Martin Baumgarten

Yes, the CHINON Pocket 8 is fixed focus 15mm F/1.8 lens, very sharp. My only issue with this camera is the trigger release is on top of the camera requiring strong force to activate it. I've owned several so they all the same. This makes it difficult to have a gentle release. There is a work around, which involves depressing the trigger on top and pushing something hard into the slot to keep it activated. Then use the Power Switch to turn the camera on/off while it's on a tripod. There will be a few frames uneven triggering it this way, if on auto exposure, but in manual mode set prior to doing this and then turning the camera off. Anyway, I think it's too much of a pain for what you are doing Patrick. KODAK's lower end cameras were manual exposure fixed focus fixed focal length lenses, however 99% of them will no longer work, other than the initial two models, the M-2 and M-4. This is due to KODAK using a neoprene drive gear on the motor shaft that turns to crumbs with age (same issue with their consumer grade slide projectors). The M-2 and M-4 will make sharp images though and have glass lenses. Seem all kinda primitive for what you're working on though. BEAULIEU's sound camera models 3008 and 5008 also have C-mount lenses. They are larger physically than the silent version cameras, but can often be purchased for much less. If just requiring a good quality but low cost C-mount camera body, these would work also. The battery issue is a pain for original types but can be worked around just as with the 2008 and 4008. For color temperature, you could just buy the necessary filter material and cut yourself a small filter to fit into the lens area. Plenty of good Single-8 cameras to use out there. The P-1 and P-2 both have fixed focal length lenses, but are only autoexposure. Anyhow, since all 'new' Single-8 stock is actually reloaded Super 8mm cellulose triacetate filmstock versus the original mylar base of the FUJI film, it will intercut nicely with other existing Super 8 filmstock and maintain the focus since film base thickness will be similar. ELMO made really good cameras with metal bodies in the earlier days of Super 8. Lots of options, for all budgets out there in the world of flea markets, eBay, and online sites. As for the running speed, 18fps is not that problematic in transfer. I guess you could just have it match whatever else you are using. Since film transferred and adjusted for 18fps original footage shooting and likewise for film shot at 24fps, they will both look 'normal' in post when completed. For us projection enthusiasts it's an issue of course. I do have to ask though, since your project ends up in a digital format for playback anyway, why not just shoot digitally thru your microscope and use that? Outside of having grown up with film in the analog world, and being someone that enjoys analog, I do have to say, digital has come way up in the world and we've all come to expect images to be so sharp and clear these days. If this was something you wanted to project on film, then of course, I would suggest shooting on film, or shooting digitally and then refilming that onto film to splice into a film project.

Many early and even later Super 8mm cameras were made with fixed focal length lenses. This was common among the lower cost end models, and sadly, most were auto exposure and rated for ASA/ISO 40/25 for the KODACHROME-II, KODACHROME 40, FOCALCHROME 40, AGFACHROME 40, ANSCOCHROME 40 and many other films from various manufacturers as well as by the main makers under store brand names. The same goes for the cameras, with so many being made by HAKING and CHINON for a large variety of brand names as well as their own. That being said, there were versions with manual exposure, and some of these are my favorites. Here are some: Chinon Pocket 8 (REFLEX viewing! Offers manual exposure & auto as well as add on zoom and fixed wide and tele lenses to the built in fixed 15mm prime, slow motion with add on battery pack grip etc), Chinon Pocket 8 Dart (auto exposure only), GAF Anscomatic S/80 and the even more compact GAF Anscomatic SC90, both made by Haking, GAF Anscomatic S/70 (this one being a really cheap plastic junker but usable). The S/80 and SC/90 have glass lenses, and use Waterhouse Stop aperture settings, and produce pretty sharp steady images at 18fps (lenses usually need to be cleaned which will require some disassembly, and the lens can be readjusted for sharper focus if necessary but that's more complex to do for the enthusiast). PORST Cockpit lower end models were fixed focus prime lenses with large Reflex type viewfinder owing to a fiber optic to the lens port, but these were mostly autoexposure. REVUE Pocket versions are the Chinon made Pocket 8 and Dart versions but with different knob cosmetics. The Russian made QUARZ Super 8 camera with its removable zoom lens unit, leaves behind a fixed focus prime 15mm lens. I have used this with an Anamorphic KOWA 16-H lens for full CinemaScope with the horizontal focal length equivalent of 7.5mm. This camera produces pretty sharp images. BAUER Star XL (two versions, a fixed focal lenth and a zoom lens version) and the BAUER Mini (two versions, one with auto exposure only and one with manual exposure only in which on the left side you can see the Color Coded Aperture settings to coincide with the exposure scale on the same side). There were many others, too much to list all here. Viewfinder notwithstanding, I like the GAF S/80 and SC/90. You add on a lens to any of the fixed focal length cameras either via filter threads or other mounting method, and thus have ultra wide angle or telephoto. With the reflex type cameras like the Chinon Pocket 8, Minolta, Bauer, etc, you can easily see the effect change. I have also robbed off the ultra large bright viewfinders from KODAK Double 8mm cameras from around 1960 which you can modify to fit on top or the side of a camera and have a much better viewfinder. So many options. Lastly, of course, with a high end camera such as the BEAULIEU 2008 to 4008 models, you can use most any C-mount prime that will fit. Some have even removed the pistol grip to make the camera more compact and tripod friendly. Many might poo poo some of the cameras I mentioned, but hey, whatever works is my motto. I'm also a big advocate of filming at 18fps; it's easier on the film, you get more running time, and you can do transfers fine with hardly anyone ever knowing or questioning whether you shot at 18fps or 24fps. I only use 24fps to smooth out motion such as out of a bus, car, train, plane, or from a bicycle etc. My own projects are for fun these days, and with longer running time, it saves on film costs as well. Many of these low end cameras are fairly easy to work on, and keep running. Good luck, and have fun!

