Zac Fettig

Get a time machine. Single 8 is out of production. Or try and find a reloadable cart. The perfs are the same as super 8. So in theory, you could load your own.

The only real caveat for the Canon AZEs are the manual controls. The rubber wheel that lets you adjust the aperture tends to fail (these cameras are pushing 40 years old now), which causes the aperture to drift (the isis widers and tightens on its own). And they are difficult to repair (which is why a 1014 Auto Zoom tends to be more expensive than the more advanced 1014 Auto Zoom Electronic.. They're easier to repair. The optics are the same). They work great on full auto though. I always liked the 814s a little better than the 1014s. They tend to be cheaper (a lot cheaper) and have a slightly sharper lens, at the trade off of some zoom range on the long end. Both are excellent cameras. if you're planning on editing in a regular NLE (Premiere, Final Cut, etc.) You would normally have the film telecined by the lab or a telecine shop.

You want a Nikon R10. The footage is incredibly sharp and stable (for Super 8), It'll do what you want. It's more user friendly than the Beaulieu and the Leicina. If you have to have everything on the list (e.g. must have f1.4), you're stuck with three cameras. The Nikon R10, the Leicina Special (which won't do 24 FPS) or the Beaulieu 4008 (a bunch of other Beaulieus will do what you want, but the 4008ZM2 or ZM4 are your best bets). The Leicina will need a lens adapter, as the Optivaron is f1.8 fully open. The Leicina (Leica M mount) and Beaulieu (C Mount) can both use interchangable lenses. With adapters, both are capable of taking some seriously sharp glass (PL mount adapters exist for both). If you want a good introduction to filmmaking basics, I recommend The Filmmaker's Handbook: http://www.amazon.com/Filmmakers-Handbook-Comprehensive-Guide-Digital/dp/0452297281/ref=sr_1_1?ie=UTF8&qid=1449175432&sr=8-1&keywords=filmmakers+handbook Servicing a camera will cost a fair amount as well. I haven't priced it out in a while, but figure at least $300 for an unknown camera. Nikon and Leica stopped making cameras in the late 70s. The last Canon was built in the early 80s ('83 maybe?). The last Beaulieu was built in the early 90s. The only camera built since then is the Logmar (with a $$$ pricetag). You could always buy a camera for cheap off ebay, cross you fingers and shoot a test film. I've gotten very nice cameras by doing this. Film types... you 've got two (maybe 3 if you're willing to scour the globe.) Black and white reversal, or color negative. Color reversal used to exist and some people in Europe still have it. Reversal means it can be projected as developed. Negative means it needs to be converted before it can be used; either a workprint or telecine. Some people love one or the other. Personally, I prefer the Kodak color negative stocks for shooting footage and Tri-X for test films. Developing... you're best off handing that off to a lab. It's tricky work (especially for color negative). Also, keep in mind that film will run around $26 per cartridge. That's about 2min 40 seconds at 24FPS. Figure another $35ish for developing and telecine, per cartridge. You can get film from Kodak: http://motion.kodak.com/motion/Products/Product_Information/index.htm I always like Cinelab for processing and telecine.

You'll do the pulldown when you acquire the footage from the tape. Same as with Final Cut. I used to use Cinema Tools to conform 24P footage with my XL2. Final Cut no longer includes Cinema Tools, but the ability is there: https://discussions.apple.com/thread/3685424?tstart=0 There are lens adapters (P&S Technik, Letus35, etc.) which can sometimes be found cheap. That said, I don't think I'd bother with one in your shoes.

Ideally? Start with whatever camera you can get for free. Cell phone camera. Old camcorder. Web camera. etc. Shoot with it until you can operate the camera controls blindfolded (without composing a shot of course). Then move up to a 35mm still SLR. Find a dirt cheap one on craiglist. Learn to compose and expose correctly. Film is expensive, and really will force you to give greater thought to you shots. If you're going to film school... use the schools equipment. But, if you have a burning need to click off money, get a DSLR. It'll let you learn the basics, and is more flexible all around.

An old thread on this one: http://www.cinematography.com/index.php?showtopic=16232 It'll work right with Tri-X and Vision3 50D.

They shot "The Artist" on color film (albeit 35mm) and turned the saturation down in post. Heck, if you just get a DVD copy of "Sky Captain and the World of Tomorrow" and turn the saturation all the way down on your TV, it's a much better movie. Noise and jitter are big problems in super 8. Not much you can do about that. If you really want a clean film image, move up to 16mm or 35mm. Part of the charm of super 8 is the lack of clean image. Double-x isn't available in super 8 and Plus-x was discontinued years ago. The only options in B&W film stock today are Tri-X and Wittner-54. Personally, I don't like Tri-X much. The Wittner 54 (repackaged ORWO UN-54; it can be used as either negative or reversal) would be an ideal choice (since you're in Europe. It's not availble in the US). Kodak Vision3 with the saturation turned down would also work very well.

I'd have to check my notes, but I want to say around 35mm.

To answer my own question, in case anyone wants to know... The Som-Berthoit 17.5 to 70mm will vignette on a super 16 frame, on the wider side.

Miguel, what mount does the Schneider 25 have?

