Shane C Collins

That's correct! On sunny days I'm seeing between F8 and occasionally F11, which is very acceptable and yields nice sharp images!

I used epoxy to mold the piece I needed to fit in the carts notching area. The piece hardened after a few hours, and was usable after that. I store the piece in a small container. When it's needed on the Elmo Super 110 I insert it into the cart. I'm including a photo and drawing I did. The red indicates how the piece fits into the cart. I don't have a cart to use at the moment to show you how the actual piece works, but this should help explain it! I'm also including a photo of the cartridge notch ruler I used as a reference to find the proper position for 64 ASA. That's the speed I'm using when filming. As you can see, the 64 ASA notch is just above the notch used for 100 ASA. I simply needed to fill this area in, or in my case have an insert that pushes the 64 ASA pin inside the camera. I did have to test the epoxy piece before it hardened. I believe I did need to remove a small portion so it pushed the correct pin. Once I was satisfied the camera opened one stop, I let it harden.

My conclusion, Kodak simply overrated this films ASA. The sweet spot seems to be between 64-80 ASA. This makes 7294 the best color reversal to date, with the ability to overexpose and get perfect results! Its latitude is quite high for a reversal stock. But, as I mentioned above you must use caution on bright days and use a ND filter!

I wanted to add to my above post: One thing I noticed back in 2018 when Ektachrome returned, was underexposure. My first cart shot in the 110 was very dark projected. And this is a camera that has always had a very accurate auto exposure. In fact, I had just shot some Tr--X at the time back then. That film was spot on exposure wise, so I knew it wasn't a camera issue. I began researching others experiences with 7294. Now remember this was the first year it came out, so there wasn't much posted about it at the time. However., I was able to find a post at a forum dedicated to still photography. Someone at that time mentioned their experience with the latest Ektachrome. They went on to say their returned stills from the lab were very underexposed at 100 ASA or box speed. So I decided to try overexposing my second cart of Ektachrome Super 8 by one stop. When that film returned from the lab it was perfect on the projector. Suddenly those muddy contrasted and dark scenes were brighter, but not too bright. And the sharpness of the films were perfect! That one stop of extra light, and a ND filter on bright days, transformed my Super 8 films. I've shot every cart this way since then with excellent results! I've shared this many times over the years here, and on other Super 8 forums. Other shooters have commented this fixed their issues with underexposure.

So here's the basics of what I do when shooting modern Ektachrome! Before I explain, I must address the fact I made a notch sensor when using the Elmo Super 110. That camera does not have a backlight control to open the exposure. On cameras that do I use the backlight function, I simply use that when filming with 7294. In order to make the Elmo Super 110 accomplish this, I crafted a small plastic piece that fits in the notching area on a Ektachrome Super 8 cartridge. When the cart is inserted into the camera it pushes the pin for 64 instead of 100 ASA. This gives me the 1 stop overexposure while filming. You asked about using a ND filter. I use a X4 which reduces the exposure by 2 f stops. I simply screw the ND filter on the front lens of the Elmo Super 110. I only use this during sunny weather or while at the beach! The method I mentioned above works in conjunction with the ND filter. Another words, I am applying the extra exposure from 100 ASA down to 64 ASA, and the ND filter at the same time. If your filming on a sunny day or at the beach, you simply can't just open the exposure without some shades so to speak. The shades being the darker lens of the ND filter. The camera's auto exposure will compensate when using the ND filter. So even though I'm adjusting the exposure by opening up 1 stop, I'm also making sure I don't overdo it in sunny weather. This same method applies when using a camera with a backlight function. I hope this helps answer your question. It's all pretty simple, but I've been filming on Super 8 for the last 20 years. I've learned some tricks along the way that add some extra elements to my films, that being contrast, and sharpness.