The drive motor rarely goes bad on these cameras. Have you tried to run a power supply directly to the motor alone and test that? Usually the issue has to do with power leaving the variable speed control module. So, first off I would recommend using a voltage meter and testing the current flow to and from that module. If nothing comes out, then that's the issue. Usually it's mild surface corrosion causing electrical resistance. Some spray contract cleaner for electronics might cure that. Sometimes when the speed control fails, the camera will often default to the top run speed of 54fps. IF it truly is the motor, you can use one from most any similar model, since they differ mostly by the lens setup...so finding another one which has other damage but the motor runs. Anyhow, check all that out first, you might be fortunate and still have a running camera. If the speed control module is bad, another can be used. As for new parts, there might be some available from Germany, but even so those are very old now as well. It's the capacitor that deteriorates, same as on speed control units for Super 8 projectors. If you know how to test those, do so, and get a replacment from an electronics parts house online. Good luck! There is a schematic booklet on eBay for these cameras right now. Here's the link: https://www.ebay.com/itm/Nizo-super-8mm-camera-service-schematics/302515816622?hash=item466f5908ae:g:WxIAAOSwMQBZ~4~s

To rule out any issues with the projector, carefully examine the film frames with a loop over a daylight balanced light source. A loupe with the film against some wax paper on a window if a light table isn't available. If the film shows a yellow tinge, then it's the laboratory processing at fault; an issue with the Bleach not being fully Cleared out of the film.....old Bleach, weak Clearing Bath etc, which will leave such a stain on the image. If the film is fine, then possibly the lens itself or while rare, the heat absorbing glass (if you have one). As the cement begins to break down within lens elements, there can often be a yellow color tinging. Good luck!

I think it's still all too expensive. That is why 8mm and Super 8mm formats have always been a do it yourself film format. I recommend each enthusiast to do as much as they can for themselves to keep costs down. I mean, the cost of scanning should be in the $5 per 50ft range, processing in the $12 to $18 range, and film costs, well, that we can't control since it's the manufacturer. However, a person processing film themselves and scanning it in, could realistically get the cost per 50ft cartridge under $35 each, that is film, processing and scanning....if doing the latter two themselves. At the very least, cut the scanning cost by doing that yourself if uncomfortable with attempting processing. Those of us who still primarily project, well, it's lower cost, however, we also need to consider digitizing all our films as a pristine backup. Duplicating films is also possible, but costlier unless doing that yourself also via a synchronized refilming (optical print duplication) which can be done. Just some musings of mine on this topic, since I have always tried to keep it affordable (on the cheap) for myself since I was 13 years old.

