Martin Baumgarten

Beaulieu used to recommend a servicing every 3 years, about the same as BOLEX recommended. This of course is based on usage, as heavier usage might require such service. Alternatively not using a camera for years can often require servicing. The BEAULIEU 6008S is their first version of the later Lexon bodied design using newer electronics for it's functions as well as sound on film recording [previously also available on their 3008S and 5008S cameras].

The 24/25fps switch is only available on the Pro version of this camera, not the S. The Pro is a silent camera that will allow use of sound and silent cartridges since it shares the same body as the Sound version, and it uses a slide in module in the rear of the camera for quartz speed control. The 'native' speed of the 6008S is either 18 or 24fps. The difference between 24fps and 25fps is so slight it makes no significant difference in practical use and as far as film transfer goes in either NTSC or PAL, since virtually all transfers now are done digitally.

The 2 notches on the Beaulieu 6008S filmspeed dial are for the former KODACHROME 25/40 variation in which the Daylight Conversion Filter has to be moved into position. Even if you set it at ASA/ISO/EI 40, it's close enough to ISO 50 to work well, with technically slight overexposue which won't hurt. Exposure is relative to the subject matter of course, and all light meters are designed based on the 18% Gray Card standard, so you might want to adjust your exposure manually in various situations anyway. It's also really important to have the owner's manual for whatever camera you use, and these are readily available. If the manual helps prevent even one mistake, it's worth the cost to have it.

Unless shooting anamorphically or frame masked, the aspect ratio is 4:3 so transfers to 2K or 4K seem like overkill to me since it's still 4:3 ratio. Keep in mind that 2K & 4K are both a wider aspect ratio than even HD is, so why did we all settle on that 16:9 Television aspect ratio in the first place if films are still being made wider and thus now cropped on top and bottom to fit? Crazy. Anyhow, only you can judge what transfer results will work for your projects. I suggest a test at all three if possible and do a comparision; HD, 2k and 4k.

The BEAULIEU 6008S is a very good camera as long as it's working fine. It was the embodiment of Beaulieu's state of the art in Super 8mm, although there are many fans that prefer the earlier 4008 series for various reasons [largest viewfinder image of any Super 8mm camera made, dedicated manual film rewind option, frame & footage counters (although in the later 6008S there is an LED counter and in the 7008 and 9008 versions an LCD counter), the smaller compact size but then, the earlier camera is a silent film cartridge only model, and also the fine ground glass focusing screen which is removable to opt for the brighter aerial image view, and some other reasons]. The 6008S accepts both the newer Beaulieu breech-lock lens mount as well as the standard C-mount lenses. It can use both Double A Alkaline or Rechargeable batteries which is a plus over the previous design, but there are now a few options for those older cameras. The viewfinder is bright but much smaller than the 4008 models, and it has a fixed ground glass focusing circle with a black etched ring in the middle. Many found this annoying, and it was done away with on later models, and Beaulieu even offered replacement with a full fixed ground glass screen, but that is no longer to be, and most never bothered having it done due to the cost and shipping of the camera back to France. In practice, the camera works fine as it was designed and many have had fun using it. The Hall Sensor Speed Control though, is really only for the former Sound Film Cartridges, not the Silent ones, but even so, the speed runs well via it's onboard circuitry if all is well with the camera.

This was their flagship model when it was introduced and I've had great results with it. Another reason many favor the older metal bodied versions is that they tend to be serviced in more places around the world. But since in most cases this requires packing a camera off with expensive shipping costs back and forth as well, it really doesn't matter as they can still all be serviced when needed, albeit the costs involved. Keep in mind, typically servicing such a camera can easily cost as much as the camera these days, unless already being sold by a vendor that serviced the camera with a warranty. In the end, it really comes down to how you like any given camera, since after a certain build quality, they will all give great results if used correctly. So it often comes down to how it feels, sounds, ease of use, and especially how easy the viewfinder is to use. I wear eyeglasses so always have to factor that in on any camera, film, cine, or digital. If I can't see to compose thru the darn viewfinder, I'm going to have an issue with any camera.

