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Ok, I'm new to super 8, but I'm learning something new everyday. You guys have been a tremendous help. I do not own a projector, but I'm in the process of getting one. I currently own 2 cameras. I own the Nizo 561 Macro and a Kodak Brownie model 2. Both are in near mint condition. I have yet to use either camera. I foresee using the Nizo much more than the Kodak, though. Still, I've been looking into getting a projector that will play both super 8 and standard 8mm film. I want something small and inexpensive, but still good quality. A part of me, however, wants to get a projector that only plays super 8 film. I'be read that such projectors are much more reliable than the duo type. Well, I narrowed it down to 2 projectors, the Elmo FP-A and the Bolex 18-5L. Both are rather inexpensive and seem well-built. I like the built quality of the Bolex much more than that of the Elmo, though. The downside of it is that it only plays super 8 film and it does not have variable speed control. The Elmo, on the other hand, plays both types of films and has variable speed control. Assuming having the ability to play both types of films is not a big deal to me, my only issue with the Bolex will be the lack of variable speed. Everyone says I need a projector with variable speed if I plan to capture the image with a digital camera. My question is, do I really need to have a projector with variable speed? If I have the projector playing at 18 fps and I get the flicker problem when I try to capture the image with my digital camera, shouldn't I be able to correct the problem simply by adjusting the shutter speed of my digital camera? Your opinions will be of great help to me. Thanks.

This is a very nice Super 8 Sound Recorder II. It's in Excellent Condition. It's useful for its unique ability to sync it's playback to almost any film camera even 1 f pulse per frame super 8 cameras. Great for music video production with non crystal controlled Super 8, 16mm, 35mm cameras. Comes with AC adapter and Leather case.

Hi, I'm a photography student and I recently bought a Canon 1014E. I mainly shoot 35mm photos (I can work a film camera easy for stills) but I wanted to get into film making so I decided to start out with Super 8 because I assumed it would be pretty easy because of the role it used to play in home video making. I guess I was wrong! I've read the manual online a ton of times but all its done is confuse the hell out of me. I'm up to speed with the majority of the camera's functions but some of them still baffle me so I would appreciate some help! Being a student I have hardly any money so there's not a lot of room for error. This photo came from a previous post (so please ignore the arrows)!! I have 2 main queries regarding operating the camera and I expect that they'll sound incredibly stupid to someone with experience but I am COMPLETELY new at super 8 so I have no idea - Please forgive me! here is a link to the manual for reference - http://www.manualslib.com/products/Canon-Autozoom-Electronic-1014-3015685.html 1. The film i have is Vision 3 50d but the camera's automatic system does not recognise this. This problem has been answered here: http://www.cinematography.com/index.php?showtopic=61842 however I am not sure about what it means to over exposing by a 3rd of a stop. In more basic terms, how can I shoot on my 50D so that is not over exposed? 2. When I look in the viewfinder and the camera is in full automatic mode there is a meter with an aperture scale at the top., and red at both ends. Is this the light meter (ie when the needle is over to the right it is over exposed, left under exposed etc?)? Or does this simply show me what the auto aperture is for a correct exposure, meaning that even when it is far to the right but not in the red it is still a mid range, correct exposure? I usually shoot with a Canon AE-1 within my photography and its meter is very different, hence why i'm confused. 3. I feel so silly even asking this question (it pains me so hard as a photographer) but in auto mode in cloudy daylight the needle on the meter inside the viewfinder is ALWAYS in the red as far as possible on the right side of the spectrum. How can I change the exposure without making everything too technical? I understand that the switch with the dot, 2 and 4 next to the FPS have something to do with exposure however the manual conveyed this section in a way that was very confusing to me. How do I correct the exposure? If anybody could help i'd be so grateful! I've been waiting to get my hands on this for ages so i'm eager to get shooting ASAP. Thank you so much!