They all use a similar method, stopping of the film core takeup from rotating, and then backwinding the film by pushing it back into the upper part of the supply part of the cartridge. The BEAULIEU can actually go further than 100 frames. They only state 100 frames since the frame counter only counts to 100 frames. If you keep careful track of it, say 150 frames, and start your Double Exposure sequence with the frame counter at Zero, then if you shoot 150 frames, the frame counter will be showing 50 frames since you will have gone past the 100 mark. You then just backwind carefully until you've backwound 150 frames. The metal bodied CRAVEN Backwinder which was made in England has a metal sprocket wheel to wind back the film. The best method to do a long double exposure or to completely double-expose the film is to open the cartridge and rewind it and then reload it back into that or another cartridge. The Russian made KACCEMA ones are pretty good. GK Film made one by it was expensive and not sure where you would find those. However, used cartridges can be opened carefully and reused. It requires careful work so as not to damage the cartridge. I suggest trying this with an old cartridge junk film so as not to risk wasting a new film. You will have to hard score all around the welded seam of the cartridge with a Single-Edged Razor Blade, and then carefully crack it open at the seams. The top side or Label Cover seam is different as it is set into the lip of the center chassis. You just have to slide the blade under it and work it along carefully. I also have used small screwdrivers and even a guitar pic to hold the lip of the part I just broke free, to give me room to continue moving along the seam until it is completely broken free. There are videos on You Tube by some showing how they opened the cartridges, worth watching for ideas. And about fogging the film, yes, using an exterior film rewind device you will fog that cartridge film gate area unless you use a film changing bag or a dark room. However, since you have a BEAULIEU, you don't need any of those devices really unless you want to. The BEAULIEU uses the film claw to reverse wind the film, so you do have to be careful. As for the stories of ripped film, yes that can happen and usually does damage the film perforations IF while using the Backwinder Devices the core is not taped to prevent film takeup (one reason I always just break the core ratchet). If while backwinding you meet strong resistance I recommend NOT to go any further to avoid risk of film damage. Sprocket hole damage is bad enough, but if you were to snap the film there could be trouble with getting it processed.

If you have a smart phone, you can download a free App which converts it to a light meter. I downloaded one that offers both reflected and incident readings, and it's quite accurate. The App uses the built in camera feature and its own algorithym software to measure the light.

Just make sure to expose for those title slides! Much less exposure than going by the camera's light meter, usually 5 Stops under...but depends on how much type there is. So manual exposure setting is the only way to get this correct. Try shooting a test of the slides using a digital camera set for the same ISO/ASA as what you're going to use, and then underexpose until the title slide looks correct. It is very easy to over expose this and get blooming from the letters themselves. To fully double-expose a Super 8mm film cartridge fully, you'd have to have the entire cartridge rewound back to the beginning. This can only be done by carefully opening the cartridge, removing the film and rewinding the film and resetting it all back up. Actually, with care, via a small hole or notch punched somewhere near the beginning, it can be lined back up to that exact spot so you can begin filming on it again, for the title pass or other shots. Keeping detailed notes for accuracy, you can get some great effects. This is one of the oddball services my lab offers. Anyhow, this isn't for everyone of course. I know of a couple entries into contests by customers of mine, and I'm sure everyone wondered how the heck someone was able to double expose the entire Super 8mm 50ft cartridge. Regarding film backwind in the cartridge, the maximum is 300 frames, with most recommendations being at 100 frames. How much depended on where you were, as most film rewind is recommended 5 feet from the beginning or end of the film; otherwise you could jam the cartridge or run out of film. Backwinding, is limited by the small cramped space in the cartridge supply side where the film is pushed backward up into this space. This is whether done in camera or externally via a device for this purpose [Craven Film Backwinder, EWA S8B, etc] or just with tape over the core and using your hands via your hands holding in the cartridge pressure pad and pushing the film backwards until it reaches its end{the equivalent amount that was not taken up onto the takeup core} this all in TOTAL darkness of course in a darkroom or using a film changing bag. The takeup clutch of Super 8mm film cameras varies in strength, but it is designed to slip and remain stationary after a certain degree of tension. However, for some projects in which the cartridge was going to be used up quickly and not sit around, it's easy enough to break the internal takeup core ratchet by rotating it counterclockwise 2 or 3 times which bends the plastic ratchet allowing the core to move freely. By doing this, you won't have to tape the ratchet or core takeup, and can just backwind the film from the takeup side to the supply side. This was always easier using Super 8mm SOUND film cartridges as their built in ratchet is tiny and allowed ease of film rewind for double exposures and super impositions and dissolves in camera. Sort of a moot point now but wanted to add this in as a fact [some sound film cameras do not recommend using the builtin dissolve function with silent cartridges....such as my beloved SANKYO XL620 so I just broke the silent cartridge ratchet so I could do dissolves on those films. Today, with only silent cartridges available, I still have to do this to use the camera's special effects regarding film rewind. Lastly, another odd point, was that via limited backwind done x number of frames at a time, the former long discontinued 200ft(60m) Kodak cartridge could be completely backwound for special effects. Owing the design of this, and some problematic issues, I never recommended it. Had it been built better so it could be reloaded, it could've been more viable. I always tend to over add information in these postings because I know how limited such information is, especially to anyone fairly new in the world of Super 8mm filming.

