Giray Izcan

Thank you. Of course, I do not expect anywhere near 16/s16 quality but I just want to see how 7213 behaves in low-key situations when it's rated 1 stop over and how it is going to feel on its own when it's shot in a "cinematic" fashion, stabilized , cropped and lit properly. I would only shoot 7219 in situations out of my control like night exteriors; otherwise, I find it too distracticgly grainy - even on s16.

I was actually interested in Elmo as I know they have a great lens. If I am not mistaken, that camera has 180 degree shutter angle at 24fps right? The narrow shutter angle is what I don't like about s8 cameras, in particular, Beaulieus.. you lose a stop with that shutter angle.. I wish they were just standard 180..

I shoot on Minolta xl84 at 2.8 indoors and t/4-8 outdoors with pleasing image that is plenty sharp with good contrast..I bought it for 100, which should have been more like 250-400. I am going to be shooting a small short that is intended to test the format (7213) in controlled situations. I look forward to it.

For instance, I have an NPR.. it was converted to s16 with pl mount with added ground glass insert tabs for different aspect ratios, custom small profile crystal sync motor, all 4 magazines were just maintained amd overhauled at Visual Products and with AZ Spectrum flickerfree HD tap comes up to roughly 6k.. but at least it is completely overhauled and modernized professional level s16 camera.. I'm only telling to put things in perspective.

Logmar is the best s8 camera I have ever seen I think, but even then, it looks like a bad 16mm at best.. if you want to spend 10-15k... at that price, you'd be getting an sr2 s16 with hd tap or I just saw an sr3 advanced kit for 17k... or Aaton... it doesn't make any sense.

This camera could be used to different potentials in my opinion, but without a 200ft magazine, no... you're still only bound to 50ft cartridges, which is not enough film to shoot dialogue scenes for the most part, so 24fps crystal sync to me is sort of a moot point. Nearly 6k in price, you'd be better off buying an NPR or an ACL for the same price or cheaper with crystal sync motors and 400ft magazines. At least, a new filmmaker can grow into it and experiment with it a lot more, printing, shoot shorts, etc...

Does anyone know what the shutter angle for this camera is? I hope it's standard 180 as opposed to other angles that are common with Super 8 cameras.

David, thank you. Yea, that does look good. As for my test, I wrote a small horror/Thriller story for this test instead of shooting random scenery. I am planning on shooting it on 7213 and rate it 100 with film print lut in post in mind in terms of contrast ratios etc. As for lighting, it will be tungsten fresnels and kino. I am trying to rig some sort of a camera in the viewfinder with clamps or something to have a video feedback so I can get some tracking shots on a Dana dolly and some other types of shots including odd angles. I shoot at 2.8 which is 2 stops closed down on this camera so I look forward to it. The foal of this test is to see how this format feels in a narrative context and how it looks under low key lighting.

I'm not saying it is not wonderful. If I could justify spending 6k on a format that is very specific in look that can't be used on most paid projects, I would buy one. For 6k, you could get an NPR or an ACL with crystal sync motor and 400ft magazines. BTW, with those 6 thousand dollar top of the line dslrs, you could shoot professional grade stills and possibly get work as a photographer if that's your interest, that you don't have to pay 100 dollars per 2.5 minutes of run time. Unfortunately, you won't get hired with those 16mm cameras as much as you wouldn't with a s8 camera. Still, 16mm vs s8 is night and day in terms quality. Like I mentioned before, I haven't seen anything cinematic shot with s8 on the internet for example. Everything I saw was barely watchable but still praised as gorgeous including that atrocious music video from 2020 shot on s8, I can't remember the artist's name lol. The money you spend on s8 is not cute to just shoot random stuff with half the footage out of focus.. I am still trying to see one example where s8 looks cinematic and nicely lit. I am planning on shooting a small test short with my ol' Minolta xl84 to see this format and the vibe it gives under narrative context as I actually love the format.

I wish the best of luck whoever is actually trying to make a living with their Super 8 cameras. The market is simply not there.

