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Found 13 results

  1. These are exceeding rare laboratory grade Super 8mm film cartridge opening machines! If you've ever tried to open a Super 8mm Cartridge gently when processing your own, you know what an ordeal it can be! If you have a dozen or more to open, it can be torture on you and possibly your film. This machine, which is about 10 lbs of cast aluminum, has a razor sharp blade on a circular bit under the cover. Place the Super 8mm cartridge in the aperture, close the lid, give it one revolution on the handle and you have a perfectly cut circle in the side of the cartridge to gently extract your film! Fantastic shape! Almost like new! $250 USD (willing to entertain offers as well) to me via Paypal or USPS Money Order + actual shipping cost to you. Made by Kodak for Kodak Super 8mm cartridges; what more can you ask for? Thanks for looking!
  2. Hi all. I have a couple of questions regarding super 8mm shooting. I've been shooting Super 8 for a few years now, haven't used it much, but have gone through a few rolls of film in my spare time. I've been reading about colour temperatures, and have slightly confused myself. I read somewhere that all Kodak film is tungsten balanced, and that by putting a cartridge of 50D into my super 8 camera for example, is engaging the 85A Warming filter. By putting 500T into my camera it disengages the filter, unless I chose to override it for shooting in daylight with tungsten stock. Is it the other way round? It makes more sense that the filter is only engaged automatically when placing a Tungsten stock in the camera. I'm sure its different for all camera manufacturers, but if anyone has an input for my specific Canon 318m camera that would be great. A separate question. I'm planning to shoot a short film on Kodak Tri-X B/W Reversal stock in the coming months. What coloured filters are recommended for shooting Tri-X in daylight, and interior fluorescent or tungsten environments? Mainly for maintaining contrast levels etc..
  3. I've been lurking here for some time, reading and doing some research. I have thousands of hours of Super 8mm home movie footage taken from 1967 to 1990 that I am looking to get transferred. I'm dealing with amateur footage that is naturally shaky from the handheld camera, has occasional focus problems, lots of panning around etc. LOTS of poorly lit indoor shots. The film itself is *ok* but it has some dirt, scratches, etc., that you would expect from 30-40 year old films that have been handled / stored by Average Joes. It also has lots of splices. After doing some research here, I came to the conclusion that my choices for the best scan of these old Super 8mm home movies was between the LaserGraphics ScanStation and the DCS Xena Dynamic Perf 4K. I took some sample 50ft reels to Frame Discreet in Toronto and got them to do a flat scan at 5K and 2K resolution, in 16-bit DPX and ProResHQ 4444. I was very impressed with the quality. I did a number of frame-by-frame tests, and I could not justify the additional scanning cost, or the storage/data handling requirements of going with a 5K scan instead of a 2K scan - at least on the Scanstation. I have a couple of questions: How does the DCS Xena Dynamic Perf 4K compare with the ScanStation for Super 8mm home movies with lots of poorly lit indoor shots, splices, shaky footage, and the rest of the problems listed above? Are there any other scanners I should be considering? I really liked the fact that I could scan the entire film area, including the sprocket holes with the ScanStation. I hate cropping and actually kind of enjoy the "raw" look that the entire film with sprocket holes provide. Does the DCS Xena Dynamic Perf 4K scanner allow this? The Super 8mm film with sound was shot at 18fps and I'd like to get both a DPX + WAV as well as a ProResHQ 4444 outputs. Although I could find workarounds, it would make my life a lot easier if the image dequence/video was set to 18fps and the corresponding audio was synched accordingly. The ScanStation seems to do this fine, but just checking to make sure that the DCS DCS Xena Dynamic Perf 4K can do this as well. I did not like the sound quality of the samples I got, but I have no idea if it was due to a) the camera's sound recording ability at that time, B) the film and any possible degradation of the magnetic soundtrack, c) the scan from the ScanStation or some combination thereof. For the record, I did a few different configurations of sound formats, all lossless (i.e. WAV). I tried various combinations of bit depth and sampling rate, ranging from 24 to 32-bits, and 48 to 192 kHz. Does the DCS Xena Dynamic Perf 4K have better sound capture from old magnetic Super 8mm film? I don't hear too much discussion about Super 8mm home movie sound capture quality. Is this as good as it gets? Below are two sample screenshots from the footage I got back from the ScanStation @ 2K. I took screenshots from an indoor frame and an outdoor frame for comparison. To show off the scan in its best, I tried to pick out frames that were the most steady, for the clearest image.
