Martin Baumgarten

Sadly, the aperture setting is controlled via the Light Meter Batteries....so it needs power to move the aperture vanes, and thus display the needle over the set value in the viewfinder display. Only some Super 8mm cameras have a mechanical linkage to the aperture vanes and display value, which doesn't require any batteries. This is one of the reasons I like the CHINON made GAF ST-xxx cameras, which have a mechanical dial on top of the camera to physically set the aperture, regardless of whether or not there's any battery power. So even if the light meter doesn't work on these cameras, they can still be used in Manual Exposure Mode. Sorry about your NIKON. Perhaps you could run a power supply to the meter somehow via tapping into the wires leading off from the battery chamber, and the might work to allow you to adjust the aperture (galvanometer) manually.

Unless there is a 2nd version of the 6mm - 70mm Schneider lens for the BEAULIEU allowing the same Macro focusing feature at any Focal Length as with the 6mm - 66mm lens, this is all I know. Examine the lens to see where the Macro feature is. On the 6mm - 70mm lens I have, the Macro feature is on the Wide Angle end, and by pressing the Macro button, allows the zoom ring to rotate beyond the 6mm setting into the Yellow Band which is the Macro Range. Thus, the entire Macro Range is at the 6mm Wide Angle end of the zoom range only. Other than that, the above instructions you copied appear to be similar to the that for the 6mm - 66mm lens. If you own the 6mm - 70mm lens, examine the lens. Or if you plan to purchase it, examine the photos of it carefully, unless the seller can tell you specifically how the Macro feature works on that lens.

The flashing light is the film transport indicator. Some Super 8mm cameras have a mechanical indicator lever, or notch or hole at the side, top, or bottom of the viewfinder, with a moving mask......CANON uses the light for this purpose. Some cameras such as the YASHICA LD series use a light to indicate that you're nearing the end of the film cartridge, or that you have reached the end already. But usually, that's a steady light when the film is over.

Both lenses are sharp excellent lenses. The main difference is the faster speed of the F/1.4 lens and perhaps even more so, is that the Macro Close Focusing option can be set at most every focal length on the 6mm to 66mm, were as it's only on the wide angle end for the 6mm to 70mm..........and also that slight extra focal length range of another 4mm on the telephoto end...hardly any difference there. The version of the 6mm to 70mm lens for the BEAULIEU 6008 and up had the #85A Filter built into the lens, as well as a zoom limiter switch for up to 40mm or up to 70mm. So technical specs aside, it's really the practical application of using the 6mm to 66mm Schneider that makes it the more popular lens. Being able to focus very close at any focal length instead of just at the wide angle end, is much better. Especially when you can be a couple feet away or so from what you're filming or even several inches, whereas with the wide angle only, you have to get right within millimeters of the object. Some have stated that the contrast on the 6mm-66mm seems snappier, but in my own tests, both lenses have performed well. I still prefer the 6mm-66mm primarily for the full range macro capability. Hope this helps.

Hi, yes it sounds huge and crazy...it was supposed to be for this film, a prop, in which we also had a guy try to ride the rocket in another scene. Anyhow, I'm 6ft tall and it was higher than I am! Also, due to weight and height, despite a large engine on it...it didn't get much higher than about 200 feet. We had hoped for something in the 300ft to 500ft range originally. However, the film clip worked out fine. The rest of the film is in Anamorphic 2x Super 8mm [2.66:1 aspect ratio] so the rocket view shot is stretched out but no one's the wiser. I think if I were to redo this today, I'd not bother with all the cost and build work of the working rocket, just build a prop one, and pull it up fast via thin rope and pulley attached high up on something, like a crane, bridge, pole etc.....since the camera view is facing downward, those wouldn't be in the scene anyway. It was only for a few seconds in the film what we used. The 1970s ESTES Rockets did sell a rubberband powered Super 8mm camera called the CINEROC, which only exposed 5ft or so of film...if even that much. Most users processed the film themselves since a short length of film could easily be tray or still film tank processed loosely. We had one of these, but were disappointed by it and the quality, thus built our own cutting away at the HALINA Super 8mm [built by Haiking Camera in Hong Kong which made many Super 8mm low end cameras for GAF S and SC models and store brand names, as well as the popular HALINA brand name. The FUJI P-2 is quite lightweight, and with virtually all of its casing dismantled, including viewfinder system, and the fold away handle....it could be lightened. Also, the ease of reloading the cartridge with any film length up to the max of 40ft using Super 8mm film stock can help. The auto exposure system is great, and masked off from stray light, it would still work fine, as long as not damaged by the somewhat destruction of this adorable little camera. [I have a couple of the P-2s and like to take one with me traveling.....despite only having 40ft or so of film to use. I have a couple of other small Super 8mm ones I light, but that P-2 finder is nice and bright]

