to be clamped to get a really secure seal. Also have designed custom cartridge labels for the various odd film types I've custom loaded. ----- Anyhow, just thought I'd input my 2 cents here, since this is something I do often enough here. ---- On a side note: any KODACHROME sound films that don't get used before the lab shuts down the K-14 process, can still be processed as B&W...either as reversal or negative. While this can be done for silent films also, it allows some extended longevity to any unused KMA sound films. Kind regards to all posters here, Martin Baumgarten

Hi, what is most likely happening here is that the lens's macro position switch has come loose, is broken, or you have it switched to macro mode. Thus when you zoom out fully, the lens is moving past the 'normal' wide angle end setting to the macro range. The macro range part of the lens optics is shifting and thus your out-of-focus images. Double check the macro setting on the lens. Since this lens was a bargain offering by BEAULIEU when the 6008 series was introduced, you'd be better off spending money on either the ANGENIEUX or SCHNEIDER lenses. The lens you have was made in Japan for BEAULIEU. --- For ease of focusing on this model (applies to 6008S also), remove the lens or throw it into full macro mode so all is out of focus. Then adjust eyepiece diopter until the center ground glass circle is sharp. Set lens to full telephoto and adjust focus at either 10ft or 15ft with some contrasty newsprint taped to a wall. Check the focus using a tape measure to the focal plane, and reference the lens setting. If both are in agreement, and the image is sharp in the groundglass circle, all should be okay. I recommend conducting a short film test to double-check this of course. --- Lastly, while annoying the groundglass circle does work. BEAULIEU realized this 'flaw' and went back to a full proper ground glass screen located near the front of the camera; and offered a retro-fit for all 6008 series cameras. The 7008 and 9008 models no longer used the groundglass circle method. In my opinion, I felt the movable groundglass screen as in the earlier metal bodied silent and sound cameras, was a better concept. Hope this helps, good luck with your camera!