50 hours of Super 8 out of how many hours were shot for that project on all formats? I'm just saying it's still for those few sequences as cutaway and stuff. Most other stuff that I see on Kodak's Publications whether on Instagram or anywhere else anything Super 8 looks horrible shot, exposure is all over the place the camera is so shaky to a point of you can't even tell what is going on in front of the camera those are the projects that I normally see. This is one exception out of however many other projects that shoot on Super 8.

But those types of shows they don't shoot on Super 8 they have some frames or scenes or sequences that were shot on Super 8 for some sort of a retro effect as a cutaway. The original RoboCop has some video shot footage as well that played in the movie on the TV screen. It's almost like saying RoboCop was shot on beta SP

The most "professional " projects shot on s8 are usually nothing more than some young hipster musician who wants to shoot on s8... but those projects aren't money makers. It's more of a bragging rights for the artist hey we shot it on film lol.

Tyler, you could get Zacuto vf amd use it with this camera and others. I wouldn't shoot s8 because I want that usual crap home video look. I would put a nice s16 zoom or lenses in pl mount on this and rig it and shoot narrative stuff with it. People are conditioned to automatically assume s8 would have to be shot in an erratic fashion. I would love to see a well shot short on s8 that is going for a professional polished look while favoring the s8 look. S8 is a very painterly format that could be used to tell a story. But to be honest, if I spent this much money on s8, I would get the Logmar with its pin registration.

Aapo, those cameras will still be 50+years old... things break eventually. This is a brand new camera with an orientable viewfinder essentially. Not having to stick my face behind the camera trying to shoot from some odd anggles is a big plus. I love optical viewfinders but definitely not the small s8 viewfinders so I'll take the lcd. If you make a living with this camera then it's worth it to avoid Oops my camera failed or oops something strange is going on with the footage type incidents during some paid job. I would buy one but I couldn't justify the expense as I don't make a living with a s8 camera. You know you could of course shoot something narrative with s8, to me is more interesting than hey I am s8 and extremely shaky and unperceivable footage that people find 'beautiful ' nowadays. I would like to see s8 in a narrative context where it is lit and shot as if it is 35mm and cropped properly. I would like to see if the format could be used to tell stories for a softer painterly look without distracting the audience... I would only shoot 7213 or 03.. 7219 is too overwhelming with grain on s8 - even on s16 actually - that it gets in the way of story and calls attention on the format.. I would say this camera could be used to shoot narrative, especially if they were to introduce 200ft magazines and loads... of course you would have make a blimp of some sort from a modified Pelican case or something. This is assuming you want s8 look for your film as opposed to bigger formats.

With a C mount to pl mount adapter from Visual Products, you could use lenses like Angenieux 7-81 - of course with a lens support etc... I'm sure the transport will be good with this new camera plus a 7213 stock running through it, I would imagine it would be a very pleasing image. 200ft loads would be nice too of course.

Tyler, oh ok didn't read the manual.. but I would still take it over any s8 camera viewfinder out there. I'm sure you would need a hoodman for the lcd while using it outdoors.

The rotatable lcd screen is definitely nice to be able to shoot from different angles. I don't care much for looking through s8 cameras' viewfinders anyhow.

Crystal sync at 24 and 16x9 gate, which is larger than traditional s8 gate sound nice but I wish it had a 200ft magazine to have a full load for dialogue scenes...

I mean sure it would be nice to have a 1000 ASA - not to mention, film would be more competitive with digital in terms of low light capabilities -but there is not enough productions shooting on it to justify the expense involved with R&D etc.

They couldn't justify the expense of making a new line of film due to lack of enough film originated productions. Sure there is a resurgence with film use but it is still peanuts compared to pre-digital days when everything was shot on film except for some TV and low budget mini dv productions. I think we are lucky to have the V3 to be honest.

Introducing or re-introducing some film stocks with characteristics, and as an alternative to v3, at a lower price point would be more useful and make film capture more accessible to lower budget productions. This way people can shoot on 35 instead of having to resort to s16 due to economics. There are excellent cameras out there already that we don't need a new camera - especially a new 65mm camera that no earthly being can afford shooting ?

It is not at all for a museum piece... you could get a functioning SR or even an Aaton for that price.

Will do, Tyler. I look forward to it myself.

Nice. I was just going off of what some others have been saying along with some other reviews. I haven't seen it myself. I will see it for myself.