J. Winfield Heckert

I think the guy who founded NFL's had planned to continue to shoot in 16mm for the foreseeable future, he said 16mm is what gave NFL Films it's "Look". He passed away in 2013 and NFL films stopped shooting games on film after the 2013/2014 season. A buddy and I just purchased the last 44 rolls they had in the fridge. so no more "FILM" at NFL films. Damn stupid if you ask me, who knows how they will manage and archive all the footage they shoot. It was a built in archival format and they are the NFL's archive. They had a really nice facility in Cherry Hill NJ and it was great to just walk in and drop off a roll and come back a few hours later and it was processed and transferred. I worked on a NFL films commercial in 2012 and the DP said it was an odd shoot because they were shooting in S16mm, he said other than the NFL content everything was digital at that point.

In my American Cinematographer Manual on page 186 there is a Depth of field calculator, that will help you determine what will be in focus. It looks like a 9.5mm lens at 5.6 with the focus set at 4ft, everything 1ft 10in to INF should be in focus.

I don't think it's an odd way to look at it. I'm just pointing out the economics of it all. Yes you can find a Super8 camera that works for less than a roll of Super8 film, however the key is finding a good one, I've bought at least a dozen Super8 cameras, Some didn't work from the get go others worked for a few months and then died, ironically the cheapest one with no manual focus, exposure or frame rate controls is the one that produces the best results. I have a Beaulieu 5008 which runs like a well oiled sewing machine but the multi coated Angueniex zoom which should deliver a really great Image, only produces completely out of focus footage despite, being sent out to be repaired twice! Not to mention all the test rolls I wasted checking to see if it was repaired correctly. As you pointed out this is what happens when you try to get fancy with super8. The 100ft loads of 16mm I've shot deliver exactly 3mins of footage 2:59 or so. The Super8 carts Deliver 2m 30sec Why? I don't have that answer. So you lose 30 seconds in my experience shooting with Super8. So say you want to shoot 15mins of film in either 16mm or Super8 B&W tri-x Reversal, process and HD transfer at Cinelab. It will cost you $320 for 6 rolls of super8 or $400 for 5 rolls of 16mm. Super8 is only $80 less than shooting in 16mm, its a negligible savings IMHO. I waived the lab minimums in this example. Direct from Kodak: 6 rolls of Tri-x Super8 at $20.42 = $122.52 5 rolls of Tri-X 16mm at $38.04 = $190.20 Cinelab.com 6 rolls of Super8 processing 18.00 x 6 = $108 500ft of 16mm x .20 = $100 Cinelab HD transfer 300ft of Super8 x .30 =$90 500ft of 16mm x .22 =$110 6 rolls of super8 = 15mins of footage 5 rolls of 16mm = 15mins of footage This example is based on my geographical location, worldwide results may very. It does not take into account any look or feel Super8 may provide over 16mm. I still like shooting super8 and will continue to use it for home movies and silent films but the price gap between Super8 and 16mm is far smaller than I recall it being years ago.

I should mention that Kodak gives a nice 33% discount of motion picture film to students. Also some labs do as well. So now while your a student is the best time to experiment with film. Overall it has never been less expensive to shoot film. Quality cameras a very inexpensive now and scanning prices are far less than what they used to be.

I've just taken a hard look at the cost of Super8. Super8 stock is kind of pricey for what it is. 50ft of super8 Negative is $26 and 100FT of 16mm Negative stock is $46. the 100ft roll of 16mm if sliced down the middle has enough film to produce 4 carts of super8, yet it doesn't even cost twice as much. It would cost $104 to purchase 200ft in Super8. So in terms of how much Film "real estate" your buying Super8 stock cost is more than double the price of 16mm. Processing 200ft of Super8 also cost 3x as much as a 100ft roll of 16mm and Scanning rates per minute are about the same or a little more for Super8. You will get a longer run-time obviously but at the sake of image quality. There are other factors that make Super8 appealing, like portability and ease of use but 16mm is a better deal cost wise and Super16 far better still. I produced a 8min Ultra16mm B&W negative film in 2013, After 500ft of Fresh B&W negative stock, processing and HD telecine it cost a little less than $500 total. It would cost about $300 to do the same in B&W Reversal Super8 today or $325 in color. I like being able to project super8. Its great for home movies but I'm running low on Kodak 100D :( 400ft in 16mm raw stock is $176 and 35mm $316 a little less than double.

Being a fan of British comedy/Sci-Fi etc, I'd give this a watch.

I don't know of any, my SR book doesn't mention any such button or accessory. Simple answer zoom in to focus or use a tape measure from the film plane. It's marked on the side and might have post to hold the tape measure.