It should be quite doable. I attached a simple Super 8mm movie camera to a large rocket (about 7ft high) which only went up a couple hundred feet, and allowed us to film the takeoff and landing viewpoint. I used a Halina Super 8mm, very simple basic camera. The door and most of the housing was removed or cut down, and any remaining metal was drilled out many times with holes to lighten the camera even more. To activate via remote control, it would be easy to just activate a small power switch, which you wire into the camera's power. That way the camera is actually in Run Mode, and once the power is fed to it, it films. Later model CHINON Super 8mm cameras were mostly all plastic and very light weight! Comparatively, that Halina was heavy, but stripped of all it's essentials, it didn't even look like a camera. Black gaffer tape to help minimize any light leaks helped also. Anyhow, totally stripped down an already light weight camera can be half it's weight. If you only need a short aerial scene, it's even possible to use a re-loadable Super 8 cartridge and put a shorter load of film in there, say 10ft which would be 1/5th as heavy as a 50ft film etc. Remove the camera handle, battery container etc...and use a simple plastic light weight battery pack (various suppliers on eBay) to power the camera instead. The main housing, viewfinder system etc all can be removed/cut away to make the remaining unit as light as you need it to be yet still work fine. If it's a really simple camera, such as the GAF S-80 or S-90 models, the aperture is set manually via Waterhouse Stop settings, so no worry about a malfunctioning auto exposure system. It sounds very interesting to do! I wish you great success with this project if you go thru with it. I might look into trying this sometime. But I had thought of just using the Drone's Digital Camera for filming, and then refilming that onto Super 8mm filmstock to put into a film. I tend to project my Super 8mm films, and I think doing it this way would be much easier and have some unique advantages over trying to fit a Super 8mm camera to a drone. Just some food for thought.

Regarding the auto exposure, yes, in Auto Mode, the aperture ring will move via the iris drive motor relative to the exposure meter's input to that drive motor. Sadly, the power zoom is linked to this setting also, so when setting the camera to Manual, you don't have power zoom. This can be doctored by a competent technician since it only requires soldering a feeder wire from one terminal to feed the power zoom drive when set in Manual mode. The Manual Zoom still has the zoom drive motor gearing drag on it....so if you zoom manually very slowly, it will be smooth, otherwise it won't be. That is why many BEAULIEU owners have removed the entire Reglomatic unit. Although, I have found that it's quite useful to have the variable speed power zoom, yet be able to use manual exposure. BEAULIEU for whatever reason uncoupled the power zoom when in Manual mode. This slight change really makes the camera much more fun to use. Another option is to just disconnect the Reglomatic iris drive power and then you can still see the exposure setting via the large needle in the viewfinder, yet have power zoom as well. I know there are times Auto exposure is convenient, so the minor operation to keep the zoom system powered is the better one. As for charging the Eneloop batteries, plenty has been stated already. The original BEAULIEU charging system was designed to charge the original Nicad battery packs. Although, it would take longer, it should be possible to charge them up with the original chargers since the batteries own 'memory' will bring them to the correct voltage when full. I would check with the seller of those replacement batteries first though. To charge via the camera's rear charging port (upper port) have the hand grip switch in either Position A (as it normally is when released) or Position B (with the switch pulled out just enough to depress the Safety Button, which is designed to prevent powering the camera when carrying it).....thus....the Power Switch is in the OFF position in either setting. DO NOT USE the fully pulled out setting as that is the constant power ON position (this is Position C according to the Instruction Manual and a small Red Dot will show if pulled out too far. Lastly, IF you don't have the owner's manual, I highly suggest getting one. Read carefully, it is a translation from the original French, and can be difficult to understand in some functions, although most all information necessary is in there.

