Martin Baumgarten

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.

Not sure who would do that Max 8 conversion on this camera. The common method is just filing out the gate, but then the lens is not optically centered over the film. As for crystal synch, I wouldn't bother. This is a late generation Super 8mm magnetic sound camera, which uses a quartz crystal synch reference internally for accurate running. You will find that in use, it will work quite well the way it is. Since most post film making is done digitally in the computer, any slight variations can be adjusted in software to line up audio and picture should there be any significant drift. I have gotten quite accurate matches with audio on shots with durations up to one minute...and that is long for any film sequence. Hopefully someone else knows of a conversion source. You might consider buying a camera already converted to the Super 8 Wide format, since that could cost less than getting yours converted. Just a thought.

Hi, the film run indicator in the viewfinder of Super 8mm cameras is linked to the take-up core mechanism, so without a cartridge in the camera, it rotates faster, thus the indicator (either a needle, or an up & down type flag as in the Chinon made cameras, or an indicator light) will move faster, relative to the linkage speed. This is not indicative of actual camera run speed. While most cameras will run or seem to run somewhat slower when under film load, in Super 8mm cameras, much of this apparent speed increase is the take up core when not under load. Actual film speed transport is determined by the camera's pull down claw mechanism. To do a dry test without any film, insert either an empty or spent film cartridge into the camera, and compare the running time to the amount of footage movement on the footage counter. The footage counters aren't dead accurate, but you'll get an idea. So, at 24fps run speed times 60 seconds equals 1440 frames, divide that by 72 frames per foot, equals 20 feet. So you should see 20 feet of movement on the footage scale via this test. True frame run accuracy would have to be determined either electronically or mechanically by a technician, or checked on the film itself for visual accuracy after a roll has been exposed and processed etc. Aside note: I was just out in Seattle, getting cooler there just as it is here in the northeast!

Hi. You will want to darken the exposure (under-expose) the film a little to get into the density range you desire. Since you used the NIZO built in light meter, all you have to do is note the exposure/aperture setting in the viewfinder, switch the camera to Manual Exposure mode and adjust the aperture to what you feel you need to get it correct. For example, if the exposure needle is at F/5.6 on Auto, you just need to set it to between F/5.6 & F/8 to darken it by 1/2 Stop exposure. Due to varying degrees of density in your subject material, you would want to shoot this in Manual Exposure mode so that the scene density doesn't fluctuate among your various animated material. So, you really don't need to use a separate light meter. However, if you do wish to use a separate light meter, you could also use a 35mm SLR film camera or even a DSLR and set the camera to the film speed you are using, and the shutter speed to that equivalent to the NIZO in Single Frame mode, thus 1/43rd per second average. You'd have to select the closest shutter speed, 1/40th if available, or vary the ISO/ASA speed to compensate that slight variation. NIZO states in their instruction manual that using an external hand held meter will not read the image the same way as the built in meter. You can still use an external meter, meter the light reflected from an 18% gray card at the position of the subject (your animated material), AND then COMPARE this reading to what the camera is giving you. IF the camera's light meter states F/5.6 and the hand held light meter (having first put in your film ISO speed and shutter speed equivalent etc) and the NIZO's light meter is reading the same, then they match. IF not and for example you are getting F/4, then you will know, that F/4 (or any F-Stop setting you obtain from the hand held meter, in this example only) will yield the same image density as the NIZO will provide. Knowing this, and also knowing that the NIZO meter gave you image density that was too light (over exposed), you can adjust your exposure setting on the light meter by changing the ISO/ASA setting until the hand held meter or DSLR or 35mm SLR gives you the exposure that will provide you with the correct density. You won't know the exact correct density without shooting a test film first, and slating (filming a piece of paper with the F-Stop setting used) for each variation of exposure. Again as I stated earlier, don't bother animating anything since this is only an exposure test, shoot your image, slating it, then make another slate for the next exposure change, for example if it was F/4, then F/4 - F/5.6, then F/5.6, etc. You only need to film a few seconds of each to then later determine which is best for your work. Since the NIZO built in light meter actually works, you can just use that, as light meters are really only reference points. In Automatic exposure mode, we depend on them to give us an acceptable exposure when we film most anything. However, in an exacting type of work such as the animation you are filming, you need this to be correct and what is correct, is whatever you feel is correct for your material. No need to go out and buy a light meter when the camera light meter does work and you can use that as a reference, and then just set it to Manual Exposure and adjust it to darken the image. WHY the built in light meter is off, is another question. That could be due to the film type you're using if the meter cartridge notch isn't being read by the camera, or a variation in the meter due to age (since you're using the NIZO Pro, it uses the main battery supply for meter power, unlike the non-pro models which require separate light meter button batteries. I hope I've been able to explain myself here clearly enough. My intention truly is never to confuse anyone, which would defeat the purpose of trying to help. I hope you can sort this out on your end.