FOMAPAN R-100 is also available as Double Super 8mm at for around $15 per roll, and those QUARZ DS8 cameras are pretty good and show up on eBay from time to time, and can be gotten directly from some Russian and Ukrainian vendors. I see how 16mm advocacy keeps showing up at times on this section of Cinematography dot com, and just want to remind folks, that yes, we all for the most part already know the costs of 16mm operation.....but this is the SUPER EIGHT section, and most of us are here in support of this format, Super 8mm. There's still tons of well stored KODACHROME out there, as well as room temp stored last versions of it. These can be used and processed as B&W Neg, B&W Reversal, and Sepia Tone Reversal. I saw a vendor on eBay recently that has piles of film for sale, KMA40 and EKTACHROME 160A, all kept frozen or refrigerated. I know of customers that still have film stock piled in their freezers. Anyhow, most of this sells for less than what new current film costs, and if it has been stored well, it can be used. There's also the option of home processing, while yes, not for everone, it does exist. The Color Neg films can also be reversal processed, with albeit less perfect color, but is another option. KODAK's bulk volume lowest pricing has always been for 200 cartridges onward. So, if several went in together on a large order it would yield the lowest prices. Quite a few years back we had several Double 8mm enthusiasts do that and we all did well with the best prices. Once the new EKTACHROME 100D comes out again, for those wanting color reversal, such an option might be doable. Also, I keep hoping that FERRANIA is able to put out their film also, and they might be willing to offer bulk film for cutting and spooling down to those interested parties. We all lament at times the costs of previous days, but the reality is that back then, there was still an incredible volume of film. Today, the volume is a fraction of what it once was. We just can't expect super cheap prices otherwise the labs would be forced to go out of business and make more working at flipping burgers etc. Another way to do it is to buy film when you can afford it and freeze it, and let it build up so you have what you need to do a project when you're ready. In the meantime, to learn, to practice, to experiment, to play around, use some of the cheaper expired film that shows up.....of course perhaps the types that can be processed more affordably. I saw a batch of film for sale on eBay that had several cartridges of KODAK B&W films in there, as well as some KMA40, and it all sold for the equivalent of $10 each considering the sell price and shipping. Another area that can be expensive is getting the films scanned, digitized. This is an area that the DIY approach would help again, even doing your own chain type transfer to save on costs. The savings can be applied to getting better equipment later. I normally project films, but am working on digitizing them as I'm able to here. There are some lower cost setups out there, in the $300 to $1500 range, that will yield nice results satisfying many; yes, not a Rank Cintel etc type of quality, but with care, decent. Super 8 is like anything, you work with what you can afford. We rarely go out and buy our first car new or expensive, same with homes or anything, with a few exceptions of course. Do it yourself as much as you can. I've been processing film as a hobby since 8th grade at age 13 and professionally since age 17. I met a guy when I was a young teen who was also into spelunking back then (caving) and he dragged ammo boxes with batteries and supplies with him, motorcycle lights for lighting, and shot in Regular 8mm, and processed all his own films. His stuff looked better than the soupy slop that was often offered at any of the variety of crappy labs that existed back then. If a kid can process their own film and look great, so can most anyone. I think, that if I only wanted to ever shoot something that would only be shown digitally, I would probably just shoot in digital in the first place. Seems like a lot of trouble and cost per minute of screen time going film, then scanning costs, etc etc. Maybe it's just me and those that like to see film projected (heck, I like slides also, and they look awesome projected compared to on an HD TV, different feel to it). But no matter, cut the costs where you can. Use old film for testing a camera or trying out some technique and then commit fresh good film to a project when ready. With what costs are, you don't want to just waste it. These days, all of us into Super 8mm can shoot with the cameras that were beyond our financial range back in the day, since they are affordable now. Get a lemon on eBay, heck just buy another or another. I've gotten several cameras to get one or two great working ones, and in the end, all things being equal, I still made out well. If Dwayne's Photo had put their old Kodachrome machine to use, they could be processing both Kodachrome in B&W, as well as offer B&W processing for other B&W films. Most of the main labs are in expensive areas where taxes are high, so they have to pay their rents, taxes, employees, overhead etc. I'm a tiny part time lab, but charge less than those big labs, but I can't handle the volume, and don't even want to attempt it. - - - - - This brings me back again to DIY. Believe me, you can process your own films if you really want to. There are various methods, and the learning curve has to overcome first. The cost is less than $10 per film (process only costs, not counting leader & reel & cleaning or transfer, is in the range of $5 to $8 each for Color Reversal, B&W Reversal, cheaper for B&W Neg, or even Color Neg), and you can see it sooner, same day if you want to. Not factoring in electricity or water costs, just the chemical expenses. Anyhow, I've rambled on enough. I know the costs are bothering us all. I'll shoot something in video or digital to test something out before I waste film, and that helps with idea concepts prior to committing film to something. Family events notwithstanding of course, same with spur of the moment filming while out and about or traveling. Make the best of Super 8 for yourself, and have fun.