Hope this helps.

Some truly great points were brought up. HOWEVER, this IS the Super 8mm portion of Cinematography dot com. So somehow, please, you working pros or fellow larger than Super 8mm format specialists, experts, hobbyists, show some respect for this section of the site, and either chime in with help for those working or desiring using the Super 8mm format, OR go to the other format sections and discuss away! I for one, am tired of the 8mm formats being berated. Most of us using Super 8mm (or Regular 8mm for that matter) have some kind of grip on the limitations to expect already. The 8mm format has a devoted following for various reasons. And, as for steadiness......please......despite the cartridge/camera issues, I have seen and have personally shot films in full CinemaScope (2x anamorphic 2.66:1 aspect ratio) with Super 8mm and it looks pretty damn good up on a 24ft wide screen, and even with stereo magnetic sound. Yes, it's not 16mm or 35mm, we KNOW that....it's SUPER 8mm!

If you use the same care that you exercise in filming, editing, and handling of Super 8mm, THEN you could also process the film yourself and save a significant amount. Granted, it may not be for everyone, but back at the tender age of 13 I realized that I could save tons by processing my own still films, and shortly after movie films (Kodachrome notwithstanding of course). The cost of the equipment needed will be rapidly returned to you over the first several rolls of film you process. At the moment, there isn't much to be done about the high cost of film, since this is sort of a niche market and we're glad just to have film available. Figure a cost of $5 per roll to process it yourself (slightly more or less depending on B&W or Color Reversal or Color Neg), and your own labor.....you will be way ahead financially. The other cost you'll be saving also is the postage costs back and forth, which add up rapidly, especially for small orders!

I suppose it's a good thing that not everyone does this or we'd risk losing the few labs left supporting the film processing industry. However, I'm sure they will continue to have their 8mm, 16mm and 35mm customers. I'm hoping for bulk film to be released eventually in Double Super 8mm, which can then be slit down to Super 8mm and self loaded in a variety of cartridges, both Super 8mm and Single-8 ones. It may be some time before this pleasantry happens, but it is a possibility especially once 16mm film goes into production, via a Special Order option with KODAK.

Lastly, there is still tons of expired film out there in the hands of many an enthusiast. The frozen stocks would fare better of course, but I see lots on eBay all the time, and have bought quite a bit of it myself to experiment with. Sadly, some sellers think that their closet stored 30+ year old Super 8mm filmstock is worth a small fortune, what with the increased interest in this gauge. You can always make them an offer, if allowed. And most of these films can be self processed as well. There are various methods available to process your own film, so it doesn't have to be expensive if you can't afford the sometimes pricey LOMO tanks.

I received mine yesterday. There's a limit of 5 per customer, they are $39.99 each, so best to buy more than one due to the shipping and tax costs which raises the per cartridge cost. I am hoping KODAK will sell Super 8mm in bulk version or perhaps in Double Super 8mm bulk so we can load our own cartridges. I'm sure with bulk film, we can bring the cost down. I was originally hoping the cost would be similar to the VISION 3 stocks, but it's much higher. This might be due to this initial production run. Perhaps once they do more, there might be volume discounts on 20 to 200 cartridges as in the past. Either way, still an exciting time for Super 8mm!

Fomapan R-100 is a really nice old world silver rich film, with deep blacks, clear highlights, crisp whites, and fun to use. However, unfortunately, there is a perforation pitch problem, small, however it is there when compared to KODAK standard films. The Double 8mm does tend to extend out and is noticeable after more than a dozen frames. In practice, it's nominal and the film is very usable of course. This pitch variation is also noticeable on their 16mm films, but due to the larger frame size and longer perf spacing compared to Double 8mm, it's less of an issue. The 35mm versions, made more for still film have different perf shapes, but from various others shooting it in cine cameras, their results seem workable. You'd have to do your own tests of course before committing this to a project.

And yes, I have mentioned the perforation issue to FOMA some years ago, and received a polite letter and email to the effect that the punch dyes are older and they can't afford to spend the amount it would cost to redo them just to fix this variation.