One camera that didn't make this list, but should have, is the Elmo Super 110. This camera has an absolutely stunning, and sharp lens! My current Ektachrome Super 8 films (7294) shot on this camera look very sharp with good contrast projected! This is one camera that is underrated in my opinion. Note: When shooting modern Ektachrome color reversal, I always apply one stop more exposure, along with using a ND filter. This combination has worked great for my projection needs! The films end up with better contrast and sharpness.

Again you are wrong! My audience, family and friends do like the aesthetics of Super 8. In fact they like that it's sharp but has that dreamy feeling at times depending on the scene being shot. They also like the sound, and smells from the projector running in the background. Projecting Super 8 can be a rewarding experience, and for me it also holds some nostalgia as well. I grew up watching myself on Super 8 from my uncle's film collection. So it in a lot of ways holds special meaning to those of us that remember it from childhood. If you can't get some sort of feeling from film why shoot with it? Plus Super 8 was always intended for the home movie market period. Remember it came out in 1965 proceeding Standard 8 another fun format. I think the problem nowdays is people loose the reason why they decided to shoot on Super 8 or any film format. It's got to be about fun not always the technical sound. Over the years I've learned how to get Super 8 to look good, and it comes with practice, and a good eye. But I never loose site of why I'm filming with Super 8, and that's to preserve special moment with friends and family. Moden Ektachrome works well for what I need out of Super 8. And it certainly has the right amount of low grain, resolution, etc. As I've mentioned many times here, and else where 7294 needs more light. Once you adjust it's a stellar looking stock! OK I'm done with this conversation as it's turning into an unwanted battle.

I'm not sure of the shutter angle for this Elmo model. I always open up one full stop when shooting modern Ektachrome with this camera. The results projected are fantastic! This stock needs a bit more exposure to look it's best. It really becomes much sharper with better contrast as well. I do also apply a ND filter when allowing more light to hit the film. This approach works well with the Elmo Super 110.

That's a very nice camera! I have a Minolta Autopak 8 D6 that I use from time to time. The Rokkor lens is very sharp with nice contrast.

Well all I can say is you must be using junk cameras, and projectors because that has not been my experiences at all. I would not consider the Elmo Super 110 junk far from it. Nor would I say my Eumig projector was junk. Built from solid metal, and with precise gates, and removable sprockets for Standard 8 and Super 8. Dude you really are beating up on a format that is a joy to use, and view! I'm only stating my experience with it! Super 8 has lots of potential you just have to know what your doing to get good results. It sounds like your not using the format correctly. I honestly never heard anyone beat up on it as much as you sorry dude! It's not perfect but it's magical when you keep things in perspective. Super 8 was never intended to compete with 16mm or 35mm. But many of us love it for it's dreamy quality, and vintage look.

I've shot a lot of Super 8 over the years, and have come to the conclusion there's two important things that can make or break Super 8. The camera's lens, and the projector's lens if you're watching your films this way. The last 5 or so carts of Ektachrome 7294 I've shot have all come out beautiful, and sharp. If you haven't seen Ektachrome on a good quality projector with a good lens your missing out. My go to camera these days is the underrated Elmo Super 110. This camera produces some beautiful images. The projector I am using is the classic Eumig Mark S 709 using a Eumig Suprovar 1.0 zoom lens. No digital transfer I've ever seen online comes close to the original images as seen on a projector. My Super 8 home movies look high quality this way. However I do keep the projected image smaller 3 feet by 3 feet on the silver screen I am using. This further enhances the Super 8 image. If you blow Super 8 up too big it begins to lose its quality. I also find if I keep my subjects close to medium while filming, that helps with sharper images on screen. Super 8 is really a close format and not meant for landscapes. So if you haven't projected color reversal on a good classic projector your missing out for sure!