  4. I recently had a couple of my Canon 814 XL-S cameras converted to Super Duper 8. I've been reading about it for some time. When you file down the left side of the gate, this exposes the area of film on the opposite side of the perforations (where the sound strip would have been). When you are looking through the viewfinder, the extra area attained through widening the gate is on the right side of the viewfinder. Why? I know it is a simple answer. But intuitively, it feels confusing. I have yet to shoot Super Duper 8. My experience is based on reading about people's experience with this format. But I have seen multiple instances of posters stating that the extra area is on the right side of the viewfinder, but you file the left side of the gate. Please help my poor little confused brain. Thanks.
  5. I've been lurking here for some time, reading and doing some research. I have thousands of hours of Super 8mm home movie footage taken from 1967 to 1990 that I am looking to get transferred. I'm dealing with amateur footage that is naturally shaky from the handheld camera, has occasional focus problems, lots of panning around etc. LOTS of poorly lit indoor shots. The film itself is *ok* but it has some dirt, scratches, etc., that you would expect from 30-40 year old films that have been handled / stored by Average Joes. It also has lots of splices. After doing some research here, I came to the conclusion that my choices for the best scan of these old Super 8mm home movies was between the LaserGraphics ScanStation and the DCS Xena Dynamic Perf 4K. I took some sample 50ft reels to Frame Discreet in Toronto and got them to do a flat scan at 5K and 2K resolution, in 16-bit DPX and ProResHQ 4444. I was very impressed with the quality. I did a number of frame-by-frame tests, and I could not justify the additional scanning cost, or the storage/data handling requirements of going with a 5K scan instead of a 2K scan - at least on the Scanstation. I have a couple of questions: How does the DCS Xena Dynamic Perf 4K compare with the ScanStation for Super 8mm home movies with lots of poorly lit indoor shots, splices, shaky footage, and the rest of the problems listed above? Are there any other scanners I should be considering? I really liked the fact that I could scan the entire film area, including the sprocket holes with the ScanStation. I hate cropping and actually kind of enjoy the "raw" look that the entire film with sprocket holes provide. Does the DCS Xena Dynamic Perf 4K scanner allow this? I did not like the sound quality of the samples I got, but I have no idea if it was due to a) the camera's sound recording ability at that time, B) the film and any possible degradation of the magnetic soundtrack, c) the scan from the ScanStation or some combination thereof. For the record, I did a few different configurations of sound formats, all lossless (i.e. WAV). I tried various combinations of bit depth and sampling rate, ranging from 24 to 32-bits, and 48 to 192 kHz. Does the DCS Xena Dynamic Perf 4K have better sound capture from old magnetic Super 8mm film? I don't hear too much discussion about Super 8mm home movie sound capture quality. Is this as good as it gets? Below are two sample screenshots from the footage I got back from the ScanStation @ 2K. I took screenshots from an indoor frame and an outdoor frame for compairison. To show off the scan in its best, I tried to pick out frames that were the most steady, for the clearest image.
  6. Hi everyone, could you help me out and tell me if there are any shops/sites online that offer processing services to countries worldwide (in my case, Singapore)? Thanks!