I have an sr2 and would recommend it, at 2k it's a good price. It's 12v so a bescor battery belt is under $100 and with the pl mount there is modern sharp lenses that you could rent or borrow. I have a B mount angenieux 15-150 converted to pl that held it's own in a lens test I did up against a set of Cooke mini s4 lenses at f4. The Aatton is nice but your still going to need a lens and the Aaton mount is less common than PL. It depends on your budget but you can't go wrong with an SR2. NFL films shot over a million miles of film on they're SRs!!! I saw a set of visual products ultra T primes in PL mount sell for $800 on ebay last week thats just crazy!

Bleak future is the only full length feature I know of shot entirely on super8. It was shot on sound film, and the original release was the on board super8 sound. Kodak actually stopped making sound film shortly before they finished shooting. The film was digitally remastered for DVD later on and dubbed. It was a great little film and I think the grainy reversal stock and low ifi audio helped sell the wasteland post apocalyptic feel they were going for. http://www.bleakfuture.com Sync sound and quiet cameras always made 16mm a better choice for a feature but I've found plenty of projects where super8 fit in real well.

The only thing I could think of is content. I have a box of VHS titles that aren't available on DVD or aren't worth buying again so I've kept them. aesthetically I was never fond of the picture it produced. I liked laserdiscs however at this point both tapes and discs from that age are degrading. It had a watchable first generation picture on the 19-27 inch TVs of the time period but DVD blew it out of the water. I think super8 was a better home movie format, VHS let you record way too long with no great way to edit it down which is why we have 18+ hours of family vacations and family gatherings that I better start copying to digital soon now that I think of it

Your going to the wrong theaters. Megaplexes hardly count as theaters anymore they are a joke. I went to see Hateful Eight 70mm at UA Riverview in "IMAX". The screen was not masked, showing the edges of the frame, scratched 2 day old print and the lower half of the screen was completely out of focus. I was so pissed I had to drive two hours to see it at the AFI Silver in Washington DC, which had a flawless presentation, masking, focus and scratch free print. They even had a projectionist performing change overs and they closed the curtains during intermission. I have too great theaters near by The Colonial theater which plays Art films and has a great cult cinema program mainly shown on 35mm and the mahoning Drive In theater which only shows 35mm retro films!

The trailer for my student short I used shots that didn't make the final cut. My thinking was well I paid for the film and the shots looked great why not find a use for them even if it didn't represent the actually film being shown. Another short film I did I made an accidental double exposure. I had the camera running in Retour by mistake. It was a shot of A criminal peering through a wooden fence superimposed with a red police spinning bubble lamp. It didn't fit in the movie but looked awesome in the trailer.

Well you would want to get the camera in sync with the projector, to control the speed. Your camera will be crystal locked at 24 but the projector speed will vary up and down. I only know of syncing projectors to video, and then you use a 5 blade shutter. But even then the image brightness varies.

Bloomberg Reports C-mount mount 4K scanning and $1000 pricetag. they have a little video about it too. http://www.bloomberg.com/news/articles/2016-01-07/new-kodak-super-8-concept-camera-first-look-video

I've seen some of the newer LED Bulbs Rated at 2700 3200K and 5000k varieties, with edison sockets.

They grabbed alot of media coverage, hope they can roll this camera out by summer or in time for Christmas.They could go far with this!

Pro8mm In CA, will repair it. http://www.pro8mm.com/Merchant5/merchant.mvc?Screen=PROD&Store_Code=01&Product_Code=REPAIR&Category_Code=cammod In New York contact Bernie at Super 16 inc. http://www.super16inc.com There is a guy in New York, NY Abby something but I'd go to Bernie first.

I think this is just awsome! and a at $500-700 price range I'm onboard. Way to start 2016!!!!! I really hope they offer a color reversal again. The 100D stock was beautiful. The AGFA stock is a great option, I've captured some decent color at sunset but overall its very grainy in super8. Sign me up take my money!!!!!

Anyone have a picture of a K-3 Gate that's Been modifed to Ultra 16mm? I have a buddy who's a machinist who's willing to try and modify the gate. Not sure how to machine around the sprocket pull down claw. This is purley for fun just to see if we can do it.

I have the Kodak Motion picture app on my phone, It has a function that finds the closest lab anywhere in the world.

It would only be used to power Incadencent light, However I just found out I have 2 curcuits with in 150ft of the location. 15amp and a 20amp, and possible power from the neighbors house thats even a little closer. The location is a quarry that will be lit to look like the interior of a cave. so the Genny may just be a back up.

I have a Northstar 13000 ppg generator. It has a honda motor, and provisions for 220/110 hook ups. It will power a whole house and is rated to power computer equipment. I want to know if it's suitable for film lighting and if it will surge or flicker at 24fps or higher rates to film slow motion. I know they have generators for film lighting but if this works I'd like to save the rental money. I know it will be loud. I shot a some test footage, with it powering the lights but need to finish the roll and send it off.