On many of those earlier Super 8mm cameras, there is a small round cap that you use a coin to unscrew, this contains the light meter batteries. On later model SANKYO Super 8mm cameras, the voltage is divided up from the main Double A batteries. However, the 4x is a very early model. It was made to work primarily with the KODACHROME ASA/ISO 40 (25 with filter for Daylight) and EKTACHROME 160 (100 with filter for Daylight). So, you can use TRI-X ISO 200 (close enough for most purposes being rated at ISO 160), VISION 50D (will be rated at ISO 40 in Daylight without filter needed, so some slight overexposure which will help), VISION 200T (which will also be slightly over exposed, but these color neg films benefit from that little bit extra). The trouble issue here is if you wish to shoot the new EKTACHROME 100D which is ISO 100 in Daylight without filter conversion needed. The camera will rate it at ISO 160 so it will be under-exposed, thus darker. If you can adjust the exposure manually or if there's a Backlight button or switch on your camera (often there is) you can set the switch which will usually expose the film anywhere from 1/2 Stop to 1/Stop over the 'normal' setting. A 1-stop decrease will bring the effective rating to ISO/EI 80, close enough for most purposes, but it is slight underexposure from the 100 rating. Some cameras' backlight setting does a 2/3 Stop extra exposure, so this would also get you in the range of usability. If you only have the backlight button, then it must be held in while filming and that can be a pain. A workaround is to use some good vinyl electrical tape and tape some small coins or buttons which would press in the button and hold it that way. [I suggest just getting another camera that would allow you to do all you need manually, plenty of affordable ones under $50 on eBay such as the GAF ST-100/110/111/111E/602/802 and similar models which were all built by Chinon in Japan are built like tanks] Lastly, you do want to make sure that the metering system or at least the Manual Exposure control (if it has one). These days with the higher cost of film and processing, it's just not worth wasting the time and money on unknowns. So if you could just shoot a few feet for a film test, and then use the rest of the cartridge up in a known good camera, that would be ideal. However, if you've checked that the meter works, that there's either manual exposure control and/or backlight switch/button, and all seems to be working, that will be the best you can do prior to actually shooting film. Good luck!

Repairing the light meter in that Super 8mm camera or any Super 8mm camera is a task only for experienced camera repair technicians, and even then, many would only bother doing this repair IF parts are available (old new stock or broken cameras to salvage parts from), and/or it's only certain cameras, since the more valuable ones are truly only worth the high cost of repair. That all being said, have you double checked that the meter batteries are good and that the contacts for the meter batteries are free of corrosion? Does the manual aperture setting function work? If so, you can always then just use the camera in manual mode and not worry about having the Auto exposure work. These old CANON Super 8mm cameras were well made, and often it's something little. Another thing to check is the plastic strip on the front of the camera near the name plate, this is a 'window' for the exposure scale, and if it has come loose, it will hit the needle and prevent the needle from displaying the aperture setting as well as block the galvanometer to which it is attached from working. If it's fallen in a little, usually because the old cement holding it in place has dried crumbled/failed after over 40 years!.......you can just pull it back out with some tape, and then carefully glue it in place via putting some glue around the piece and allowing the tape to hold it in place. If it's in too far to use tape, you'll have to get creative and make up a tool with something very tacky on the end, such as FunTac or similar to pull it back into position. This is all to avoid having to open up the camera to properly repair it.....and that is quite an involved task, again, not for a novice unless you don't mind risking losing the camera altogether. This workaround can work in some cases.

Hi, all light meters are based on the 18% gray card standard. So really any working hand held light meter will do. You just have to know its parameters. Using an 18% gray card and metering from it will place the exposure density of the card in the correct range. Then you just need to factor in any exposure change +/- needed to compensate for camera lens/prism light loss (usually 1/4 to 1/2 Stop average for large lens cameras, going all the way up to as much as 1/Stop on some....refer to the owner's manual for using manual exposure for any compensation advice). Also, then factor in any exposure adjustment you wish to make for your subject material, to make it darker or lighter (if using any black construction type paper and wanting to make sure it appears dark enough relative to other elements in the animation). The easiest way to avoid lots of frustration is shoot a film test, using the hand held light meter, and slate each shot with a card/paper stating what the exposure setting is, and shoot a series of frames....no need to actually animate, but do shoot in Single Frame mode as if you were. Just 10 frames after each 'slate information' shot is enough. You only need to shoot a few feet for all the tests you'll need and this can be done quite quickly. Then use up the rest of the roll having fun filming family or something else you like. Once the film is processed, you can examine the image density of the tests, and referring to your 'slate info' prior to each short test, you will know which one works best for you. This will avoid wasting tons of time actually animating something, as well as wasting an entire roll and processing for a full roll test, and still yield you some good film of family and/or friends, so it's not wasted at all.

