Joerg Polzfusz

Hi, you should have sold your cameras before Kodak announced to discontinue the E100D. Since then the prices on eBay are down to 50% or less (compared to the prices in early to mid 2012). Beaulieus: Pro: removable lenses, quartz-sync'ed, film's ASA can be set manually; up to 80fps; integrated interval timer; ... Contra: The Beaulieus are rumoured to break more often than other cameras; Super8 Dimensions: 87 x 157 x 298 mm Weight: approx. 1000 g (body), 760 g (Beaulieu lens), 800 g (Schneider lens) Canon: Pro: integrated interval timer; tons of automated features like fading... Contra: Fixed lens; film's ASA can't be set manually; not quartz-sync'ed; max. 36fps; Super8; shutter can only be set to 150° or 220° Dimensions: 59.5 x 113.5 x 264 mm Weight: 1990 g (Body only), 2100 g (Including batteries) Fujica Pro: Single8; removable lenses; up to 72fps Contra: Single8 film is more and more difficult to buy, film's ASA can't be set manually; not quartz-sync'ed; interval timer only available as an external, optional device; only manual exposure Dimensions: 80mm x 316mm x 120mm Weight: 1980g (with "default lens")

Thanks. I know the formulas and reasons behind the problem. Hence my only question was whether all the C-mount lenses are listed with their real values or whether there are also C-mount lenses listed with "converted" values that are "equivalent to the 135 photo-format" or "equivalent to 16mm/9.5mm/Super16mm/Super35mm/65mm/IMAX/whatever".

How do you compare these "mm"? E.g. my Digicam says "24-384 mm". But that's only "equivalent to the 135 photo-format". In fact it's 4.3-68.8mm. So when these 1.9mm are also only "equivalent to the 135 photo-format", this would equal to something between 11.4 and 12.35mm for Super8/Single8/DS8. Hence my Fujica ZC1000 (with EBC FUJINON SW 1.8 / 5.5mm) or my Nizo 4056 (7-56mm) or my Canon 310xl with UWL (approx. 5.5mm) would be much wider (and cheaper).

You can also use a clamp like this to add a filter thread to your camera's lens: http://www.ebay.de/itm/ANAMORPHIC-LENS-FRONT-FILTER-CLAMP-72mm-SANKOR-KOWA-ISCO-SINGER-ZEISS-MORE-/300753876429?pt=Camera_Filters&hash=item460653f5cd http://www.ebay.de/itm/ANAMORPHIC-LENS-CLAMP-SANKOR-KOWA-ISCO-SINGER-MORE-/300583596625?pt=Camera_Lenses&hash=item45fc2db251 http://www.ebay.de/itm/ANAMORPHIC-LENS-CLAMP-KIT-KOWA-SANKOR-SINGER-ISCO-/300569782054?pt=Camera_Lenses&hash=item45fb5ae726 However you would still need some "lens support" as the Isco would be too heavy for such a clamp.

Andec also offers video to 16mm negative, but only without sound: http://www.andecfilm.de/html/video_to_film.htm

Unfortunately not. Even though it's polyester-based, it's nearly as thick as most acetate-based film-stocks.

Hi, these cameras really exist and have been shown in the "schmalfilm"-magazine several years ago. However it's not a 200 ft magazine! It's "only" an adapter to use Single8-carts in a Super8-camera. And they "only" have been created because Fuji continued to produce pre-striped versions of the R25N and RT200N after Kodak discontinued all its pre-striped sound-films in the mid-1990s. (Unfortunately Fuji axed its pre-striped versions a few years later, too, and discontinued all Single8-film in 2010/2012.) Jörg

Yes. It's okay for "converting" from PAL-DVD to 720p, but not for converting to PAL-DVD to 1080p. However in your case a combination of shrink and squeeze might be best: converting 1440x1080 to 1920x960, then adding black bars to top/bottom might be best.

Hallo Rudolf, es gibt auch ein deutschsprachiges Forum ( http://www.filmvorfuehrer.de/forum/13-schmalfilm/ ), auf dem man manchmal trotz einiger Trolle sinnvolle Antworten bekommt. To answer your questions: 1) You can still get Ektachrome 100D (reversal) from Wittner-Cinetec.de. If you want to try negative, I would recommend Kodak Vision 3 50D and 200T. 2) So far I never told the transfer-guys that my material is anamorphic. Instead I simply reduced the height by factor 2 myself in the video-editing-software (<- I'm mainly using 2x anamorphots). This way I'll also get an anamorphic video that can be screened with a beamer and matching anamorphot. 3) I don't know your lenses or the Leicina. But when you only want to shoot 2-3 cartridges and when you unscrew the Isco between the takes, it shouldn't cause any problems. However when you're going to use it more often and for longer scenes, you should think about getting a lens support. Before buying the smaller Iscomorphot and/or the Möller, keep in mind that you'll end up having to focus both the camera and the anamorphic! Only the Iscorama 36/42/54 support the "setting the camera to infinity and only focus with the anamorphic". And even worse: unfortunately approx. 10 years ago some of the video-guys discovered that the Double8/Super8/16mm-anamorphics can also be used on some/most video-cameras. Ever since the prices for anamorphics are rising and rising... Jörg