Hi, there's a couple issues here with PLUS-X [PXR] in that first, it's Reversal film, so exposure treatment, IF to be processed as B&W Reversal is different than as if processing to B&W Negative...which you can do also. This film has been known to keep well, and the 7265 is last version of it. This 7265 came out when KODAK altered the original B&W Reversal formula to be more environmentally friendly: mainly changing the First Developer and the Bleach. Since the formulation change was factored in to continue use of existing motion picture film processing machines for Black & White Reversal, KODAK also made some changes to their B&W Reversal Stock, namely PXR and TXR. The Plus-X film speed was increased to ISO 100 from the previous ISO 50. HOWEVER....that is what KODAK stated to rate the film at IF processed in the newer chemistry via machine processing. IF anyone exposed the previous PLUS-X 7276 at ISO 50, it would be too light in the process, so it ALSO had to be exposed at ISO 100. TRI-X films remained unchanged in their respective filmspeed rating at ISO 200. This tells you in reality that the main change in processing was the First Developer, which has a different strength from the previous formulation and the machine times were adjusted also to compensate for the new Permanganate Bleach...which needs more bleaching time. The slow down actually affects PLUS-X films so their rating is doubled. For various reasons, the new TRI-X formulation wasn't affected, nor was the previous one. Anyhow, I mention all this in case you wish to process the film yourself, or anyone else reading this posting. Via manual processing, you can use the original formulation and times...or the new formulation and adjust the First Developer time, and still rate PLUS-X at ISO 50, both versions, and get finer grain. Since PLUS-X ages well, and if both have been cold stored, even in the fridge they should still be pretty good. If stored frozen, they will still be excellent. You didn't state how much film you have, but I'm sure you don't want to just waste it. So, if your desire is for Reversal Processing, then I suggest just shooting it normally. If you are worried, then you could bracket your shots: for example shoot one scene normally, and then the same scene again with an exposure adjustment via slight underexposure. Reversal films as they age, if processed normally, will get lighter in density, If they weren't stored well, so under exposure is the adjustment, or cutting First Development time instead. The amount is relative to how old the film is, how it was stored (if at room temp, or anywhere other than cold storage in a fridge or freezer). You won't know the amount without conducting a test. IF you are having the film processed commercially, then you'll have to rate both PLUS-X film types at ISO 100 as your starting point, since it's not worth paying the extra money to have them pull process your film, which they will only do in a 1-Stop increment anyway........and the actual needed adjustment could be much less, so better done via an exposure adjustment. IF all you have is two cartridges, then of course you can't afford to waste, and I wouldn't want to waste any film, not considering what film costs now as well as processing. Figure that IF you were to bracket your exposures at least once, 25ft of the film will be either lighter or darker than normal, and the other 25ft will be normal. This way, the roll is not a total loss, and you might also still have some usable footage from the rest since exposure is relative to the actual subject. Lastly, IF you prefer to expose it and have it processed as B&W Negative, then you can rate it at either ISO 50 or ISO 100, ISO 50 for a denser negative. Actually, PLUS-X was never finicky and was quite forgiving in exposure. KODAK allowed it to be run in Super 8mm cameras being rated at ISO 25 if using the Daylight Filter, or ISO 40 without the Daylight Filter, even though the technical film speed of the film was ISO 50 without Filter and ISO 32 with Filter, and it usually looked fine. You can also break off a small piece of the cartridge front lower wall where the Filter Notch should be IF it's not present, and then you'll be able to use the builtin Daylight Conversion Filter, which is Orange, and it will act like an Orange Filter and thus prevent blown out skies, provide cloud and water detail etc for those shots where you'd like a nice full range of tones in Daylight exposures. I hope this helps.

If the meter unit is getting power and reacts to the Battery Check Button being pressed in, then the needle should deflect to the F/8 position on the aperture scale indicating the batteries are good. If it does that but won't move past F/2.8 when in Manual Mode, then it could be due to light tarnish on the adjustment metallics since it's essentially a potentiameter like a volume control to adjust the current flow of power to the aperture needle. This would require removing the control side panel cover of the camera and cleaning the Manual Potentiometer gently with a cotton swap tip moistened with electric contact cleaner for electronics. If this doesn't work, the issue is more involved. IF the needle doesn't move past F/2.8 when in Battery Check mode, then I suspect the needle is getting stuck and won't go further for some reason, or, there just isn't enough power. Assuming the batteries are good, the problem is insufficient current flow to the potentiometer, and that would require checking the wiring path with a fine circuit meter to check and see where the power loss is in the wiring harness/circuit board. It could just be losing power as it flows through the Auto/Manual Control, so once that is cleaned, it might improve. If just wiping the metallic ring that the control uses to adjust current flow doesn't work, you can try spraying the entire unit with the cleaner. Make sure you are using a fine electronic circuit spray cleaner intended for delicate electronics! There are some for electrical circuits that are stronger since they aren't made for delicate electronics. Be careful to avoid any serious over spray into the camera, and allow several minutes or more for the solution to evaporate prior to testing it again.

They all are about on par with each other. The auto focus systems were primitive to anything today. Most used a contrast comparative system using a split rangefinder type setup. These usually worked well in bright light, but struggled in low light. Bell & Howell, Chinon, Elmo and Canon had the best ones, but perhaps Canon's and Elmo's were the better ones, slightly. The other issue is, these systems were on late model versions in which the cameras have other nonfunctional issues, with either the drive or exposure systems.......since by lightening the camera's weight with plastics, they were made quite cheap. Of course, there are a variety of opinions from those that actually owned and used some of these cameras. As with anything, if you purchased one and it worked well, and you were happy with it, despite it's limitations, that was all that mattered. If you can find a working camera today with auto-focus, it's a bit on the rare side.