Everybody brought up some great points. I would consider them, especially shooting some test shots as David mentions. If this were my project for Straight 8 on one cartridge, once I got enough exposure facts together and notes for various scenes, I would shoot a cartridge of similar locations, have it processed and transferred and see how it looks. This I would do BEFORE committing myself to the critical limitations of trying to do this all on one cartridge of film for a short. That way, you'll have a great idea of how it will look ahead of time and what adjustments to make; as well as being able to bracket shots in various situations. This test roll before the shoot, will help you plan out your One Cartridge Short BEFORE you begin, since as you know, there's no redos on that type of project. Good luck!

These days, I'm just glad they are still making film to use! Anyhow....even at the new prices, it's still better than seeing the older discontinued filmstock selling in the $50 to $100 range per cartridge. It might be advisable for a few to go in on a large purchase and divvy up the stock, and get the lower quantity price rate. I hope eventually I can get the film in bulk for spooling down myself here in the lab. I guess we'll all know soon enough once the film becomes available. Being a much smaller company now, KODAK doesn't have the same ability to sell film cheap like it once was. Knowledgeable technicians also don't come cheap, as so many had retired off in recent years. And lastly, like it or not, film based photography and cinematography is somewhat of a niche market these days. I do thank KODAK for their support of our passions!

The BEAULIEU 4008 Filter Key moves a small lever in the slot, which you can see if you look in there with a light source. This moves the sliding carriage which contains both the UV Filter and the Wratten 85A Filter. You won't notice a change in the viewfinder since the filter assembly is behind the shutter but in front of the film gate. If your BEAULIEU is the 4008II or later version, you can bump the shutter via moving the synch shaft with a small slotted screwdriver, otherwise open the film chamber,remove the lens from the camera, run the camera with a light source behind the film gate and you'll see that the filter has moved out of position. This is base assuming all is well and that you pushed the Filter Key in deep enough. There is significant resistance when the key hits the peg to move the filter assembly, so push firmly to make sure it's all the way in. IF still nothing happens, it could mean there is some damage to this peg assembly, or the filter has popped out of its carriage and is just sitting there. Usually it's that the Filter Key wasn't pushed in all the way. Good luck!

The grain looks fine, and offers a mood and feel to the film. There's stuff to smooth out grain for those that want to in post effects when editing digitally. I do like the "Shot on KODAK Super 8" intro though, and was wondering if that is downloadable anywhere to use in our Super 8 films? Thanks for sharing the link in this forum Samuel.

