Will Montgomery

Yes, but the point is a 1970 Beaulieu Super 8 camera costs about $200 today and is still a great camera. I'm very glad this new camera is being built and I applaud all the work that has gone into it. It really is a dream camera for Super 8 enthusiasts. But I will be very interested to see how it sells at the price point they have to sell it.

The advantage of those lenses is that the camera will be very light and easy to use. However, it is really not that sharp compared to the stock lens with the 4008. Since those lenses are so inexpensive I would suggest trying it for fun. When you spend the money on such a good Super 8 camera you usually want a high quality lens with it otherwise you could have bought a $10 camera.

They're keeping it alive in Dallas for now, I think they run a batch every other week or so, not everyday unless you have a project that needs it; then they'll run as needed.

Serious Gear in Seattle converted my 1.8 10-100 Zeiss to a 2.2 12-120 last year. It's a very tricky conversion and difficult to get it perfect but it's probably my favorite lens now for Super 16 film and my Blackmagic Pocket Cinema Camera. Not cheap but probably can be done for a little less than listed on his site. It's major work; not just slapping on an adapter...takes a lot of time and adjustment. Here's a photo of the 1.8 converted... Not sure if the T3 version is often converted to S16 or even possible. I have one of those too and love it; incredible glass even if not all that fast. Charles Pickel is a member of this forum and owns Serious Gear, he'll be able to tell you if that conversion is possible; if not by him he'll know who can do it. Here's a link to the website which has contact info. Not sure if he'd want his email public so just pick it up there or call. Serious Gear Website

I like the idea of the PL mount and the ability to rent the best glass in the world but not sure how practical it is. Somehow I've been able to avoid EF lenses. I was always a Nikon still camera guy and of course Canon kicked Nikon's ass in the early digital days (but they're doing great now). I have a PL mount on my Arri 2C, SR2 and Blackmagic Pocket Cinema camera but very few lenses... just some old Arri Standard Mount lenses with PL adapters and a decent Zeiss 12-120 Super 16 Zoom.

Just want to let everyone know that there's a little lab in Dallas, TX that is still processing 16mm and 35mm negative stock. It's Filmworkers Club's Astrolab. Please keep them in mind if you have a project in the area or don't mind shipping film. I don't work for them, I just want to see them keep processing film! I never hear much about them on the forums so I thought I'd put in a plug. We still have a bunch of great labs across the country, don't want them to be left out!

On the first photo you can see it set to 24.00 and the readout showing 24.01 and the footage counter is "22 feet". The sync light goes OFF when it is in crystal sync. The next photo is my Steve's Cine modded Arri 2C and you can see a similar setup there. Third photo shows a similar spinning disc that is on my 2C but not on my Eyemo. Every modded camera is slightly different and were built specifically for whoever ordered it plus I'm sure the design evolved over the years as well. Hope that helps!

Ted, As you know, we have the same Steve's Cine Mod Eyemo. I believe the smaller plug above the 4 pin XLR is a power out connection for accessories...I've never needed it. The white button should show the film count in feet when pushed and the red one resets it I believe. (play around with it and you'll see) I think normally it is showing the actual film speed and when pressing the white button it shows how much film you've shot since you reset it. Helpful to know how much film is left. Obviously you set the film speed down to the 100th on the mechanical number pad so you can dial in very precise speeds. I've had no problem up to 48 FPS and I may have even gotten it up to 60 but go carefully at higher speeds (plus you'll shoot through 100' in 20 seconds!) The little spinning thing shows the motor is running but I believe it can be used as a manual film advance if you need it for some reason...maybe to check your loading. This is a great camera, I'm glad you landed one! Steve is retired out in Vancouver but he built some really great cameras!

I sorely miss Kodachrome, and Ektachrome 100D did look great, but 50D negative is an amazing stock for Super 8. If your thing was actually cutting film and projecting I feel your pain. If you were transferring and editing on computer it's still a great time for Super 8. That being said there is something freeing about getting rid of things, especially before a big move like that so I applaud your strength in letting go. You can always pick up another camera down the road (probably for less money!) if the format is still viable a few years from now.

With 35mm cameras so incredibly cheep these days to purchase, the film purchase costs might be what you used to rent a camera for on a whole film...so while still expensive it is much less than it used to be. Plenty of labs will make good deals for you including scanning so I'd encourage small film makers to at least investigate the possibility.