Hi, the aperture control is the knob on the left side of the camera which is marked AUTO and MANUAL to the right of the knob. As you rotate this knob from the AUTO position to clockwise, the exposure/aperture needle in the viewfinder will move to the setting you set it at. Of course...this camera requires separate batteries for the Light Meter to work in either Auto or Manual mode. This camera was built for Braun by Cosina [virtually same as Argus-Cosina, which had Chinon in Japan built them] . Hopefully the meter's movement will work otherwise you'll be very limited in using the camera. There isn't a shutter speed setting other than the running speeds of 18fps, 24fps and Slow Motion via the push button (about 40fps). The knob for adjustment is on the right side of the camera and is marked clearly with 18 and 24 settings. lt also has the built in daylight #85 conversion filter for shooting Tungsten film in daylight, cable release sockets for Single Frame and Continuous Run etc. You might be able to find more information and/or an instruction manual online somewhere.

Well, you actually have FOUR models of the CANON 814: 1. Canon 814 Auto Zoom: this is the original model, very well built, lots of metal, but low on features aside from manual and auto exposure, 3 filming speeds [12, 18 & 24fps], manual and power zoom lens F/1.4 with No Macro but 1.2 meters closest range from film plane mark], single frame etc. 2. Canon 814 Auto Zoom Electronic: this model which replaced it, is also well built and is the lower specification version of the top end 1014 Auto Zoom Electronic, but with the shorter 8:1 zoom [Macro close filming added to lens at 16.5cm from film plane mark] and lack of lap dissolve feature. Most other features are the same but some changes, 3 filming speeds [18, 24 & 40fps] single frame, frame and footage counters, flash sync, variable shutter etc. 3. Canon 814XL Auto Zoom Electronic: this version offered the XL 220 degree shutter opening but still basically the same F/1.4 lens with 8:1 zoom [Macro close filming at 16.5cm from film plane mark] 4. Canon 814XLS Auto Zoom Electronic [Super 8mm sound camera], which is just as good a silent film camera as it is a sound camera, with same type lens with Macro focusing 16.5cm from film plane mark, different running speeds of 9, 18, 24 & 36fps, single frame, interval timer with 1, 5, 20 & 60 sec. intervals, flash sync etc. There are other features, but it would take up more space to list them all and information is on the internet. Only you can decide which model will fit your needs. The earlier two models have 150 Degree shutter openings and are heavier with more metal construction. The first model is built like a tank. The more complex they get later makes them difficult and costly to get repaired IF you can find a place to repair them. The only real weakness on the first model is that of the Viewfinder Aperture Display Light Diffuser on the front of the camera coming loose from dried up adhesive and interfering with the moving Needle, and the achilles heal of these cameras, the folding grip which over time causes some cameras to develop a break in the power supply, or worse, a short. To be fair, this is an issue with all folding handle type Super 8mm cameras, with a few exceptions (those that use a circuit glider strip versus a wiring harness to minimize wire breakage).

Just to double check here, did you test the meter batteries via the Meter Battery Test Button in the middle of the Auto/Manual control knob? Turn on camera power, test to see if the needle deflects to about middle scale. If so, then the power from the meter batteries is reaching the metering aperture drive system. If not, then there isn't any power getting to it, thus you won't have Auto or Manual control. This could be due to an electrical short from mild corrosion either in the battery compartment, or if it existed before and was cleaned....the corrosion could be just inside beyond the battery chamber on one of the wires. If not there, then it could be where the wires run to the circuit board, if not there, then where the wires run the Galvonometer and Control Knob regions. This can be involved work to find the problem and is best left to someone that knows how to do this type of work. However, check whatever you're able to check. Usually the metering system just doesn't die. Even if the photo sensor which reads the light incoming fails, that only runs the Auto system, the Manual control system should still work since it's just a rheostat type design to move the aperture needle. Also, it could be possible that the needle is jammed.......you'd have to remove the right side silver body shell cover carefully, and then with a toothpick or thin coffee stirrer or something similar, ever so gently touch and see if the needle can be moved physically. Very gentle here....if so, then power it up again and see if it can be moved via the Control Knob....if not....and it's not jammed now, then there is definitely a power short somewhere in the power supply system, anywhere from the battery chamber, the wires leading to the circuit board etc as I mentioned earlier. Good luck, I'm hoping maybe you get lucky and it comes back to life for you.

The power port for external power supply is on the right side of the CANON 514XLS near the lens. It's a 9 volt supply port, same as the normal batteries. CANON made an external supply pack for extended and/or cold weather filming (could be kept under a jacket for warmth), as did many other manufacturers. You should be able to test this with a transformer power supply as well to see if the camera functions at all. Just make sure the polarity is correct, via engraved diagram by port. Note: transformer power supply usually doesn't have the amperage of a battery pack, despite the voltage being the same. However, it should be enough to check to see if the camera is working, just not enough amperage to run film. If camera comes alive, you'll know it's the handle power supply that is defective, and can run the camera using an external battery pack. Good luck, hope it works for you.