  7. Anyone in the market for an R10? This is the top-of-the-line Nikon Super 8mm R10, fully loaded, fully operational, lovingly cared for and hardly used by the present owner. See it here: https://washingtondc.craigslist.org/mld/pho/5065820851.html See it now: Purchased in Santa Monica and evaluated by SML Camera in Venice, CA, this sturdy cinematographic masterpiece has a Swiss watch-like, mechanical elegance to its sounds and action, and comes loaded with in-camera effects and all the accessories available. Read the specs: Lens: Nikkor 7 - 70 mm (10x zoom) - f/1.4 Macro: from tip of the lens Rangefinder: split-image Shutter: variable. 0° - 160° (calculate shutter speed) Aperture Control: automatic, manual ASA (daylight) variable: from 10 to 400 ASA (artificial) variable: from 16 to 640 ASA notching: slide = no pins Built-in filter: 85A (auto release = 1-pin), man. cancellation possible Film speeds: 18, 24, 54 fps instant motion, single frame Remote socket: yes Power source: 6x AA size batteries (not included) Tripod socket: 1/4 inch Special features: EE-lock, exposure compensation, lap dissolve, fades, double exposure. Learn more: Nikon R10/R8 History But, it doesn't stop there. I have the original accessories that will turn you into a mini Cecil B. De Mille by way of Michel Gondry: They include: 1. A remote trigger cable! 2. A slide adapter! 3. The tape recorder sync-cable! 4. A beautiful case! 5. A 67mm Vivatar skylight. 6. Rubber lens-hood. 7. Well-thumbed Instruction Booklet. Any takers?
  8. I'd like to share my new idea.All you need is an iPhone with a case you can attach to your rod system to have a workable video tap for a Super 8mm film camera. Enjoy it, MOY https://vimeo.com/65196781
  9. Hello every one. I shot this film in a Nikon r10 . The camera hasn’t been used in 32 years so… as a result of these tests, I will get it checked as far as the lens and the mechanism goes. The thing is, I did expected to see some grain, but this is excessive right? The B&W is a reversal 200 ASA, and the color one is a Negative 250 daylight. I did use the auto exposure meter built in, in the camera. I shot it at 24fps and 59 fps (the b&w). Got it transferred at pro8mm and color corrected scene – to –scene. So, if any one can share his or her ideas, pls do. I want to know what I did wrong not to repeat it again. Thanks every one. this is the link to the video of the film
  10. Hello, I am preparing to shoot a feature on Super 8mm with sound- (for budget reasons I am unable to use 16mm) and am considering using a Canon 814 xl-s. However, I recently purchased two Nizo 6080s on ebay which arrived with "unexpected mechanical problems" and may be costly to repair. I know the Nizo's are a quiet camera- (even with a cartridge loaded of course) however, I as I consider the Canon, I am wondering if anyone can offer a comparison, "noisewise" of the two? Thank you- M
  11. Thought you guys might like this Super 8mm music video from Northern Ireland singer-songwriter Robyn G Shiels
  12. Hi, I am about to shoot a short movie with the Red Scarlet. Prior to that, we will shoot some 8mm footage. During one scene, a character is going to start a super 8mm projector and then go in front of it (in the projected image) and interact with the character from the super 8mm footage. I am aware of the "scanning line" problem due to the rolling shutter of the Scarlet. My solution was to film the super 8mm footage with a non-rolling shutter camera. (I believe it is the cheap alternative to a scan) And then cheat the projection with a digital projector, pretending it comes from the super 8mm projector. Do you think it would work? Would it look fake? My main goal though would be to be able to see the super 8mm projector rolling and its image in the same shot. I was wondering what would be my other options? Thanks for your advices, Marie
  13. I received a Canon Super 8mm camera for Christmas I have never shot on film before, so I cannot wait to start filming with Super 8mm. I also got Kodak Ekta 100D, I am aware it is not being produced any-more so I am fairly lucky to get my hands on a reel. Any tips to be given on shooting with super 8mm? I have always been a digital filmmaker I wrote a short overview of the camera and my first thoughts on my blog, which can be seen here.
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