Most of them got snapped up by people who bought Blackmagic Pocket Cinema cameras and wanted cheap cine glass. Look around, and bide your time. You can get a set of Schneider Primes for $200 to $300 each if you're careful. These days, Zeiss costs more... and Cooke costs more still. 25mm Scheniders are plentiful. The CP-16 is an excellent camera. Why sell it?

If it was me shooting, with those cameras, I'd just leave it on auto, and overexpose. David is right though. An external meter is almost always the best choice. But check the manuals to see if they've calibrated the settings to compensate for the prism.

Then it looks really simple. There's a tap on the side (that little spring tab) and one at the bottom (the center pin). The hardest issue is to cut in a thread. It's not going to be a standard size, so getting a tap isn't going to be easy. It would proabably have to be cut in on a lathe. If you don't mind destroying/repurposing the endcap, it should be fairly striaghtforward. A metal sleave on the outside (with a lead soldered on) - the same diameter as the batteries, a plate on the bottom (with another lead soldered on), and an insulator to keep the two of them seperated. Drill a hole through the endcap, and pass through the two leads. then solder a connector to the leads (either inline with the leads or mounted to the surface - which requires a larger hole in the endcap). Match it to a 4.8V battery pack. The other option is that they do show up on ebay from time to time. I haven't seen one recently, but I used to see them for around $50.

The cameras will meter it as 160 Tungsten film. It'll over expose by 1 and 2/3 stops. Given the latitude of the film, it'll be fine. You won't need to notch hack the film. I doubt it did anything on the 310xl. I doubt it would do anything here. The 310xl probably metered the 500T film at 250T (the upper limit for the camera). If you're buying film, you'd be better served with 200T most of the time though.

The easiest option is just to buy an adapter from DuAll. http://www.duallcamera.com/store/Batteries_Chargers.shtml

So I was wondering... does the Som Berthoit 17.5-70mm lens cover a Super 16 frame, without vignetting?

All processing and telecine were from Cinelab. All Super 8 Tri-X. Sankyo LXL-255 Macro (handheld shots, and most of the night shots), Canon 814 AZE and Leicina Special.

The Leicina doesn't do 24 fps. Only 25. How important is 24 fps? Always had good experiences with Cinelab.

No problem! The Scoopic is a great camera. But it does have three drawbacks. 1. It's not easy to check the gate before shooting 2. Viewfinder prism can lead to strobing. 3. Putting a mag on it is like living a Rube Goldberg experience. To be fair, that's not that dirty a gate. You could probably just push in on the film a little and cut (most of) the crud off the bottom.

http://www.mango-a-gogo.com/manuals/Canon%20Scoopic%2016%20Operation%20Manual.pdf http://www.mica.edu/Documents/VideoAndFilmPdfs/CanonScoopic16M.pdf Basically, you lift up the pressure plate, using the pressure plate release knob, then clear the gate using canned air, or an orange wood stick, if the canned air isn't enough.

I know people have done it.... Given the drops in prices these days, and the cost of 16mm film, you're probably better off buying an Arri, Aaton or Elcair. If you're patient, you can get a good deal. I got my Arri 16S off ebay for ~$500 (granted, it's regular 16), with an angie zoom. I've gotten most of a good set of Schneider primes for ~$200 each, over time. If you're buying old Soviet gear, look for stuff that looks beat up from heavy use (yet still looks functional). It's counterintuitive, but quality control was often hit or miss. So the defective stuff tended to stay pristine in the box (because it was junk) and the stuff that worked well was used until it fell apart. If it's new, it's always a crap shoot. Otherwise, buy from someone who has a lot of positive reviews. If they only have a couple of reviews up (<100), pass on it. Ebay is generally reliable. Never spend more than you'd be willing to waste on a good weekend (you know your budgets better than I do).

Roger Deakins is (obviously) an excellent choice. But I was kind of hoping Jeff Cronenweth would do it. Let him do an homage to his father. Jeff Cronenwith is also (obviously) qualified, and is at home doing the kind of dark imagery I always associate with Blade Runner (example: Fight Club).

The thread into the battery is fairly fine pitch. I doubt a 3d printer would be able to generate it. The handle will be a lot easier. In my experience, you're better off ordering 3d parts from shapeways. They have higher resolution printers than you'll be able to get. The pricing isn't bad. The default material is nylon (as opposed to ABS or PLA). And you don't have to babysit the print. You could go on ebay and look up "Beaulieu dummy socket". Screw a battery into the handle, and run a small cable. I believe it's 3.6V and 7.2V. I'm planning on doing that with my Beaulieu after I tear it down and clean it. http://www.ebay.com/itm/Beaulieu-4008-Dummy-Socket-/261333804325?pt=LH_DefaultDomain_2&hash=item3cd8b56525

Sounds like the sensor is overheating. The 60D can't handle long continuous takes.

At least not on the wide end. I can't remember the exact point it stopped vignetting when I tried the same combo out (Angie 12X120 + Arri S to MFT adapter + Blackmagic pocket), but I think it was around 50mm. Although my adapter was a bit cheaper. http://www.amazon.com/Fotodiox-Adapter-Arri-Olympus-Panasonic/dp/B00D9BKSQ8 Honestly, the combo didn't work out that well.