Sadly, a common issue on this camera (and some others with folding handles) is that a short develops in the wiring from the folding. Try using an external power supply to the camera via the external power port. If no response, then the short is also shorting out this avenue to supply power to the camera. If the external power supply runs the camera, then you could use it this way. Otherwise, repair involves the removal the other folding handle and tracing where the short is. On some models, I have seen the handle begin to overheat due to the short directly shorting the batteries themselves! The folding handle design on Super 8mm cameras, while novel and helpful for tripod lower center of gravity filming, also has the potential to have the power supply short out. I have seen this on quite a few Super 8mm cameras. As for repair, if you are adept at using fine tools and doing this type of work, you might want to try it, or you could just sell off the camera for parts/repair as is, without making it worse.

Your camera seems to running fine (abeit some noise), and what I think you are seeing is that the Cartridge Film Drive Cog isn't rotating. This is removed from position when the film chamber door is opened to allow removal/insertion of the Super 8mm Film Cartridge. On the rear of the camera with the film chamber door open, you'll notice a metal plunger on the left side. When the door is closed, it pushed this plunger into the camera to engage the Film Drive Cog mechanism. If you depress this with a small tool and then run the camera, you will see the cog has moved into the film chamber as well as is rotating. If it doesn't rotate when you do this, then there might be a connection issue, but I'm hoping all is fine and you can begin to use this fine camera.

He's right, those spools are poor. I would send a note back of course...but I have just reloaded the film onto KODAK 16mm Daylight Spools which was easier and allowed me to just go ahead and use the film. Ideally, do this well before you plan to shoot the film so it's ready for you. To maintain edge numbering in correct sequence, transfer film onto a 100ft Metal Daylight Spool and then back again to another one, all in the dark of course. FOMAPAN is nice film, but the spools it comes on are cheap. Also, I have noticed that there is a very slight perforation error noticeable if you put a couple feet of Fomapan next to some Kodak type film and critically examine the perforation pitch, which is a tiny bit longer on the FOMAPAN R-100 film stock. I have mentioned this to FOMA, since it's especially noticable on the Double 8mm films but was told it's to expensive for them to retool the equipment. The variation is slight and in actual practice shouldn't affect anything, but it is there, and in contact printing I have noticed an issue with it.