Sorry no, this SEARS one was made by BAIA and is virtually the same as the BAIA large screen version, with the SEARS name badge on it. Here's are some GOKO units on eBay: Editor viewer GOKO GM5005 https://www.ebay.com/itm/Editor-viewer-GOKO-GM-5005-with-motor-used-8mm-vintage-made-in-Japan/263359758690?hash=item3d51770162:g:ylgAAOSwtfhYoP16 https://www.ebay.com/itm/GOKO-NF-system-editor-viewer-for-super-8-and-single-8-in-original-case/222788961329?hash=item33df41c431:g:JEMAAOSwL9paVI3k z ELMO Sound Editor 912S (made by GOKO for ELMO) https://www.ebay.com/itm/Elmo-Sound-Editor-912-S-8-Mm-Vintage-Antique/232596145047?hash=item3627cf8397:g:HJMAAOSwmPdZsgjE

Just go ahead and process the film with all the correct times and temps and steps, and remove the rem-jet coating after processing. It's quite easy to do, using a bowl or large photo print tray, with a water bath the same temp as processing having added Borax to help remove the rem-jet backing. At least 2 tablespoons per Liter of Water as a minimum, if stubborn, double the amount. Run the film a foot or two through a soft photo grade sponge soaked with the solution, rinse often in clean water and keep repeating. A 100ft(30.5m) spool of film will take you about 10-15 minutes on average. Once washed again for just a couple minutes, use a Final Rinse solution for good film. For such old film just for experimenting, a Film Wetting/Drying agent such as Kodak's Photo Flo is fine to allow even drying. Afterwards when you have time, Filter your chemistry thru some cheesecloth to get any traces of the rem-jet out of the solution. You could use some finer filtration if available, but some types will filter very slowly. I filter clean each solution just to make sure there isn't any carryover into them all. Have done this for several decades and works fine, doesn't harm the chemistry. Good luck!

Hi Matthew, There is another issue with most of the BAIA Film Editors and that is that they require a bulb that was sold in a holder already pre-focused. It's possible to replace it but you have to solder it in yourself then into the exiting lamp holder. These are very light weight units, and it helps to tape them down so they don't move around on you. The GOKO model you show the link for is a superior editor to the BAIA unit, and yes it has the sprocket offset before the film gate. The issue here is that the sprocket shaft drives a small gear which in turn rotates the prism via a gear on it. When new, they were fine, however, if you lubricate that shaft so it and the prism rotate easily enough, it will minimize stress on the film itself. I would either wait for a better one to show up, unless you want to buy one of the GOKOs on there from Germany which are pricey with the shipping (all relative since I paid $119.00 for my first GOKO new back in 1981 From Frank's Highland Park Camera near Los Angeles....adjusting for inflation, and my time and gas to drive the 340 miles round trip from where I lived in Central California, it's much more expensive than anything on eBay....but...all relative of course). The BAIA unit is a bit expensive...but it works out since it comes with the KODAK PressTape Splicer (yeah, I know many are not fans of this unit, but it's good for repairing film that has sprocket hole damage etc), and a 400ft BAIA film reel & case (about $15 or so for something similar new these days), so IF you don't mind a smaller screen image and that you might have to fiddle to replace the lamp if it's not working or soon after getting it, it could be a good deal pricewise. I still would hold out for a GOKO, but I'd buy this one just to have to now and gain the splicer and reel etc. The BAIA film reels aren't as fragile the STAR-D or similar made plastic ones, they have some give in them, and while not autoload reels, they seem to last forever, great for film storage. So, the GOKO NF System editors or the SEARS branded version, or ELMO branded version, or ERNO branded version, will be more fun and easier to use. As for the emulsion position, it's a bit of a bother splicing if using a good splicer such as the BOLEX, WURKER, HAHNEL etc as you have to twist the film to put it into position, not a real big deal but annoying. The BAIA splicers often had their own mini tape splicer builtin to the bottom or came withone freestanding (with the S curve visible in the splice, now only usable to those that would like a throwback look of sorts in their film), anyhow, for those it didn't matter that much. Just when working quickly, it was bother, as you always had to remember the film's position since it's being fed into the Editor Viewer backwards position from how it goes into a projector and many other editors. This design was used to prevent film stress or scratching since the film unrolls from the underside of the reel. In use, once you get used to it, it's a moot point perhaps. Keep hunting, it's worth it!

This is another reason why it's a good idea to always have a copy of the instruction manual to refer to. Anyhow, there is a small silver cap on the rewind shaft on the left side of the control panel side of the camera. Unscrew this and you'll see the slotted shaft. Just gently rotate the shaft until it stops, and you should be able to see clearly again. The guillotine mirror has moved a bit thus the viewfinder going darker on you. Good luck with the camera!

