Bill Rodgers

Yeah, single frame to 96fps would be great but in all honesty this hypothetical camera would probably have to be around $1,000 or less to spark my own interest. :)

Hypothetically rather than hypnotically I hope? :P I often shoot side-by-side using a simple rig with a blimped Canon 1014XL-S and a Canon HV30 HDV camcorder. In fact I have found it is even better to use a smaller 514XL-S as both cameras are of similar dimensions and have 43mm lenses that I can attach identical C-8 wides to. So my set-up would cost less than 500 US Dollars to recreate via eBay right now and kind of does everything I need it to of a video-assist or integrated system; I can even align the field of view. I can well imagine that the hypothetical camera you describe would easily cost in excess of 2,000 US Dollars. So it's not a very cost effective solution, when you can just shoot both HD and Super 8 side-by-side. :rolleyes:

One now sold, taking offers on the second one. :)

MINT condition Canon AUTO FOCUS Super 8 cameras (with perfectly clear lenses and fully functioning) with original accessories, instructions plus original retail box and packaging. £200 GB Pounds each plus shipping. :) http://twitpic.com/d41cf3/full

Minolta Autopak-8 D6 - SOLD! Nikon R8 - SOLD! Canon C-8 67mm wide lens attachment - SOLD! :)

I would certainly use the Nikon R8 still but the Braun Nizo 6080 is the quietest Super 8 camera I've ever used. The Canon 814 XL-S has a sharp lens (almost as good as the R8) but I would also take a look at the Braun Nizo Professional and Beaulieu 4008 ZMII (which I'm slowly getting to grips with using myself). A Nalcom FTL 1000 is probably the most adaptable Super 8 camera I've used.

Nikon R8 - £149.99 GBP Sankyo XL-420 - £49.99 GBP MINT Canon C-8 67mm wide lens attachment (for 1014XL-S & 814XL-S) - £124.99 GBP NOW ADDED! :)

Nice work. B) Very sharp too!

COOL! B)

Matte Box kit cased, standard Braun flight case or original retail box? :)

Braun Nizo 6080s are an absolute pain to recondition and repair, at least most of the time. I only know this as I've now managed to repair six out of the ten cameras so far attempted, in about nine months of trying and I have four more now to attempt to possibly repair - http://twitpic.com/cy454r . It takes what seems like forever to fiddle about with them and if you find any major issues with the circuit board then it's really all over for them. Saying that, I can sort-out about 75% of the electrical and mechanical problems encountered but some sound Nizo cameras are simply beyond any form of cost-effective repair. Which is a great shame but they just become "spare parts". The Canon 814 / 1014 XL-S cameras are quite quiet but the 6080 is certainly far, far quieter.

With a blimp or barney, I actually struggle to even hear my Nizo 6080s running (and I have excellent hearing); so sync sound is still possible. Crystal syncs are pretty easy to come by these days too. So shooting Super 8 sound productions effectively is still perfectly viable.

Oh, that is sad. I sent three H-16 RX-5s to Roger, he was always brilliant to deal with. I actually found him via eBay, of all places. http://www.ebay.com/sch/first-camera/m.html?_nkw=&_armrs=1&_from=&_ipg=25

That's fair enough. :) 500T is certainly a great all-rounder but most reversal stocks I shoot seem virtually magical to my eyes.

That's really pretty good going for your first roll of test footage. It's just a matter of shooting more and getting used to your camera and film stock's limitations. Your Canon 514XL-S will probably work just fine if you simply adjust and set the eyepiece correctly. You can then be sure to focus your close-ups with care. I often lazily pop on a Canon C-8 43mm wide lens attachment on the front of my 514XL-S, as everything from about a 5ft to infinity is then in focus. :)

GREAT footage! Why is everyone seeming so utterly obsessed with grain reduction at any level though? For me, part of the joy of shooting Super 8 is the obvious film grain; as it has such a distinctive look. In this 1080 HD and soon to be 4K UHD obsessed world I honestly find a bit of film grain quite refreshing. There's often nothing finer than watching some three minute grainy mini-masterpiece, shot hand-held on Tri-X, with the odd highlight blowout. I'll gladly take that over all the countless hours of pin-sharp 4K, smoothly Steadicam operated, perfectly colour balanced footage shot for work.

I really like the film grain!

I have shot well over twenty narrative shorts (over half are sync-sound) on Super 8 in the past twenty years but none are to be currently found online. I will have just a few clips and edited highlights online soon (from a new HD telecine), though I am incredibly reluctant to share for free what I usually screen as part of my exhibitions, installations and live performances. I have always worked professionally on commercials, music promos and documentaries but my own experimental work now remains archived and catalogued at my elderly parents' house near Brighton (I sadly have no room for it all in my own home in London). It's all carefully stored away inside trunks and cupboards crammed full of all my old sketchbooks, notebooks and literally hundreds of props & costumes in their attic. I had kept in contact with the local artist and experimental film-maker Jeff Keen (who died last year) and I could see how rewarding it had been for him to immerse himself within the creative process of film-making itself. We usually just drank tea and discussed comics, toys, Sci-Fi films and pop culture together, rather than filming techniques and cinematography. Though we did sometimes talk about our own ideas and I would very occasionally pop round to his flat in Hove (which was his own Aladdin's Cave of a film archive) and show him my latest short films that were usually dumped onto Hi8 and later DVDs. Jeff always used to exhibit his own 8mm, 16mm and Super 8 films around Brighton & Hove (often at home) and via the London Film-makers' Co-op. He told me how rewarding it was to put on your own small screenings and as such I've followed suit. In this age of free downloads and streaming online, I like the fact you have to come to one of my own screenings/installations or sit in a film festival to watch one of my Super 8 & 16mm shorts. My own film-making is quite personal and small-scale but is still certainly made to be shared through exhibition. I liked to follow Jeff's mantra of "go off and play" when preparing for a shoot with my friends or creating an inter-active screening with my Brighton based contemporaries. It's first & foremost FUN!

Very nicely done Dom. I've only repaired the odd B&H Filmo, so it's interesting to see how similar the Eyemo actually is.

Nope, those cameras all sold months ago! These are all newly serviced & tested examples. :)

Certainly well worth all of the effort, great work! B)

All fully serviced by a qualified technician and all are carefully film tested by myself. Smooth operation, excellent cosmetic condition and crystal clear lenses. Braun Nizo 6080 Matte Box Kit - £299.99 GB Pounds Minolta Autopak-8 D6 - £79.99 GBP Yashica Electro 8 LD-4 - £59.99 GBP Canon 514XL-S with C-8 Wide Lens - £99.99 GBP Payments accepted via PayPal and shipping prices are not included (charged at actual cost). Please just contact me for all the details. Bill :)

It's a fine lens for all-round filming. Not quite as sharp as the 1014 XL-S's lens but it has a smoother zoom and the camera as a whole is one of the best for Super 8 productions. It's also very quiet during operation, which can be really handy.

Yeah, that's a Braun Nizo 6080. I really like the lens on the Canon 1014 XL-S but the lens on the 814 XL-S is actually slightly sharper. Same goes for the Nikon R8 having a sharper lens than the R10.

Canon 67mm C-8 Wide SOLD!