It works, but the Rewind Tank method is too tedious for many. It's advantages are small space, work most anywhere, ease of loading and use. Disadvantages are that if you don't rinse thoroughly between steps, you risk getting a ghost type image transfer and other similar artifacts. Maintain temp by prewashing and allowing water wash to sit to fully warm up film and tank parts, when processing, set tank in a tupperware type container with water of the right temp to maintain temperature, monitor with digital thermometer. If large enough, I have found that the small cup heaters work fine for keeping the temp up in such an uncovered process water bath. Regarding Remjet removal, save that for after processing, using either the proper Pre-Bath solution to remove it, or some Borax mixed with water at the processing temperature. Using photo grade sponges with lots of rinsing, you can effectively process such films and get good results. Best results would be using a Spiral Reel process or Rack and Tray, anything where the film is fully immersed and processed in each stage all at once. However, the G-3 Rewind Tank system will work; you'll have to modify all the process times. Ideally to avoid film waste, shoot some test frames of a Color Chart, 18% Gray Card with bracketed exposures (half stop increments if possible, otherwise full stop ones, and slate each shot with a small piece of paper so you know if the exposure is over or under and in what increment), and possibly a 10 step, 12 step or 21 step B&W Exposure Scale. Splice your Test Film length (no need to be longer than 5 feet really) into some scrap film leader, allowing about 2 feet Leader before your test film, and about 100ft of Trailer. This way, you will spend the exact amount of time processing your test film as you would a full roll of film. Once processed, and you've removed the film, store the G-3 tank in some water same as the processing temp range to keep it wet, while you work with the Remjet removal. Be careful, don't go too fast, wipe a couple feet at a time, check and rinse your sponge, always maintain copious amounts of warm water doing this. I find it's easier to remove the film from the processing spool and wind it up onto a 100ft film reel/spool. If you can, build your own little setup so you can keep that film reel in the Remjet Removal solution which is ideal or use a set of film rewinds mounted onto a 4ft or 5ft length of 2 x 4 inch wood which you can affix using a large C-Clamp to a table where you're working. Some have removed the Remjet right in the G-3 tank...but I find this awkward since there's so little room to work. Although, it's doable......you'll need to cut the sponge so it'll fit with your fingers between the two film spools. It's slower this way, and so tight in the tank. Using a large photo tray such as 11 x 14 or 16 x 20 or even 20 x 24 inch (available in plastic from various suppliers) you will have lots of room to work in. Once you have removed the Remjet, rinse all materials, dump old solution, and go over the film one more time gently to make sure you got all particles off of it. Once all done, it's time to run the film through the Final Rinse/Stabilizer/Drying Agent solution, just wind the film from one reel to another in the solution and the film will pick this up. Then to dry the film, use either a Wooden Film Drying Rack (that you can build yourself), or loop the film in a dust free room (a bathroom that has been prepped for film processing before hand via wiping down all surfaces and vacuuming dust out works well) emulsion side out/up in long loops around some thick vinyl rope strung up for this purpose. Make sure not to disturb the film until it's dry! Now get back to the G-3 Tank and Reels and using a regular sponge(s) clean and rinse it all out including the drain and wipe it out with a soft clean cloth. This has to be done while it's still wet, as dried on Remjet material tends to stick semi-permanently or forever if not removed. While all this sounds a bit difficult, it's not as hard you think. I have been processing film since I was 13, and the G-3 Tanks were emergency backups as well as field processors while in the military as Photographic Laboratory Technician/Photographer/Cinematographer. NOTE: Your process times will be anywhere from double to triple that of normal full immersion process times. There's all kinds of information out on the web. Once you have processed and dried your Test Film, you can take it to a lab and have them do some density readouts and do plots for you, or plot it yourself to see how well you processed the film. I recommend getting your own Densitometer IF you plan to continue to manually process your own film, so you can maintain control yourself and don't lose anytime waiting for some one else to do it for you. Alternatively, you could scan the various frames and see how they look in software for this and determine how close you are to the mark for exposure and processing. Eyeballing it isn't the best method, but perhaps close enough for some DIY purposes. The Test Film will save you wasting precious hours of film. If you make up several, you can do it again until you are within the processing parameters range that you need to be. Since the Film Tests are short 2 foot to 5 foot lengths, or less, you won't wear down the chemistry and lose money in the testing stages. The ECN-2 Chemistry Kit mentioned above will only process One 100ft roll of film, so certainly much more expensive than having a lab do it for you. If you get more serious, you could buy a larger volume of chemistry and also replenish the solutions after each process (such formulas are available from the suppliers such as KODAK etc). It's also possible to use the same amount of chemistry to process another 100ft of film while increasing the Color Developer time to compensate. This will work, but based on exposure density of subject matter (since more silver exposed will wear the Developer down faster than normal scene brightness range), and can result in weaker color with lower contrast. The Color Developer is the most vulnerable, and has a relatively short shelf life after it's mixed anyway. While Rewind Processing will work, it's not as exact as a machine or full immersion methods, but can still deliver good results if you work carefully. Best of luck if you do this. At the very least, you could process your own B&W films, much cheaper, especially if doing only B&W Negative vs Reversal.

The gate is readily removable from the film chamber, however it should only be done by someone able to this. If you file out the gate for the Super 8mm Wide format (Max 8) then the viewfinder image will not be centered, also the zoom effect will be off center in your images. I recommend considering shooting anamorphically using with the 1.33x lens which will yield the 16:9 format ration, or a 1.5x lens which will yield a 2:1 aspect ratio from which you can either crop to 16:9 or keep it in that format. The ISCORAMA lens design, allows allows you to only have to focus the Anamorphic lens, not both of them. In actual use though, focus adjustment on both lenses has never been a problem for me, but then I use the 2x Anamorphic lens, KOWA 16-H [same as the 8-Z] which yields a 2.66:1 aspect ratio. This might be too wide for you, but is actually closer now to the 4K digital aspect ratio. Only you can decide for yourself if it's worth having zoom that you can't actually use, except to adjust for different set focal length settings, or film via an Anamorphic lens which will allow use of the zoom. [Zoom will work only out to the image cut-off focal length, often somewhere in the 10mm to 15mm range....but remember to divide the cut-off focal length where the lens would vignette by the A-lens factor to get your true effective focal length.] The actual cut-off point varies with different A-lenses due to physical size and matching to the camera lens. For example, using my SANKYO XL-620 Super 8mm camera, my KOWA 16-H lens will allow a minimum of 15mm. Divided by the 2x factor, this actually becomes an effective 7.5mm focal length on the horizonal axis of the image filmed. Some huge lenses, such as the ISCORAMA 54 have a rear lens element of 54mm, thus allowing almost full zoom range with most Super 8mm cameras. The lens is very expensive though, very heavy, and even heavier since you truly have to have a full support rig for it. There are plenty of Russian Anamophic 2x lenses on eBay in the under $100 price range, more with shipping costs of course [much less than any Iscorama or Kowa A-lens]. Then you would just need a rig setup to hold the lens. One can be made out of plywood which you can affix to the tripod socket under the camera, or the more popular Lollipop type design, which has a small metal block that fits to the tripod socket, and is drilled out for a long horizonatal metal rod, which fits into an elbow, to which a vertical rod fits, secured with an Allen screw, and on top of that is the "Lollipop" lens holder which has threaded screws to hold the lens, or even allows the lens to be screwed into the front of it. This unit is all easily adjustable to sit on the camera and hold the Anamorphic Lens so that both lenses can be easily adjusted to film with. Anyhow, some things to look into and consider. I wish you best of luck whichever direction you decide for your Super 8mm film work.