The BEAULIEU has a fast shutterspeed of 1/80th due to the up and down design of the Guillotine shutter. A low light camera it is not. Also, on the BEAULIEU the cartridge notch means nothing since it has its own ASA/ISO dial on the control side of the camera. I would opt for using the CANON since it is a low light camera, thus the "XL" designation, faster shutter opening of 220 degrees versus the very small opening time on BEAULIEU. Of course, make sure the CANON is working okay. As for the cartridge notch on the CANON, it will read up to ASA/ISO 400 and that's close enough as the slight overexposure will work in your favor, IF there's the opportunity for such. If you prefer the BEAULIEU, then I suggest going to where the venue will be and take some meter readings to see if it will work. I mean, some events are so well lit, that you may not need an "XL" camera. That being said, the CANON's viewfinder is a bit brighter and the camera is easier to use generally speaking. Lastly, if the camera gate aspect ratio isn't any trouble, since you mentioned that the BEAULIEU has the Super 8W gate (Super 8 Wide is what this was branded by it's inventor in Switzerland, Ruedi Muester......not Max, not Super Duper...that last one sounds so childish) anyhow, check the lighting/illumination levels, check the CANON for working condition (let the motor run for a minute at least and check the meter and other settings you will be using), and make your decision. Actually, IF you had time, and the equipment to do so, you could unload the Super 8 500T Color Neg and reload an empty Single-8 cartridge, albeit you'd only get 40ft to 44ft into it. Good luck on your shoot however you decide!

Okay, sorry to have opened up a can of worms here. As a camera repair technician with over 45 years experience as well in 8mm, Super 8mm, 9.5mm, 16mm, 65mm & 70mm(later on), I've known all about the Super 8mm cartridge design. I just didn't want to get into such great detail since this topic has been explored and explained before by some of our very experienced and knowledgable folks on this group. That one threat went on for ages, but it was good! So, yes, the Super 8 cartridge does NOT have a true pressure plate, its just a pressure pad, to create a thin channel with minimal friction so the film passes thru etc etc. I've experimented in the past with grinding down the pressure pad support nibs on the film gate, and reducing the pressure pad tension in the cartridge (since I have opened thousands of these in processing film, and saved hundreds for reuse, so I'm quite intimate with the design from a practical point of view). But, this type of reworking is for experimenters since the reality is, we have to work with the design the way it was setup. I doubt the new KODAK Super 8 can be much different in the gate since it will be designed to work with the existing cartridges. When I first experimented in slitting down and reloading DS8 FOMAPAN to load into the Super 8 cartridge, I noticed the considerably thicker film and was worried a bit by the increased friction in the "channel" since it would be thicker than the space alloted. Via some silicone wiped on the gate and on the pressure pad in the cartridge, the film ran thru fine. FOMAPAN is now available in the Super 8 cartridge from some vendors having been custom ordered that way for those that are interested. Anyhow, while there is that "breathing" room for the Super 8mm film to glide thru the "channel" setup, it is truly a very tiny amount. I have noticed over the years that various Super 8mm cameras have a different width/depth to this "channel" created by the pressure pad resting on the nibs on the film gate. Some have the top nib higher to allow for an angled entry to the gate, and of course, most of the metal gates are better than their plastic counterparts in other cameras. So much of this is all part of that other thread which was a precursor to before the LOGMAR camera was introduced. So, perhaps enough said on that. I do wish to thank everyone that has chimed in here with valuable comments both for practical use as well as the technical side. I do hope that once EKTACHROME 100D is released, we will see it again in Double 8mm, DS8mm, 16mm (maybe in 9.5mm also from those that can slit and perf it) as well as in Super 8mm and 35mm slide film which are the first ones that it will appear in. Hey, long live film!