Hello, I have the Beaulieu 2008 Reflex Control model with the single contact in the center and the ground contact on the side. It was supplied with a wire to connect it to a battery. I'm not sure where it's from, but it does say "Made in Germany", so I'm thinking it could be an old model from Chambless or Wittnauer. The other side of the wire has a 6-pin DIN connector with the center pin broken off. There are a red and yellow wire each soldered to a separate contact, and a green and blue wire soldered together to another contact. I'm wanting to make a battery pack for this, either by using a female DIN plug or cutting off the DIN output and connecting the red/black wires from the battery pack directly. I've already figured out that I need two separate 2.4v packs, with 4.8v going to one contact and 2.4v going to another. What I need help with is figuring out what each wire from the dummy battery represents. I am thinking that the green and blue wires soldered to 1 contact are for 4.8v, and either the red or yellow is for 2.4v and the other is ground, but I can't find any corresponding information when I'm looking up wire color codes for Germany.

Film tested underwater and recently serviced. Lovely example with removable handle, PMA wide lens attachment, orange underwater sight, wrist strap, rubber eyecup, lens lever and new rubber O-ring seal. £200 GB Pounds / $260 US Dollars.

I'm going to be shooting a Super 8 horror short with the Canon 1014XL and Kodak TRI-X B&W Reversal Film 7266. I did a pre-light at the location using an external light meter with specs of 160T and shutter 1/30. I got readings 2.0-2.8. We will be shooting at 24fps for digital transfer. My question is what is, what is a good shooting stop for Super 8, which will be transferred to 2k? <_< Nate

Dear Cinematographers, I have tried splicing super 8 film many times but am nevertheless relatively new to it. Every time, to varying degrees, the presstape or cement splices exhibit a slight perturbation or glare; and so I am wondering, from the need to achieve a moderately professional splice, what is the best method for diminishing this effect? Sincerely Grateful, Kurt Cassidy-Gabhart

Just did an awesome workshop in NYC with MONO NO AWARE where through the magic of cross processing, we got color reversal from 500T! There's a small amount of info online about it but essentially we shot 500T rolls on Super 8 cameras that only meter up to 160T and without the daylight filter engaged, shot the film. So basically exposing it about 1 2/3 stop over what it normally should be. Apparently this is necessary to get the right exposure for this unorthodox method. Then we developed the film in a LOMO tank with a Tetenal E6 kit and some adjusted times. Then once it was developed, we put the film in a tray with some fresh water and photoflow and using a sponge, gently scrubbed the film to remove the remjet backing. Then dried it and projected it! The film ends up with yellow highlights and blue shadows but it looks pretty solid! In actual projection, it looks better because your mind tends to disregard the bizarre colors especially given the yellow hue of most projectors bulbs anyways. So check it out! It's fun to know there is a way to get color reversal other than the Agfachrome 200D and hopefully the Film Ferrania whenever that materializes. Also that's yours truly at 9:05.

Hi folks, I own a Porst 650 XL and Porst 1500 XL Microcomputer and was wondering about the the precision of the split viewfinders on each of them. I read the instructions which instruct me to zoom in all the was, focus zoomed in, the zoom out to a desired wider angle. When I zoom in to focus, the split finder lines up, but the split finder lines do not stay aligned upon zooming out and I guess I thought the lens should be parafocal upon zooming. Does this mean my split viewfinder is not accurate? Any guidance is appreciated. Thanks, Greg Lytle

Hello! I have two fantastic Super 8 camera for sale. 1) Leica Leicina Special. High end Super 8 movie camera. Mint condition. Including the ST1 Leica interval for time lapse and remote control, original leather bag. Leica Optivaron Lens 2) Beaulieu 5008 S Multispeed. Including battery, charger, leather bag, Scnheider Optivaron Lens. Message me if you are interested. I have shot a music video with both cameras recently. These cameras never let me down. The Eken and the Lumix did on the shoot...blurred, SD card crashed, battery out... I would ship it to EU. USA or overseas is maybe possible if its worth it...

