Jump to content

Don't get mad, but I really do want to know...


schnozzle

Recommended Posts

I'm not trying to be a crank along the lines of that Jukuzami guy from the HD forum, but I really do want to know why people choose to work in Super 8. I've looked at a several labs here in LA that handle S8 and so far I can't find one that convinces me that it's significantly cheaper to shoot & process it over 16mm.

 

So what is the attraction? Do you just like the look? Is it that the cameras tend to be smaller and cheaper than their 16mm equivalents? Or do you know something that I don't?

 

Again, this isn't meant to be an attack on the merits of Super 8, but rather an inquiry from someone not familiar with its charms.

 

Thanks.

Link to comment
Share on other sites

I started using Super 8 when it actually WAS quite cheaper to shoot it than 16mm. You could still shoot Super 8 that way today, if you get Kodachrome 40 and Kodak's PK-59 mailer, although there is no more Ektachrome 160, nor sound film, nor could you get it developed and sent back to you for under $3 at your local PathMark like I used to have done.

 

I used it because my dad had a Nizo S40 sitting around gathering dust. I shot with it and I really enjoyed the look. When I began to learn how to shoot seriously I got a 16mm Bolex. I simply felt I was "moving up" that way.

 

I still like the small size of the format, the instaload cartridges, and the inexpensive gear. But I would hesitate to shoot a professional project with it, that's for sure, although if I was told "DV or Super 8" I'd give serious consideration to the latter. Getting Super 8 to tape is still a pain and inproportionately costly (the setup for the Super 8 gate is the main problem), and so is getting it onto 35mm film for projection (or even 16mm film).

 

- G.

Link to comment
Share on other sites

  • Premium Member

Plentiful Camera Features is the primary reason I enjoy shooting Super-8mm.

 

One camera that I use offers a huge variety of filming speeds. Filming speeds as fast as 45 FPS, plus 24,18,9 and single frame. But wait, there's a lot more. Continuously Variable Intervalometer speeds starting at 5, 4,3,2,1 frames per second all the way down to 1 frame every two minutes. I can also select different shutter speed combinations when in the intervalometer mode by keeping the speed dial at either 24,18,or 9 FPS, each of which changes the shutter speed while in the intervalometer mode.

 

I can also do Time Exposure with the same camera. Starting at 1/18 a second per frame and going all the way up to 2 minutes per frame, I can also do time exposure in either automatic mode or manual override mode, AND I GET TO SEE THE ACTUAL TIME-EXPOSURE IMAGE I AM FILMING THE WHOLE TIME THROUGH THE VIEWFINDER.

 

A crisp 8-1 lens that focuses as close as 3.3 feet in the telephoto mode and I can use an aspheric wide angle attachment that allows me to shoot in a very nice looking super wide angle without fisheye distortion, and the camera stays in focus practically up to the lens element itself.

 

The Camera Exposure options include Auto-Exposure, Auto-Exposure plus one f-stop if I need that, and of course Manual Exposure.

 

Super-8mm also offers Super Quick loading and unloading of film cartridges and a variety of film stocks that include color reversal, BW reversal, and negative stocks.

 

Internal power supply with an external option.

 

The Super-8 cameras are so portable I can carry up to five cameras in one case, complete with film supplies and spare batteries.

 

I've posted frames on my website of some of the time-exposure shots that I have done.

 

I appreciate having a pallette of camera features available to me at a moments notice, and many higher end super-8 cameras fit that description quite nicely.

Link to comment
Share on other sites

When you take everything into account it is definitely the cheapest way to get film originated footage onto a television screen, even if you are shooting negative. Obviously the cost gap between Super8 and 16mm is not as great as one might initally assume, but there is a gap.

 

The other reasons are the very distinctive look and small equipment, often loaded with features.

 

I shoot 16mm aswell, but Super8 is what I use to shoot film where weight and bulk is an issue, and provided the camera is well serviced and professionally set up the images are excellent.

 

Matt

Link to comment
Share on other sites

For me, it is the cost factor. While film and processing/transfer is no cheaper than with 16mm, the camera equipment is much cheaper. My $20 Chinon 1206/SM is a fully loaded, battery-operated machine with every bell and whistle I could want. My $20 Keystone 16mm is a windup no-frills job. The Chinon is simply much more convenient as a result. While film and processing is no more handy, my initial outlay of cost is reduced, making the format "decent enough" for me to get back into the business with.

 

Also, I love the look and feel of film, and if Super8 is the only way I can afford it with any convenience, then so be it. I've grown to appreciate the quirks of the Little Format that Could.

Link to comment
Share on other sites

I haven't shot much S8 since moving into 16mm, but the reasons for me are, that it looks better than DV (if you're on a super budget), the cartridges load really fast, it has a certain "look", but mostly, you can get some really very nice cameras with good glass for very cheap.

 

I've shot on almost all the top S8 cams, and my favorites are:

Nikon R-10

Canon 1014 XL-S

Bauer 715 XL-S

Nizo 6080 (finicky, but really quiet)

 

I would not bother shooting on the neg stock though, since anything but Kodachrome 40 makes it just a teeny bit less expensive than 16mm, so why bother?

Having said that though, it's really tough to control lighting to the point where K40 looks really good, meaning fairly bright, but very low-contrast lighting.

 

Matt Pacini

Link to comment
Share on other sites

I also started with super 8 back when there was a cost savings and depending on what you're doing,you can still come out cheaper and with a unique look.

For music videos and certain insert scenes where the look is needed,nothing else seems to come to what super 8 yields.

There was a fellow on one of the super 8 forums who shot a music video for 500 dollars.It was very simplistic,but given the fact there was post synced sound,professional lighting and some tight editing, I doubt the same thing,all things being equal could've been done on 16mm for the same price.

Marty

Link to comment
Share on other sites

  • Premium Member
For music videos and certain insert scenes where the look is needed,nothing else seems to come to what super 8 yields.

Absolutely, in fact I had a meeting today with an artist and her management team and when I mentioned I wanted to shoot part of the music video on Super-8, she almost jumped out of her seat with joy. That speaks volumes, IMO.

Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
×
×
  • Create New...