The film is also available in Double Super 8mm, as well as having been custom loaded into Super 8mm cartridges. Owing to the thicker film base support, sometimes there are transport issues, something to check first of course. Since most of the small DS8 and Double 8mm 25ft/7.5m loading cameras do not use a sprocket to drive the film rather a spring roller on feed and a rubber snubber prior to takeup, a wipe of the film gate and pressure plate with silicone, wax, or movie film cleaner with lubricant will help the film advance...IF there is a transport issue with this thicker film base material.

Lastly, owing the built in anti-halation remjet equivalent in a dye form, there is no issue of polished film pressure plate ghosting. This reversal film is unique in that this anti-halation dye is dissolved out during the bleach stage of the B&W Reversal process. Despite a few odd issues with this film, it is a pleasure to use and it also does very well being processed in Sepia Tone Reversal having nice rich deep browns and tinted highlights and rich blacks (owing to the silver rich density they appear black where no detail is present).

Plenty of those fine BOLEX H-8 cameras around. The non-reflex ones have an advantage of no light loss due to a prism, or dirty or cloudy prism, use the less costly D-mount lenses, do have reflex viewing lens unit options if needed, tend to be more robust due to lack of variable shutter issues, and they generally can be purchased far less than their reflex counterparts. Best ones to consider are those with the frame counter built in and with serial number sequence range after 100,400 which had a major change to the claw mechanism, known as the film registration claw. These tend to be steadier and the backwind claw is steady enough to film in reverse using the small hand crank if you want to. In my experience, as long as the cameras are well lubricated and cared for and work well, even very old ones will produce nice steady images. The later H-8s also had an 18fps speed setting between the 16fps and 24fps marked range on the knob. Those H series cameras run well enough to use as small film contact printers if need be! Also, the small B and D models are very nice to use as well.

Hi, first off, unless this cartridge of EKTACHROME 160 Type G has been stored in the deep freeze since new, it is now well over 3 decades old and will have lost contrast, film speed, have severe color dye shift to virtually mostly all green. Another crux in the mix depends on which of the 3 process types this film requires: Process ME-4(thus no mention on cartridge label as to process type, ran 1970 to 1981 requiring emulsion prehardening, very rare to get processes correctly now), Process EM-25 (a short lived one year approximately intermediate process which still required film emulsion prehardening but had a major developer change, ran 1981 until introduction of Process EM-26 in Sept 1981), or Process EM-26 which was the final of that generation of Ektachrome films, and had prehardened film emulsions for high temp processing and ran from Sept 1981 to Sept 1995 when manufacture of those Ektachrome movies films ceased (being replaced by Ektachrome VNF 7240 (requiring Process VNF-1) to be replaced by Ektachrome 64T and at the end Ektachrome 100D (both of those requiring the revered long living Process E-6) with Ektachrome 100D soon to return.

Not to burst your bubble, but again, IF this film has only been stored at room temp, the quality will be terrible in color, and still pretty poor if processed in B&W (but if doing it that way, then you'd be better off just using a nice fresh roll of TRI-X film for B&W). Considering the higher cost to process the film in color, only to yield low contrast mostly all green color with no real shadow detail etc, you'd be far better off getting a good roll of either Ektachrome 100D which some are still selling, or the previous EK64T, or one of those Fujichrome Provia or Velvia custom loaded films, all which will yield you predictable results worth the time and cost to film, process, and have a great film of the special event!

One more thing about Ektachrome 160 Type G, which many of us referred to as "G for garbage" back in the day. It was only color balanced to about 4400K cooler than normal color daylight reversal film, since it's design for intended for an all around and mixed lighting film. So, where there was daylight, flourescent light, and tungsten, it faired okay. Daylight was too cool, unless you filtered it warmer, and Tungsten was awful mostly orange due to the way off color temp range. As it aged well past it's expiration date, due to the original color layer packing, it would shift more radically, so harder to predict without some testing. With it being so old now, the only version I would trust is my own cache of frozen film. Please consider all this BEFORE you risk your time and effort in filming this special day and in the end, wish you just hadn't wasted your time, energy and money. As I have said sometimes before to others, would you eat a can of soup that was 30+ years old? Maybe if it was boiled well and was all you had after a zombie apocalypse. Same for film. Use that old roll to goof around with in testing a camera's transport system or something where it wouldn't be so sad to have it all come out ruined in the end.