Dear Cinematographers, For a silent short film on which I am working, I desire a grainy and dark texture. I am using Tri-X super 8 black and white film. I thought perhaps that, to my unguided reflection, it would be best achieved by underexposing two stops and then using a one-stop push in processing. Would any untoward complications arise in doing so? Would there be any superior alternative? Thank you in advance. Sincerely, K. Cassidy-Gabhart

Hey everyone! So I live in NYC and I've been shooting Super 8 as a fairly serious hobby since last summer. I love it. This forum has been a source of so much info. I've already bought several cameras, shot vacations, field trips, events, etc. Problem obviously is it ain't cheap! And even more of an issue is minimums. Given that I don't normally shoot 4+ rolls at a time, I've been forced to wait for weeks if not months while I slowly shoot more rolls until I meet the minimums. I've gotten developing from Spectra with their film+processing packs for ~$40/roll but that of course doesn't include shipping to/from costs then I have to ship it out for HD telecine unless I do it somewhere in NYC but to be honest, I prefer the pro places as their quality and turnaround is been way better than local in my opinion. Moving on, I've also just bought film locally at B&H/Adorama for ~$38/roll or Du-All for ~$32/roll then sending for processing/scanning at CineLab. That's probably my cheapest method I've found since Spectra scanning is pricey!! Anyways, even with that, I run into the minimum issue with CineLab and Spectra. With $ minimums around 200ft for processing and $150 for HD scanning, that's around 6 or even 8+ rolls before I hit the minimum. I've gotten as low as 6 rolls telecined at CineLab for around $125 which is below their minimum but I guess they just shrugged their shoulders and did it when I mailed the package. All in all, if done right and hitting minimums, I can get a roll bought/processed/scanned for around $70 if not a little less including all the shipping. I know Spectra has their "Rank-A-Roll" packages but those are pretty steep in price in comparison to doing it normally. (~$105/roll) And Yale has its "Reel Deal" packages which are $125/roll. I've also (early on in my tests) gotten 2 rolls developed and scanned as a "Test Roll" from CineLab for around $90 but I'm not sure they'd let me do that every time. So all that to say... you guys have any advice as far as best quality/price balance for low volume Super 8? Does no one else run into this issue? You guys just always shooting 10 rolls at a time? haha. Help a budget filmmaker/enthusiast out!! I know I'm kinda asking for the moon here with film costs these days but the cheaper I can get my methods, the more I will shoot! And I'm always itching to shoot more film! (Also I am very eager to hear more details about Kodak's new S8 packages in the fall. Seems like that would fix my issues if the price is right) Sorry for the wall of text. Slow day at work haha.

Hello Recently purchased a Kodak Instamatic M22 off ebay for £10 with some new film, the listing stated it was not tested but i took a chance anyway. So it came and didn't work, turns out the batteries had corroded so i cleaned it out and popped in some new AA's, pressed the exposure and sure enough the motor buzzed away like a bee. However having opened up the catridge slot i could see that even though the motor was working the film cartridge turner thingy wasn't moving, after a browse online i found out these things have weak gears that break so i got out the screwdriver and took it apart, all the gears are in great condition so i don't know what could be causing this to not work. Any help much appreciated, thanks

Hello, I have been looking for a good month now but found nothing in regards to the Eumig Nautica, would like to buy one as soon as possible for final major project work at university, thanks very much for your time will pay to get here as quick as possible!

So I recently picked up a Bolex 551 that has a broken battery holder. I'm wondering if either someone here has a spare holder from a similar model that I could purchase or if anyone has some suggestions on how to power it. I was able to test it with the holder from another Bolex so I know that it works but I don't have access to that holder anymore. I picked up a 6AA holder from a hobby shop with the thought that I might solder the leads to the contacts inside the camera which are in the handle. Unfortunately the holder is slightly too big to allow the handle latch to close. I was thinking maybe I could stick the holder on the outside of the camera but the handle is made of plastic so I'm reticent to try drilling a hole through it the feed the wires through. Has anyone tried something like this? My other thought is that 6AA batteries produce 9 volts so maybe I could buy a holder for a single 9v battery which might have a better chance of fitting inside the handle. Might that work? Is there any reason not to try that? Sorry for a lengthy post on what is kind of a dull subject but any help would be appreciated. Thanks!

Dear Cinematographers, The problem pertains to the Vivitar 733A super 8 film projector, which has been serviced, but has also been sitting in my closet without proper attention for several months. When I project a roll, and focus for the sharpness thereof, the projector's frame is out of focus - noticeably blurred around the border; - and when I focus for the projector's frame, the film is out of focus. Is the problem mechanical, thus requiring me to have it serviced again, or purchase a new one; or simply the result of my own ignorance? I would be sincerely grateful for any assistance in this matter. Kindest Regards, Kurt Cassidy-Gabhart Would that it were so simple!