My way of editing, and splicing film is a bit unorthodox to say the least! So I've been shooting and editing Super 8 for about 18 years now. My go to film is Ektachrome (7294) color reversal for home movies. I mainly use it to shoot vacations, my 3 year old son, and various family outings. I am also a purist when it comes to projecting Super 8 only! OK so my way of editing, and splicing Super 8 is not using an editing machine. Nope watch the film first, then make mental notes as to what I will keep, and what gets cut out. I then place the film on my editing rewinds. Film is placed on the right reel, this puts the film in the same direction as you would on a projector. The splicing block is placed in the middle of the left and right rewinds. Take-up reel is placed on the left spindle. I run the film from right to left, and while doing so I use the flashlight from my phone to illuminate the film as it passes by. I also have a spare projector lens so I can look at the images close up as needed. Once I get to the part of the film I want to cut I do so with the splicer. I then flip the film coming from the right so I can remove the emulsion. Once the emulsion is removed the film is re-positioned in the splicer, sprockets facing me. I then do the same for the film on the left side of the editor. After both pieces of film have been scraped and cleaned I make sure they are secure in the splicer and ready for some glue. Now I also use another unorthodox way of gluing the film together. I simply use some Gorilla Super Glue. Yep that's right good old fashion super glue, and it works! I first squeeze out a small drop onto a piece of cardboard. I then use a toothpick to get a dab of glue on the end. I apply the super glue to the film piece on the left, and then bring down the other section of film on the right, and clamp both pieces together. I wait about 2 minutes, and then un-clamp the film and allow another minute or two for it to air dry. I then check the splice for durability, and if all is OK I move on to the next section of film to be edited. I've been doing this method for many years as I mentioned earlier, and it works well! The film is free to move and it's easy to edit this way. This method might seem strange but it's never failed me after 18 years. And I'm happy to report splices I've made after all these years are still holding.

You're very welcome! Glad to hear you also use, and project 7294. Some don't care for it, but I really like it! I've come to enjoy the colors, contrast, and the sharpness. I definitely think this version of Ektachrome is much sharper than 7285 from the past. Although I liked that film overall, but feel the current stock is far superior in many ways. I believe if more people understood how much latitude it has they would maybe like it more in the end. Although it seems to have a good following. Lately when I've tried to order from FPP it's out of stock. That would seem to indicate people are buying it up! So I'm curious, do you shoot this at box speed? If so what has been your experience with it projected? Also keep in mind if you decide to increase exposure +1 be sure to also use a ND filter at the same time in bright conditions. I say this because you can "burn" the exposure a bit if you don't give the lens a pair of sunglasses!

I know this post is about Tri-X but here's something to consider when shooting the modern Ektachrome 7294 color reversal. I've been shooting this stock since 2018. My first cart shot at box speed (100 ASA) was way underexposed. I used an Elmo Super 110 that has always been spot on when using the auto exposure. So for the second cart I decided to increase the exposure by 1 stop. When that film came back from the processing lab, and was projected the exposure was perfect! Color, sharpness, and contrast were all top notch! So I've been exposing 7294 at +1 ever since. I've also been using a ND filter when filming in bright conditions. Many will say it's my camera's, but I'm here to tell you modern Ektachrome is not 100 ASA but more like 64-80 ASA. I think Kodak produced this film with a higher latitude in mind, or maybe they formulated it a bit on the conservative side exposure wise. But once you find the sweet spot with 7294 it's a beautiful stock projected.

One thing that not many Super 8 users talk about today is the art of projecting film. I've been shooting Ektachrome since 2010. First with 7285 and now 7294. The latest stock is excellent on screen. No digital transfer will ever look as good as the camera original, and that is a fact! Everyone pushes for negative stocks but never reversal. If you've never shot or viewed a current Ektachrome film on a decent projector you are not seeing Super 8 in its best intended look! I will say this I've obtained some images from Super 8 that almost look as good as 16 mm with cameras like the Elmo Super 110. Then watched these films on a Eumig projector using a prime projection lens! Wow is all I can say, there's nothing like it! When I see Super 8 uploaded to places like YouTube I am usually not impressed with the results. Sure there are some exceptions but they never look like the same images I see on a projector in front of me in a dark living room. I point these things out because the true magic of Super 8 has always been it's ability to transform itself on screen with great sharpness, contrast, etc.