The Quarz has an 18mm diameter eyecup ring, so yes it's small. However you should be able to adapt some other still camera viewfinder eyecup to it. It might mean getting a bit creative by gluing in some small rubber tubing etc into the eyecup to make it fit, or even using some glue to hold it directly to the camera body around the viewfinder, there's plenty of room. I have used eyecups from other cameras, but came in a mix from eBay so I don't even know what the original cameras were. You can do something that will work out for you. I agree....without an eyecup, it's a real pain on any camera.

I've done this before using a Super 8mm XL type camera. You will most likely have to play around with the refresh rates on the monitor you're using. LCD types will work easier nowadays than the former Tube types but I was still able to get acceptable (for me that is) image quality for what I was attempting. If you're end product/project result is to be on Super 8mm film, especially for projection, then why not experiment and see what works. I do suggest trying a few different settings, make sure all stray light is off the screen, keep detailed notes so you can alter or repeat the results, and you don't need to waste an entire cartridge of Super 8mm film for this. Just shoot some short tests, and then use the rest of the cartridge for other things to film. Best of luck in this!

As many of the Super 8mm cameras age, the adhesive holding in various light shields and small mirrors and prisms will cause them to dislodge. Most of the front mounted ones can be accessed via removal of the right side panel. This panel usually has the Daylight Filter switch on it, so you'd have to pay careful attention to how it fits back together. If it's a light baffle in the main viewing tube system from the viewfinder side, then that is more delicate since all the controls are on this left side of the camera. Also, double check that it's not the viewfinder shutter that is closed. This can also sometimes come loose with age and drop down closing off the viewfinder, but this would require removal of the left side camera body shell panel. Only you can decide if it's worth bothering with, since functioning Super 8mm cameras are so readily available. The SANKYO EM30 XL, like it's larger counterparts EM40XL and EM60XL, is great for low light filming. The image goes fully to the film, and the viewfinder pickup prism is out of the imaging path but still full SLR, so you truly get all of that F/1.2 advantage along with the 220 Degree XL shutter angle. If you have some fine tools and tweezers and a clean place to work, and keep detailed notes to yourself where things go back together, as well as take some pics with your cellphone or digital camera for reference, why not. I would. Before tackling this though, move the camera around a bit and listen carefully to see if anything moves around inside. That'll be a clue as to something having moved and possible what part of the camera it's located in. The right side panel is small and should come off pretty easy, 4 screws visible, 2 outside and 2 just inside the film chamber door. The control left side of the camera is a full body panel, with screws visible. Place all control settings to their default settings (green ones) prior to removal. You can also use some non-residue leaving tape to keep them in these positions so they don't move when removing the panel. Some good contact adhesive along with wooden toothpicks or cut down cotton swabs work great to place the adhesive where it needs to go. You'll see where the old stuff is. Carefully remove any loose adhesive debris with tweezers and/or a cotton swab [Q-Tip type cleaner] moistened in Isopropyl Alcohol to soften and remove it. If a mirror or prism, it will be moved out of position a little if you just put more glue to place it back. Pay attention to any shims that might've been used to position a prism or mirror. Light baffles aren't as critical in clearance placement, but mirrors and prisms are since the viewfinder path can be affected by the tiniest amount of being out of position. So, you'll have to do some tests. You can mount some filter rings on the lens stacked out far enough so you will see vignetting in the viewfinder [once the viewfinder is visible], and then can make any careful adjustment so that the center field is in the center with even vignetting in all four corners of the frame. Best of success in repairing your camera! If it doesn't work out, plenty of other cameras out there to buy, cheap or reasonable. Lastly, I have to remind folks, this IS The SUPER 8mm portion of the Cinematography forum. So, let's remain supportive of Super 8mm in this section. While other formats have their various advantages etc, this section exists to support Super 8mm! After all, we don't want to go around into the 16mm and 35mm sections and tell them to consider using another format. Just my thoughts.