Hey all, I recently purchased an Argus XL 755 camera and I was looking to see if anyone here has any information about the camera, or similar ones to it. It had battery corrosion which has been taken care of, but the battery test light doesn't work and the lens doesn't seem to focus (this could be due to me not knowing the operation of the camera). I also would like to see if there's any film that would be compatible with it. So if you could, please share any knowledge you have! Cheers

hello!! after a 3 year hiatus straight 8 is back and open for entries we invite anyone, anywhere to make a short film on one cartridge of kodak super 8mm cine film you send the cartridge back to us unprocessed and upload a soundtrack we'll take care of processing and hd telecine at cinelab london if it's great, you'll see your film for the first time at its packed premiere at cannes film festival in may 2016 we'll be organising further cinema/festival screenings later in the year too, showing more films entry is open until feb 29th and you'd need to get your finished film back to us in london by apr 4th more details, past films and entry is at www.straight8.net we're really excited to be back and can't wait to see a brand new crop of straight 8 films

I would like to officially introduce the amazing optical-mechanical work of Marco Kroger of the former East Germany. He is not a member of this forum and may be contacted on Facebook. Marco studied at the Technische Universität Chemnitz and he is actively adapting, modifying, converting, retro-fitting optical-mechanical R8/S8/16mm/35mm lenses/cameras. He has also created SLR/stereo ultra-widescreen 35mm photography systems. He also has built controllers, strobe/flash systems, photo-cell triggers, etc. He also utilizes the term Panascope to describe his ultrawide modifications to Regular 8, Double Super 8 and Standard 16mm transports. He alternates between the two terms but the aspect ratio is identical to UP8 based Regular 8, i.e. 3.7 x 10.3mm. He was originally inspired by my numerous UltraPan8 films online. Here is the current list of his Panascope/UltraPan8 projects, i.e. 1. Zenit Quarz Double Super 8 camera converted to Regular 8 based Panascope/UltraPan8 C-Mount w/ Newton parallax viewfinder matched to 10mm Zeiss Jena Tevidon C-MOunt lenses (APO). He rejected a Double Super 8 based transport on account of the more common availability of Regular 8 film stock, i.e. 2. Panascope/UltraPan "8 Regular 8 based projector, i.e 3. Panascope/UltaPan"8" scanner, i.e. https://www.youtube.com/watch?v=4XHSn_H ... e=youtu.be 4. Panascope/UltraPan "8" directors viewfinder w/ C-mount. It appears to have a dioptre. To be confirmed. He recently suggested that it may used as twin-reflex C-Mount parallax viewfinder on his conversions. 5. Presently converting a Meopta Admira A (Czech Republic) 16mm electric to Panascope/UltraPan 8, i.e. His choice of cameras is based on weight (light), low cost and their general availability in Germany (common). All built over the last two years in addition to his multiple format camera projects. The year 2016 is shaping up with many options for film enthusiasts. Nicholas Kovats Toronto

I just bought a Bell & Howell Filmosonic Director Series super 8 camera and have been having some issues with it. I've never owned one of these cameras before and am a bit new to using film cameras in general, so I apologize if the resolution was glaringly obvious. I put batteries in and it ran well; the lights turned on when I tested it, but for whatever reason I can't see anything through the viewfinder. It's just black. Could something be blocking it from the inside or is it broken?

