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"New" super-8 camera to market


Lasse Roedtnes

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Hi Gabriele

 

terrific !

 

i guess while you are waiting you can start drawing the super 16mm model ?

 

:) :) :)

 

That's going to be very easy from my point of view - I'll let you in on a secret.

 

It's the same electronics used in both 8, 16 and 35mm versions - the only difference is the mechanics and that the engine is bigger as you go to bigger film formats, we designed it this way so that it was easy to upscale from 8mm to 35mm.

 

We do have a test rig for 35mm working in the lab (which we used 2½ years ago while prototyping different engines and motor drivers) However we need to become commercially viable with the super-8 camera to pave the way into wider film medias and if that happens then we will most likely do 35mm before 16mm as we already have something done on that platform.

 

:)

 

Regards

Lasse

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lasse : i am excited by the 8mm , but my vote honestly course goes to speed up the 35mm or 16mm (super 8 i cool , but in not anywhere close to look professional , super 16mm can be a format to release a multi million dollar project ( many multi million dollars projects has been shot on super 16mm...) . off course the problem with indie filmmaker is that on the high end cameras have video assist and those cameras still are very expensive ...

 

anyway , just t o say that i am more attracted by a 35mm version ( a small one off course (even tough i think that kodak minimum loaders now is 200ft) or a super 16mm

 

go guys go !!!!!

 

g

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lasse : i am excited by the 8mm , but my vote honestly course goes to speed up the 35mm or 16mm (super 8 i cool , but in not anywhere close to look professional , super 16mm can be a format to release a multi million dollar project ( many multi million dollars projects has been shot on super 16mm...) . off course the problem with indie filmmaker is that on the high end cameras have video assist and those cameras still are very expensive ...

 

anyway , just t o say that i am more attracted by a 35mm version ( a small one off course (even tough i think that kodak minimum loaders now is 200ft) or a super 16mm

 

go guys go !!!!!

 

g

we will see how the footage from this camera looks with it's registration and built in tap. I think it might be a bit more pro than you think, a lot less like Super 8 of yore.

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sure ,

but still , no way you can release a movie at the theater without people realizing that ""something is missing about the image"" ,

But you can with super 16mm ( black swan , the heart locker etc...)

 

S16 is also more than enough for Disc release too ...

 

g

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Plus , i have the feeling that film is coming back ...people are getting tired of the soulless approach of shooting digital ... even in Hollywood there are a plenty of movies that has been shot on film after the digital try ( Scorsese (wolf of wall street ) , The new Spiderman ... many really ( the new big HBO "true detective" ...they are all 35mm...)

 

g

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We can debate all day about what Super 8 is good for. The answer is no one thing in particular but many many various things. Based on what myself and others have been getting from the Vision3 stocks in S8, I see many commercial applications. The weakest link right now is the steadiness. Make it rock steady and a little sharper and you've got yourself a serious motion picture format.

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sure ,

but would be different 2 years ago , when good digital camera still costed over 20K , so a steady S8 with 13 stops would be attractive,

now there are very good digital cameras that shoot RAW LOG , with 13 stops of DR and in over 2K resolution ... for couple of thousands USD (and let;s be honest S8 can be scanned in 2K but feels like have the details of 1K anyway )

 

I think that a serious "large" production (meaning the whole production ) won't go S8 anyway (also because is very hard to find a good place to scan it ( for example the re ZERO places that can do serious LOG DATA SCAN in NEW YORK CITY (plenty for S16 and 35mm)

 

S8 is unique and perfect for certain applications ,and i love it ,

but all i am saying is super16 can be easily considered an option against any other format available today .

 

Anyway , i hope LESSE will consider a S16 or 35mm relatively soon. ( something of the size of an Arri IIC would be amazing)

 

g

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that is why i am saying that if LESSE will build a S16 camera with the same principles will have the attention of people who shoot indie film and such ... and not only S8 enthusiasts ...

 

g

I don't think there'd be a market, there's so much cheap used super 16 gear available and those cameras have a life of over 20 years, if not longer.

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I don't think there'd be a market, there's so much cheap used super 16 gear available and those cameras have a life of over 20 years, if not longer.