And of course there's the LomoKino :D (but it's only 2-perf at 3-5fps :blink:)

Hi, if you want to test your camera before trying to get a battery holder, then why don't you simply attach an external power source? BTW: there are tons of different battery-holders as spare parts for R/C cars. DIY electronics, ..., e.g. http://www.conrad.de/ce/de/product/615587/ ...maybe you should visit one of the stores and ask them whether they've got a matching holder? I would try http://www.super8film.at/en_index.htm , http://www.kinotechnikrinser.de/ etc. as they've also got spare parts. Jörg

The internal filter can only be used for tungsten balanced films when shooting outdoors with sunlight. When you've got a daylight-balanced film and want to shoot indoors with "artificial light", you can't use the internal filter. (And this is not due to the design of the Super8-camera, but due to the "design" of the film!) So you'll have to put an "external" filter in front of your lens. In most cases you'll need a Wratten 80A. However this heavily depends on your actual light source and your film. Example (quote from the "technical data" for the KODAK VISION3 250D Color Negative Film 5207 / 7207):

Hi, I just stumbled across these remotes: A pistol grip to be screwed into the tripod mount (might be suited for compact cameras like the Agfa Microflex-series. Unfortunately I haven't seen any cable that is suited for the "electrical remote"-connection found at Super8-cameras.) A remote triggered by a smartphone (same problem related to the cable). A wireless remote triggered by a smartphone (same problem related to the cable). Jörg

Yes, when the automatism is still working correctly, then you don't need to use the key. When your camera shows the "calculated" f-stop you can simply test this by mounting the camera onto a tripod. Without any film or with tungsten-balanced-colour-film inserting the key should have an obvious impact on the f-stop. With b&w- or daylight-balanced-colour-film, the key should have no impact.

There's an English manual for the 518 without "SV" (predecessor of your camera with some minor differences) on super8aid: http://www.super8aid.net/

Hi, that "metal tool" is most likely the filter key: http://apecity.com/manuals/pdf/canon_autozoom_518sv_camera_brochure.pdf Jörg

160asa daylight (as there's no 200asa in the super8-standard)

Yes, cameras that "know" all ASA-rates defined by the super8-standard for the notches are one part of the problem. However the cameras' iris is another part of the problem: e.g. the iris on my canon 310xl can open/close from f/1.0 to f/45. But my Elmo super 103's iris can only close from f/1.8 to f/16. Hence I can't use the Ektachrome 100d in the elmo on a sunny day simply because f/16 isn't "closed enough" (and I haven't got a matching ND-filter to compensate this).

Even thought the camera is old: 1) every film above 100 ASA is grainy or extremely grainy in super8 2) there's no notch for 200 ASA in super8. Hence the b&w stock got most likely exposed at 160 ASA (which shouldn't be a problem) 3) even though 250d is possible as a notch in super8, there are some cameras that don't correctly recognise this notch. Not sure whether this is true for your Nikon... 4) 250d is a lot on a sunny day - maybe it was more than your Nikon was able to handle?

The default way was to use blue filters (e.g. 80a) and to underexpose by one stop. However there are now specialised filters for this task: http://en.m.wikipedia.org/wiki/Day_for_night http://www.tiffen.com/dayfornight_pressrel.html

Hi, I'm away from my revere-16mm-camera with its two scales. Hence I can only guess that its b&w-scale was for 25ASA, while its colour-scale was for 16ASA... Jörg

The difference between E100D and TriX@160ASA is 2/3 stops. Hence your "about half a stop difference" makes sense.

When the camera's manual says that it can expose the old Tri-X correctly, then the camera should also be able to expose the current Tri-X correctly. (As the only difference between the two Tri-Xs is the reduced grain in the newer version.) However there might be one problem when shooting outdoors: Using the Tri-X in an XL-camera on a sunny day would require the camera to close its iris to much more than f/16 (e.g. f/22, f/32 or even f/45). Hence many of the XL-cameras can close their iris to f/32 or f/45. However there are some cameras that can't and where f/16 or f/22 is the limit. And I don't know whether your Kodak-camera belongs to the first category or to the second.

Hi! The super8-cartridge is "notched". The size and amount of notches informs the camera about the type of film and its ASA. More info: http://www.peaceman.de/blog/index.php/super-8-notch-ruler-new-and-improved And http://super8wiki.com/ Jörg