Yes, the film will work in the Hanimex Loadmatic M200, which will index it to ASA/ISO 40 without the Daylight Filter in position, or to ASA/ISO 25 with the Filter in position. However, this film is now VERY OLD.....and unless it has been frozen all these long years (Svema B&W and others were discontinued by 1991/1992), it will have lost significant film speed. Since your camera is a basic Super 8mm, the workaround would be to push process the film for the speed loss, but again, the other issue is also age fog, which would require pull processing to compensate. Since it's a less than 50/50 gamble that you'll get anything you'll be pleased with, my suggestion is to just look for something else. IF the price is dirt cheap (less than half of what a new roll of B&W film would cost factoring in the postage as well), and you are willing to take the risk, AND, are even willing to maybe process the film yourself.....then it might be worth it. Via self processing, you can snip off a short segment and see how it does processed normally, then factor in compensation to process the rest of the film. The first few feet you could shoot of a gray chart with something else in the frame, so you can figure out how best it would look. Then go ahead and shoot whatever you want. These first few feet can be snipped off and processed a few different ways: B&W Negative in a continuous tone Developer, B&W Reversal, B&W High Contrast to compensate for age fog, and a variety of the above with whatever Push or Pull processing you determine. OR, find a lab that can do a snip test for you, make a determination from that and process the rest for you. The extra cost though would negate getting this junky old film in the first place. I feel these old USSR era films are best suited for self processing and experimentation. Good luck!

The shots in question with the 'flicker' appear to be tripod mounted shots. If so, you need to block off the viewfinder eyepiece. Unless many Super 8mm cameras are held to the eye for filming....extraneous light gets into the viewing tube and can affect exposure, which appears as flicker because the stray incoming light is flickered by the shutter and getting to the film. Some cameras have a viewfinder light shutter to prevent this, others don't. I don't recall if your BAUER does or not. As for the side to side weaving, that could also have occurred in transfer. If not, it can sometimes be due to over or under width film, film not having seated correctly in the gate, thus the variable pressure pad on the one side isn't keeping the film in position. This pad allows the film to maintain guidance along one side of the film gate, and it is designed so it will 'ride' any film width changes, yet maintain that pressure to prevent film weave. Since many later BAUER cameras are rear film loading, it might be more difficult to examine that pressure pad along the side. However, you can place a short piece of film into the gate, pushing it into position with a long Q-Tip and see if the pad holds it in position. If not, you'll know the pad has too much slack. It can sometimes be bent slightly to provide the needed pressure against the film side. This becoming weak though is quite rare. First, hit each possible variable that could be causing this 'flicker', and via process of elimination you'll find it.

Back in the day some years ago, decades really, the PX625 and similar 1.3 volt batteries powered most metering systems in many many cameras, both movie cameras and still film cameras. The adapters which have a built in resister to lower the voltage is probably the best method to use if you want to use those older cameras on Automatic. Otherwise, as Nick states.....film and processing etc is just too expensive to risk making unnecessary exposure mistakes. There will be plenty of filming errors, focus, movement, composition, lighting etc, no need to add camera technical problems to our own mistakes we make when making films. The extra voltage is slight and will not mess up the electronics of the cameras, since those are all analog electronic systems. It's also quite possible to adjust the meter's circuit potentiometer so the camera meters correctly with the 1.5 volt batteries. But, this involves opening up the control side of the camera and using a non metal tool to tweak the pot until the exposure is where it should be. Not for the faint of heart of course, and this can actually be done for a variety of the older Super 8mm cameras. There are some photos and instructions out on the Internet showing how to do this on some cameras. I don't have any links available, but search and you'll find how it's done. While not complex, you will need to to know how much to adjust for, and this will involve having a cartridge in the camera to index the meter Then using an 18% Gray Card (or white wall could work also) and comparing the exposure obtained prior to adjustment, and knowing how far off it is, thus comparing that to a known standard such as a decent hand held meter (and factoring in what the actual exposure should be with any camera prism, lens setup light loss). Anyhow, at least there are viable options to consider. I still use many older cameras that originally didn't meter for some of the modern films available now, via such adjustment methods.