Oh yes, do include a color chart and grey chart, and then you'll see that all mostly green, so even that attempt will not help really, sorry. However, it will show you have severely the film has aged, which can then be measured on a Densitometer and plotted out graphically.

Just my two cents here. Good luck though!

The front cover is removalable and the bulb comes out as part of a unit. It is soldered into position and part of the assembly. So before you remove the bulb from it's position, take a digital picture of it so you can put the new one back into the exact or very similar position. The metal frame the bulb is attached to comes out as one piece. You must remove this bracket unit in order to get at the bulb. Do not try to remove the bulb from the bracket holder until you've removed it. BAIA sold replacements already presoldered into these holders, but these are getting rare to find. That being said, if you can solder, you can fit a new lamp for it. Good luck!

Hi Michael, yes, I've used both versions of these tanks. The Super 8mm version is quite easy to load, perhaps the easiest to load reel type design out of all the ones I've ever seen and used. The Double 8mm version is a bit trickier to load, must be done slowly and carefully, since the film likes to jump out of the spiral groove. I have found that wiping the spiral reel and especially the clear platten top underside, it will allow the Double 8mm (16mm width) film to slide more easily into the grooves without jumping track/groove. As for processing, do NOT use the chemical port! It's is way to slow to fill and drain, and will cause all kinds of uneven processing. The best way is to have all your solutions and wash water ready and to temp, go dark, remove the lid and remove the film from the tank and set it aside somewhere safe. Fill the tank with your solution, set the timer, add the film and initiate agitation, up and down, side to side etc. Continue processing in the dark and have a wash tray nearby to remove film for wash/rinses. Once you're past the dark only stages you can turn the lights on. It is quite possible to get good results by replacing the tank lid once initial agitation has been completed, and then you can turn the room light on. Agitation can be continued via various movements of the tank on the table top, similar to using a single reel NIKOR type still film tank, also via side to side movements, and gentle rocking of the winding shaft. I do recommend highly that before the dark processing stage ends, have all items set for the next step, go dark, then remove the lid, watch your timer, and then remove the film holding at an angle for draining, rotate slowly while draining, then into your large wash tray for rinsing etc. Pour chemistry out of the Film Tank into a container, rinse it well, fill with your next chemical, and reinsert your film after setting the timer for that stage. A lot of how much you're in the dark stage will depend on whether you're processing Negative or Reversal film. With care, these Superior/Powell/ESO-S tanks will deliver quality results, one roll of film at a time. I still use these, in addition to other processing tanks and reels that I use, as well as the LOMO tanks. I've used these Superior Bulk Film design processing tanks for nearly 40 years now. Keep in mind, that the Double 8mm tank will only hold about a maximum of 33 feet of film for anyone contemplating using it for 16mm film processing. And IF doing 16mm film, IF processing Super 16mm film, load it so that the sprocket holes are in the spiral reel, otherwise there will be processing artifacts due to turbulance in the groove. Do make sure to prewash all film with good agitiation to make sure the film is not stuck to the spirals, and make sure to load the film emulsion outward, thus the tension on the film will be base side against the spiral. Good luck!

The F/8 indication is the needle position for checking the battery power. If at F/8 means there is full power. If it stays there that means there's an issue with the battery check switch, which is a small black pin button on the manual aperture setting knob. It must be retaining it's connection and/or the spring is too weak to break the battery check connection.....it will have to opened and fixed. You could also just remove the push button and see if the meter goes back to normal. If not, pull up slightly on the metal tab underneath to break that switch connection. You could leave it like that and just test your batteries externally from the on, once the meter is usable again. The motor batteries have a larger sliding switch, but this can sometimes happen there as well from age. Try this and I wish you luck in getting your camera working again!

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!