All of the Super 8mm Optical Sound commercially released films [and also the former In-Flight films] ran at 24fps, none were released in 18fps. However, it should be possible, if someone had the necessary equipment to produce 18fps optical sound tracks. The only ever made Super 8mm format camera to record in optical sound was the very limited production FUJI Fujica ZS-400 which recorded at both 18fps and 24fps. The sound was variable density method and was said to be similar in quality to that of a small AM Radio sound. Experiments with Regular 8mm Optical Sound (aka Normal 8mm, Standard 8mm) were done with a couple projectors available, but no known ISO standard was established for this format that never really was released commercially to the public. Anyhow, I wish FUJI had continued with optical sound, as I certainly would've loved to use it. It certainly would have some significant use for family films and projects, and without mag stripe filmstock, would make it easy to shoot optical sound on most any Super 8mm film loaded into their Single-8 cartridge. I had worked on converting a Super 8mm mag sound camera over to optical sound, but there were some technical issues, and I felt there'd never be a real demand for it. Anyway, there is still a ton of unused Super 8mm Sound Film out there, in freezers all over, and probably still plenty of Single-8 Sound Film, all in the hands of filmers or former filmers in the 8mm formats. Magnetic track sound systems also varied somewhat for 8mm and Super 8mm early on, until the KODAK Ektasound system was released setting the standard for the 18 frame picture/audio separation for magnetic sound. The optical sound standard is 22 frame picture/audio separation. Many earlier projectors had varying picture audio separations, so that if you were to play a commercially released print, often the sound was not in sync. Many earlier projectors prior to the 1973 standard being established, had add on sound units, such as early BOLEX M-8 projectors, early NORIS R8/S8 projectors, early BAUER projectors (also those released under the REVUE and PORST names), and the sadly long gone famous HEURTIER projectors from France. EUMIG also varied, but settled in the 1960s on established and soon to be established 8mm and Super 8mm magnetic sound standards. Some users that played Regular 8mm magnetic sound on their projectors thought the sound was out of sync, but it was just due to failing to provide the 56 frame loop that had to be done when projecting Regular 8mm sound films. Sadly, when the long old time labs that did have the support equipment to allow them to do all kinds of things closed, most of their equipment went to scrap. Some that was bought up by potential future users, never seemed to material in any services later on for whatever reasons, despite them having the best intentions for it. At least we still have several labs supporting processing and digital services for all of us 8mm, Super 8mm and Single-8mm fans.

Most Super 8mm cameras will have their Footage Counter count if a film cartridge is inserted. Some require that the core cog rotate. So in the case of your BAUER, you will need an empty Super 8mm cartridge. The cartridge depresses a button or tab in the film chamber letting the camera know a cartridge is in there, and the core needs to rotate so that the Footage Counter will move in conjunction with the core rotation. Most Footage Counters are an approximation with a few high end camera exceptions, such a BEAULIEU, but even then the Footage Counter is still not exact, only a guide which could be off as much as a foot. So, if you have an old dead useless cartridge of film that isn't any good, you could strip out the film from it.....so the core rotates freely, or even just remove the core entirely.

If the NIZO is set at the Single Frame setting, the exposure is 1/43 second. This information is from the Manual. This is identical across all of the NIZO S-xx and S-xxx models, including the Pro versions. Except for the extra features on the Pro version, all other similar functions are virtually identical, as are the electronics and mechanical internal functions. So if you used a 1/30 second exposure rating on a light meter, you'd get some slight over exposure. If using a Negative film, that would would be fine....if Reversal film, it might be fine also, relative to what you're filming, as it would be slightly over-exposed. Only a test would show/compare your accuracy. Keep in mind that the onboard camera light meter already factors in any light loss from the viewing prism and lens optics. So a direct comparison between a hand held light meter and the camera meter might not match up. Meter an 18% Gray Card and compare the camera's meter reading to that of a hand held light meter (if using a hand held light meter), then you'll see the offset difference. Factor this difference into your exposure setting of the camera. For example: If the camera shows a reading of F/4 off the Gray Card with its internal meter, yet you get a reading of F/5.6, you'll know to factor in an adjustment of 1-Stop (or whatever adjustment you would need to make, 1/3 Stop, 1/2 Stop etc). So, everytime you use the hand held light meter, you would then adjust the camera aperture in Manual Mode to compensate. You can also synch up the two Light Meters, by adjusting the exposure calibration or filmspeed adjustment on the Hand Held Light Meter until the reading you get matches the camera's reading exactly. Then you just read off the hand held meter and set the camera to the same F-Stop setting. But truly, if density of art work material changes, the reflective reading will change. So to maintain consistent exposure use an 18% Gray Card for correct exposure, and any adjustment, based on your initial exposure tests, to either lighten or darken the filmed material to your desire liking. Hope this helps.