It's not Texas...hmmm....

Do some searching under K3 on this forum and you'll find a ton of threads. K3 is great to get into 16mm with. Like Joseph said, it's hit & miss on quality however so if you are lucky you'll be in good shape. Look for Pentax Super Takumar m42 mount lenses to use with this camera. They are fairly reasonable these days and work great on the K3 even in Super 16. Keep your eye out for a re-centered mount on eBay or through Russian camera shops. Someone was selling them 5-8 years back and they make it easy to do a true Super 16 conversion with a re-centered mount. Bernie at Super16Inc.com and Du-All camera in NYC are both good places to have your camera worked on. They can widen the gate for Super 16, widen the viewfinder if you like and Bernie does an amazing jaserbrighten process on the mirror that makes the K3 viewfinder MUCH brighter. I highly recommend taking to him about that. Most people seem to like to remove the film guides right away, they tend to scratch the film and cause jams frequently. Just have to make the film loop yourself; easy once you do it a few times.

Opening up the floor...quite a few announcements last year...wonder what the latest thing will be. Hoping for: Film Scanner release 2.5k upgraded chip for Pocket Cinema Camera or new camera with Super 16 sized sensor

But the lasergraphics scanstation isn't in the same price range, is it? I thought they were $100k+.

Just buy another one. In fact, buy a few so you have backups. I have about 6 Canon 310xl's so I can hand them out to people to shoot at events or have the kids shoot if we're on vacation. I have 3 Beaulieu 4008's too. Never know when one is going to fail so just keep a few around. They are so cheap at garage sales and eBay you're better off buying another one then trying to service them. (except maybe the Beaulieu's where Bjorn can make them better than new).

I have this lens, and with the Metabones adapter it is a really good option. The only plus I see to some MFT lenses is the autofocus which is of course, not that great anyway. Sounds like I should spend a little time with my rental house and figure out the best PL lens options and probably do some testing. It will need to be very wide for the interiors without the Metabones speed booster. I have some tests with PL lenses and the BMPCC I did a few months ago...I will dig those out for reference. Thanks for all the input!

I have a very small budget project coming up. Need to shoot some office building interiors without people on a weekend. The question is this: Should I use my BMPCC with PL mount adapter and rent some higher-end glass OR rent a 4k BMCC and rent Canon L glass (or Zeiss ZE) The project doesn't call for 4K but I like the options if gives in post for subtle pushes and the like. BUT I can rent some superior Super 16mm Zeiss lenses if I go with the BMPCC. So I guess it comes down to 4K or HD with superior glass? (and sensor size, yes...)

Since Ultra-16 is simply widening the gate equally on both sides, I'd say go for it. A little extra negative never hurt. Keep in mind that not all telecine/scanning services can handle Ultra-16 as Spirits need special modifications to see between perfs so make sure your transfer house can handle that little extra room in-between perfs... otherwise your framing may look off.

Look for the most recent mags you can find and have them serviced by a qualified tech while you can...film techs are retiring fast!

Probably an MN which was fairly rare in the U.S. Tape up the side cover which is a good idea whether or not the gaskets are good and you'll be fine. It's really a great camera, hope your film turns out well.

***SPLAT!*** Carl, you blew my mind as usual.

Yes. Adapters are plentiful and cheap to go to PL and MFT but as stated this lens won't cover the sensor all the way. MFT Adapter at B&H

Totally agree. But keep the sensor the same size! Love using the Super 16 glass!

So I guess it was the one before that, Casino Royale that used Double-X in the opening black & white scene? Loved the crazy grain in that shot.

That's why I buy Cokes imported from Mexico where they still use real cane sugar and not corn sweeteners. Plus I like the old heavy bottles! Spoke to a filmmaker yesterday who loves his Sony F55 and Blackmagic 4k cameras but when we spoke about film he got teary eyed about the depth and feeling of 35mm. Plus he owns a color shop and all the colorists agree. I don't think it's just nostalgia (although it may be on small formats) and I don't think the numbers necessarily make film better, it's something we can't quite put our finger on (Carl may have a physics argument for film ready to go) and probably a culmination of many small things, but we love it so rock on shooting film.