Jump to content
Jeromy Darling

Best Super 8 Film Editor?

Recommended Posts

any recommendations? Lots to choose from on ebay - any I should be looking for?

 

I'll go for Minette S5.

Share this post


Link to post
Share on other sites

Any one which is kind to the film and has an accessible gate for marking. Motorised if you can get it but in any case a nice easy transport so there's no tendency to skinch the roll when winding. A halogen bulb will be nice and bright.

Share this post


Link to post
Share on other sites

 

 

Find an Elmo with a Non-Flicker prism.

Motordriven if you like, be sure the belts are OK.

 

Must it have sound, for old film?

 

Indeed it is best to install a halogen, with some effort you can find 6 Volt ones. Don't overdo the Watt as the transformer will not deliver that much more.

 

 

Share this post


Link to post
Share on other sites

The Goko was also quite good, back in the day. I have a very nice one, bright, non flicker prism, motorized, sound capable. I think it may also have some recording features, but I always used my Elmo projector for that.

Share this post


Link to post
Share on other sites

Of all the Super 8 (& 8mm) editors, there are two main design types regarding the film placement. The BAIA corporation editor-viewers and all those made by BAIA under store brand names (Sears, Wards, K-Mart's Focal, Pennys etc) require the film to unravel from the Left side Supply in a counter-clockwise manner, thus the emulsion of the film is downward. They made cheap ones and some better large screen ones. If they are clean and work well, and you are careful, they'll do the job. Those large screens are nice and bright.

 

However, my recommendation is for the other design type, whereby the film unravels from the left Supply side reel in a clockwise direction, just as it does from the projector.....so the emulsion is in the up position. Editors made in this manner are the numerous ones from GOKO Japan, which also made them for HAHNEL, ERNO, ELMO, SEARS, and many others. They will have a similar if not exact appearance to their GOKO counterparts (since they are made by GOKO), and will also have the "NF System" moniker....referring to the polygon prism method (versus the 2 or 4 sided prisms of virtually all previous editors which have considerable flicker. The GOKO units are nice, easy to use, and use their polygon 16 facet prism (NF system). They did make a couple smaller ones that use a 12 facet prism, and while that alone is not a problem, the sprocket drive used puts too much torque on the film and prism rotation mechanism. These are easy to tell, since they have a film sprocket visible just before the film gate. Whereby the other design has the film move over the filmgate, and the sprocket is a large diameter one incorporated on the side of the polygon prism. This design with the large sprocket on the prism side causes virtually no torque on the film sprocket holes, and allows for very easy transport.

 

GOKO also made both manual and motorized editors. Most allow attachment of a sound reproducer to which you can listen to the sound track via earphone or headphone. However using a manual crank or basic motorized unit will cause uneven sound reproduction. The main goal here was to be able to find a synch or editing spot to know where to cut the film so that there is the best tradeoff for picture and sound editing on single-system sound films. GOKO's high end machines, their 8008 and 3008 units allow for sound recording as well, since they are capstan run units with stable recording quality at both 18fps or 24fps, with the higher model allowing recording on both tracks and also in Stereophonic sound. GOKO made a capstan run editor for ELMO which is a nice machine but without recording capability. These are all very gentle on film.

 

Other well made machines that are somewhat less easier to locate are: BAUER, BRAUN (Nizo), and the well made metal bodied MINETTE. The MINETTE was made in both stand alone units with film reel arms, or as a free standing viewer only requiring separate film reel arms mounted onto a baseboard. Lastly, while there were many other units made by other makers such as Chinon, the older well made metal units made by CRAIG-KALART in the USA if clean and in good condition will work fine also.

 

Hope this helps you out some.

  • Upvote 1

Share this post


Link to post
Share on other sites

However, my recommendation is for the other design type, whereby the film unravels from the left Supply side reel in a clockwise direction, just as it does from the projector.....so the emulsion is in the up position.

 

[Goko] did make a couple smaller ones that use a 12 facet prism, and while that alone is not a problem, the sprocket drive used puts too much torque on the film and prism rotation mechanism. These are easy to tell, since they have a film sprocket visible just before the film gate.

 

Hi Martin,

 

Would you recommend a Baia over a Goko that has the sprocket before the gate? Why do you recommend emulsion side up? Is it more important than ease of film transport? I am looking for something simple that will not scratch the film and allow me to mark the film for cuts. Thanks for your advice! I really appreciate it.

 

Here is a Goko I am considering but I'm concerned about the torque issue that you described:

https://www.ebay.com/itm/332466544696

 

Here is a Baia that appears to be emulsion side up, but I believe winds right to left?:

https://www.ebay.com/itm/292393529268

Share this post


Link to post
Share on other sites

Hi Matthew, There is another issue with most of the BAIA Film Editors and that is that they require a bulb that was sold in a holder already pre-focused. It's possible to replace it but you have to solder it in yourself then into the exiting lamp holder. These are very light weight units, and it helps to tape them down so they don't move around on you. The GOKO model you show the link for is a superior editor to the BAIA unit, and yes it has the sprocket offset before the film gate. The issue here is that the sprocket shaft drives a small gear which in turn rotates the prism via a gear on it. When new, they were fine, however, if you lubricate that shaft so it and the prism rotate easily enough, it will minimize stress on the film itself. I would either wait for a better one to show up, unless you want to buy one of the GOKOs on there from Germany which are pricey with the shipping (all relative since I paid $119.00 for my first GOKO new back in 1981 From Frank's Highland Park Camera near Los Angeles....adjusting for inflation, and my time and gas to drive the 340 miles round trip from where I lived in Central California, it's much more expensive than anything on eBay....but...all relative of course). The BAIA unit is a bit expensive...but it works out since it comes with the KODAK PressTape Splicer (yeah, I know many are not fans of this unit, but it's good for repairing film that has sprocket hole damage etc), and a 400ft BAIA film reel & case (about $15 or so for something similar new these days), so IF you don't mind a smaller screen image and that you might have to fiddle to replace the lamp if it's not working or soon after getting it, it could be a good deal pricewise. I still would hold out for a GOKO, but I'd buy this one just to have to now and gain the splicer and reel etc. The BAIA film reels aren't as fragile the STAR-D or similar made plastic ones, they have some give in them, and while not autoload reels, they seem to last forever, great for film storage. So, the GOKO NF System editors or the SEARS branded version, or ELMO branded version, or ERNO branded version, will be more fun and easier to use. As for the emulsion position, it's a bit of a bother splicing if using a good splicer such as the BOLEX, WURKER, HAHNEL etc as you have to twist the film to put it into position, not a real big deal but annoying. The BAIA splicers often had their own mini tape splicer builtin to the bottom or came withone freestanding (with the S curve visible in the splice, now only usable to those that would like a throwback look of sorts in their film), anyhow, for those it didn't matter that much. Just when working quickly, it was bother, as you always had to remember the film's position since it's being fed into the Editor Viewer backwards position from how it goes into a projector and many other editors. This design was used to prevent film stress or scratching since the film unrolls from the underside of the reel. In use, once you get used to it, it's a moot point perhaps. Keep hunting, it's worth it!

Share this post


Link to post
Share on other sites

Share this post


Link to post
Share on other sites

I can start another thread if required but maybe a quick yes or no here would be useful... would most of the info above regarding S8mm editors be valid for 16mm? Such as brands & features. If it's a whole other animal, maybe a new thread is in order. Thanks.

Share this post


Link to post
Share on other sites

I can start another thread if required but maybe a quick yes or no here would be useful... would most of the info above regarding S8mm editors be valid for 16mm? Such as brands & features. If it's a whole other animal, maybe a new thread is in order. Thanks.

Not really. 16mm. was no longer much of an amateur format by 1965. It's a different market and 16mm. viewers were never made in great numbers. Moviskop, Muray and Magnasync are a few names to look for. You need separate rewind arms- I'm not aware of any 16mm. model with built-in arms such as the S8 viewers have.

Share this post


Link to post
Share on other sites

I suggest the Zeiss Moviscop with a pair of Moviola winders and a Moviola Magnasync synchroniser. Some have sound heads, too. Depending on what you're editing you might need it for syncing sound.

Share this post


Link to post
Share on other sites
Guest Glenn Brady

I suggest the Zeiss Moviscop with a pair of Moviola winders and a Moviola Magnasync synchroniser. Some have sound heads, too. Depending on what you're editing you might need it for syncing sound.

 

The Zeiss Moviscop Super 8 viewer is comparatively uncommon and, unlike the Zeiss Moviscop regular 8mm viewer, it's fitted with integral rewind arms (although these could probably be removed). The Zeiss Moviscop Super 8 viewer is of good quality, but I think the Minette S-5 is a better viewer (I've owned both). Unlike other viewers named, these are of metal rather than plastic construction.

Share this post


Link to post
Share on other sites

 

The Zeiss Moviscop Super 8 viewer is comparatively uncommon and, unlike the Zeiss Moviscop regular 8mm viewer, it's fitted with integral rewind arms (although these could probably be removed). The Zeiss Moviscop Super 8 viewer is of good quality, but I think the Minette S-5 is a better viewer (I've owned both). Unlike other viewers named, these are of metal rather than plastic construction.

As from post 15 we're now discussing 16mm.

Share this post


Link to post
Share on other sites

Most of the 16mm I use is negative film so having an editor has never been essential, but recently I needed to find a 100ft roll, the lab had spliced several 100ft rolls onto a core. I bought a Murray 8/16 editor off Ebay, it has an 8mm and a separate 16mm gate.

 

Pav

Edited by Pavan Deep

Share this post


Link to post
Share on other sites

Most of the 16mm I use is negative film so having an editor has never been essential, but recently I needed to find a 100ft roll, the lab had spliced several 100ft rolls onto a core. I bought a Murray 8/16 editor off Ebay, it has an 8mm and a separate 16mm gate.

 

Pav

Always ask for your daylight spools back!

I assume the dual-gauge viewer is standard8/16 as the perf size is the same and the pitch compatible. I can run standard-8 on the Steenbeck if I'm very,very careful.

Edited by Mark Dunn

Share this post


Link to post
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.

Guest
Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.



  • Visual Products



    Tai Audio



    Media Blackout - Custom Cables and AKS



    Abel Cine



    Broadcast Solutions Inc



    CineLab



    Wooden Camera



    Metropolis Post



    Rig Wheels Passport



    Paralinx LLC



    Serious Gear



    New Pro Video - New and Used Equipment



    Glidecam



    Ritter Battery



    Gamma Ray Digital Inc


×
×
  • Create New...