I agree with Brian completely!

For Super 8, a sophisticated camera well described before, it is a need.

But for Super16 and 35mm, there are a lot of 2nd hand sophisticated cameras already on the market.

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all those cameras won't have a video assist and Audio recorder and christen sync ....

 

They have superb optical viewfinders and they usually have the option of video assist, that been a near standard feature for many years on productions. They may have time code and fitting an audio recorder isn't a big deal, all are crystal sync.

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sure but guys ..come on ... try to understand what i am saying ....

 

sure , there must be some SRIII in good shape or Aaton minima... but

first , those video assist are truly terrible ( mostly ntsc and black and white )

second they are heavily used (10+ years ...)

 

i go to ebay from time to time and everything that is no SRIII ( meaning SR or SRII) feels incredibly used and as said above video assist is bad ...

 

in here i was trying to feed the idea to get a Krasnogorsk-3 ( http://www.k3camera.com ) but with LESSE concept (battery, Crystal sync, hd color video assist and audio ) ...

 

 

Well looks like no one wants it ...so they probably won't consider it ... (i am a bit amazed actually how so many have jumped in to say NO! ... , i still think you have no point because a Krasnogorsk-3 but with LESSE concept does not exist ...

 

 

anyway

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I am extremely excited about this project. Months before I heard about this, I had plans on shooting a short I had written for the s8 medium. Originally I was hoping to rent a modified camera from Pro8mm, but this new super8 camera is absolutely perfect for everything I need. It couldn't have come at a better time. Has anyone heard that pro8mm is now doing 2k data scans for their max8 stocks? I would love to hear an unbiased review of pro8mm from a seasoned cinematographer if anyone here would care to share their experience. A huge thank you to the Lesse team for taking the time to craft such a fine product! I can't wait to use it.

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sure but guys ..come on ... try to understand what i am saying ....

 

sure , there must be some SRIII in good shape or Aaton minima... but

first , those video assist are truly terrible ( mostly ntsc and black and white )

second they are heavily used (10+ years ...)

 

i go to ebay from time to time and everything that is no SRIII ( meaning SR or SRII) feels incredibly used and as said above video assist is bad ...

 

in here i was trying to feed the idea to get a Krasnogorsk-3 ( http://www.k3camera.com ) but with LESSE concept (battery, Crystal sync, hd color video assist and audio ) ...

 

 

Well looks like no one wants it ...so they probably won't consider it ... (i am a bit amazed actually how so many have jumped in to say NO! ... , i still think you have no point because a Krasnogorsk-3 but with LESSE concept does not exist ...

 

 

anyway

 

Never worked with an SR-3 having a bad video assist and B&W before... Maybe you point out the SRIIs having the VAFE made by PHILIPS. 10 years are nothing for those workhorses just after a general overhaul.

 

Then your source should be not eBay with cheap priced offerings thrown away from rental houses. Try other dependable sources such as Visual Products, Inc. in the States, or pay more on eBay for individually used equipment...

 

Forget about to take your time and spend your money with a K-3, even you cannot thread film automatically without frills. Thou its steadiness is not so bad, I and Mr. Kenneth Richter (designer of the RICHTER Auto-collimators and small EMP 16mm helmet cameras, won a Technical Oscar) had checked the steadiness at my home in Istanbul in 1991. When you hit the camera somewhere, you gonna loose its TTL exposure meter system instantly...

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A new Super8 camera can create a special niche and be profitable. It can also be hip and retro if marketed properly. But 16 and 35 are a pipe dream. There are so many cameras being dumped on eBay right now the prices continue to sink like a stone. We will not see any new 16 or 35mm film cameras in the future. There is no need.

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Some cameras accept replaceable 2-perf. movements by native design, not all. But some houses offer the custom-built movements to the non-replaceable cameras.

 

But the ARRI cameras having the 2-perf. mounted, due to low torque, may cause jams in the magazines except AATON specially built for it.

 

Its definitely not a new approach. The exactly same format called TechniScope, designed by Italians, was available on the market in the 60s and 70s.

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