Just want to chime in here. Super 8 cartridges DO have a pressure plate. It's actually quite substantial which a thick spring behind it. I am amazed at how durable this disposable cartridge is. I have kept a couple around for over OVER 30 years which I have reloaded and they have run fine every time. So much for a cheap piece of plastic; it's well engineered despite some of it's drawbacks. Lastly, keep in mind THIS is the SUPER 8 part of the Cinematography dot com site....so those respected folks that want to bash the film for whatever reason, please just go to the format you love best. And please stop telling us fans of this format to use Standard 8mm or 16mm etc.......we KNOW all that....we KNOW the limitations of this format, and this is what we chose and want to share information to help each other out in keeping Super 8mm film alive and using it to the best of our abilities. We also KNOW that IF the format had been designed differently for film transport it could be better, steadier, stabler, more professional etc, but it is what it is. I mean, none of us are going to the 16mm and 35mm sections of Cinematography dot com and telling those fine venerable folks to not do this or that, or that using their format or certain cameras is total crap etc. Let's be reasonable, so, add to this site to support Super 8mm or just not say anything negative (unless of course, you're discussing negative filmstocks). Just my opinion, I don't want to step on any toes here, but....this IS the Super 8mm area. In all my years in working with Super 8mm (aside from other formats all the way up to 70mm), it has always been fun. I have seen some incredibly sharp films on various filmstocks in Super 8mm. Some of my own films that I had shot in CinemaScope using an Anamorphic lens and projected onto screens up to 24ft wide, had to be pretty steady in image registration and projection otherwise viewers would get sick. Some simple cameras have also produced very nice sharp images, such as the very basic ones made by Haking in Hong Kong for GAF, Halina and others using a manual exposure setting via the Waterhouse Stop wheel method. There is so much you can do in Super 8mm, and KODAK realizes this, thus all their work in getting a camera back into the market. I would've like to see perhaps a much lower cost camera as well, in addition to their electronic hybrid one that's coming out soon. However, they probably feel there's a glut of such cameras remaining in the hands of most of us, so they are putting all their sticks in one basket here for now at least. This camera will have some similarities to the LOGMAR, but it will NOT be a LOGMAR. And the LOGMAR has some similarities to the former MEKEL Super 8mm pin registered camera that was custom made in California, had C-mount lenses and a similar film path where the film was pulled from the cartridge and hand threaded thru sprockets, rollers and the film gate. The new upcoming KODAK camera is designed to make filming fun and easy via their long running Super 8 Cartridge design. Only time will tell how well the new camera will sell. More importantly for many of us, will be having Color Reversal EKTACHROME film to use. So, let's keep this Super 8mm section, for Super 8mm. Thanks. P.S. Perhaps there should be a Double 8mm (aka Regular 8imm, Standard 8mm, Normal 8mm) section....and one for 9.5mm since eventually there will be film available for Nine Fivers again, as we're all hoping.

The CANON 1014 Auto Zoom is a complex camera to repair. The complexity involves that film rewind system coupled to the variable shutter mechanism, and the display windows. I suggest trying to thump the camera while running it against a well folded towel in one hand. Don't smash it, but hit it a little bit harder than a gentle slap in the face. Do this first to the left side of the camera as you are holding it. This the main control side where you are having problems. If it still doesn't free up, try it again, perhaps a little harder. If still nothing, then the only other option is repair. I do not suggest attempting this yourself due to the complexity of this camera. It is very easy to gets components out of adjustment or over disassembling the camera. The film backwind/rewind mechanism is where many Super 8mm cameras fail as they age due to a variety of reasons (different with each maker's camera). Good luck with it, hopefully it's just stuck and will free up for you.

You could always try to talk him down. $10 would be a deal to try and tinker with it. The meter battery cap is difficult to remove on many of the older cameras, both movie and still cameras. Sometimes it requires drilling two small holes so you can use a pin nose pliers or camera lens ring spanner wrench to remove them. They can stick really bad even without any real corrosion since the batteries leak fumes which will cause some metal corrosion. This can be cleaned of course. As for the batteries today not being the correct ones, you can make due. You would need the meter mechanism to function to use the manual exposure setting since it requires electrical power to set the lens aperture. The price is low enough though that if the camera runs, it can be used for certain shots and tasks without having to endanger a really nice camera; those shots where its on railroad tracks, or taped to a car or bike etc, or tossed with a small parachute for various shots. Or to begin a camera collection. The Chinon made GAF Anscomatic 100 and up series cameras have a physical manual aperture setting that doesn't require battery power to adjust. The GAF ST-111 also allows you to do manual fade in/out and still set the lens manually and work from that setting. The higher ST-601/602/801/801 models also have the 24fps setting which the lower models do not. Always something to look for out there, and bring batteries with you so you can try out cameras on location where they have flea markets (bring a piece of fine grit sandpaper also). Good luck!

ELMO 1012 XLS disassembly showing body shells.

ELMO 1012 XLS Right Side

Left Side of ELMO 1012 XLS