Screening of Semi-Finalists at Slamdance Showcases Glorious Array of Super 8 Films Kodak announced the Grand Prize winners of the KODAK Super 8 Filmmaking Challenge, following a screening of remarkable works from the 15 semi-finalists’ films at the Slamdance Film Festival last night. Kodak launched the Super 8 Filmmaking Challenge in November 2015 as part of the company’s celebration of the 50th anniversary of Super 8, a beloved format that inspires content creators far and wide. The Challenge immediately struck a creative chord, and over 530 films from around the world – narrative, music videos, experimental, classic surf and skate, documentaries, archival, fashion, and home movies – were submitted. The films showcase the robust depth of talent among filmmakers, both professionals and amateurs alike, as well as the diverse range of the capabilities of Super 8 as a unique storytelling tool. Filmmakers entered both vintage and new work in one of three categories: POV, Action and Flashback. From the original entries, 15 semi-finalists were chosen through online audience voting and juried selection. Those 15 semi-finalists, who earned a hosted screening at the esteemed Slamdance fest, competed again in a global online audience vote, which determined the final first, second and third place audience winners. Boasting prizes valued at $12,500, the Grand Prize Audience winners of Kodak’s inaugural online contest are: 1. Pablo Madrid Lopez from Spain for THE NOVEL, receiving a prize package that consists of a KODAK PixPro SP360 Action Camera, a Rhonda CAM Super 8 Camera from Pro8mm, 10 Pro8mm Super 8 film kits, approximately $2,000 retail value of KODAK motion picture film of the winner’s choosing, and a KODAK t-shirt. 2. Haven Nutt from the United States for the MR. MAN trailer won a KODAK PixPro SP360 Action Camera, six Super 8 film kits, and a KODAK t-shirt. 3. Dianne Ouellette from Canada for RED IS DEAD takes home a KODAK PixPro SP360 Action Camera, three Pro8mm Super 8 film kits, and a KODAK t-shirt. Renato Coelho from Brazil, who directed TRAIN, won the Grand Jury Award, which was chosen by a panel of respected industry professionals. Judges included cinematographer Rachel Morrison; photographer Elliott Landy; writer-producer Josh Friedman; Glenn Gainor, head of physical production at Sony Screen Gems; Leslie Raymond, executive director of the Ann Arbor Film Festival; and Pro8mm founders Phil and Rhonda Vigeant. Coelho earns an identical prize package as the first place Grand Prize Audience winner. “Jurying the Super 8 Challenge allowed me to reconnect with the medium and see the variety of creative exploration,” said Raymond, who led the jury. “I am excited to see it persisting as a member of the film family.” At the Consumer Electronics Show (CES) in Las Vegas earlier this month, Kodak announced an initiative to support Super 8 film into the future. The company introduced a prototype of a new Super 8 camera, and revealed plans for creating an ecosystem that includes a range of cameras, film development services, post production tools and more. “Kodak is resolute in our efforts to ensure film continues to be an option for filmmakers passionate about using it for all levels of content creation,” said Sascha Rice, Global Marketing Director for Kodak’s Entertainment Imaging Division. “The response to this contest and to the new Super 8 camera has been overwhelmingly positive, and the momentum to shoot on film is palpable. Kodak is honored to be here to support and advance these artists’ creativity.” To discover recent movies, television, and music videos shot on 8mm, 16mm, 35mm, and 65mm film, go to: www.kodak.com/go/shotonfilm.

Hi everyone, I’m shooting a test roll at the moment (my first) on a Nikon R10 but I can’t work out whether inserting the filter key turns the internal filter on or off? My understanding from the manual is that inserting the key turns the filter off - but I’m not sure if I’m interpreting it correctly. It’s confusing as it references old film stock (Kodachrome Type A) which I think was tungsten balanced film, and then talks about artificial light which I’m guessing from the time would mean Tungsten lighting. I thought someone on here would probably know from their own experience shooting with the camera. I've read too that the R10 can work it out itself based off the film cartridge, but I've been inserting the key for different shots so am wondering too if this will have any effect to my shots so far? Hopefully me inserting the key has had no effect. Thanks Dave

Here is my new article on Super 8 which was written before all the new announcements: http://www.redsharknews.com/production/item/3180-shooting-on-super-8-in-the-21st-century Sadly a lot of the links got lost somewhere in editorial which takes away from the usefulness slightly but I'm sure you can all google for the missing sites. There's a lot of info here on how can work with Super 8 cheaply right now. Should be helpful if combined with some local info. Freya

Hi! I am a student filmmaker looking to shoot some experimental films with a super 8. I've been eyeing a couple of Canon 814 xl-s and zooms. Because these cameras are so old, are there a lot of chances for mold in the lens? Also, are there any other good affordable super 8 cameras for a film student? Keep in mind I'm a freshman in college so anything more than $120 would considerably put a dent in my wallet. Thanks for taking the time to read this!

I had the privilege to attend CES to witness the new Kodak's Super 8 Film Camera. Most important, they kindly allowed me to hold it in my hands. I couldn’t help myself falling in love with it at first sight. MOY