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Lasse Roedtnes

"New" super-8 camera to market

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Read carefully, Tom, once again. Read carefully! There are two people behind this camera.

 

...

 

Boy, it again smells so incredibly troll-ish here.

 

Dear Friedemann,

 

Please don't throw these words.

 

People may think that "It also smells that you are the third person or guaranteed a free camera"...

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Friedmann,

 

Your insults are not a way to prove your point.

 

I'm aware that I lack some informations, that I don't know everything, but who can really claim it ? I'm not ashamed of it, I'm just asking questions, because, apart from Jean Louis and Erkan, nobody seems able to provide actual proofs of what they're saying. Again, I want to see some critical test results, some serious articles. I'm not all new to this world, but as we experienced with Jean Louis' article, vintage super 8 documentation is hard to find nowadays.

 

I know there's also Tommy on the team, but he's not the one we're talking to. I asked about Lasse's motivations, not Tommy's. I read too that they initially wanted to make a 16mm camera, but as the market is declining more rapidly, they turned to Super 8 instead. Put this way, it sounds like a marketing move to me.

 

My whole point is that I find it difficult to believe that Super 8 is this flawed, with so many talented people having working on it, be it on the manufacturer or user side.

 

Friedmann, I understand your point about newer film stocks not being the same, but do you think the Super 8 cartridge was only made for Kodachrome ? I thought that from the start they used different stocks, with a black and white emulsion too.

 

Please, do not insult me this way, there's an actual person behind those word. Filming, being Super 8 or any other format, has always been my passion, and being curious by nature, I tend to ask questions. This is not by sounding condescending that you'll prove to me you actually know what you're talking about. You'll just seem rude.

 

So again, sorry to ask questions, sorry for sometimes being wrong, but I feel I help this way other people to better understand what's going on. Without my "pathetic reluctance to accept simple fact", we won't have seen Jean Louis' article or Erkan's specs they had. Don't you think it's good sometimes not to blindly accept everything as true ? To try to know how things really work ?

Tom, your concern and constant questioning to help "other people to better understand what's going on', is very much noted and has been heard by all. Thank you for your efforts. But what really is going on? Nothing scandalous, I can tell you that. Your arguments or statements, however altruistic, do seem a touch hostile. Just the way I see it. These guys aren't out to rip us off. They are one of us. Their product makes you feel uncomfortable?? Really? I am sure you are very skilled and accomplished at what you do, but I think that most S8 shooter would agree that there is room for improvement. Bravo for Logmar! This website can get a bit touchy and sometimes people forget the community aspect. Just like a lot of the film versus digital bash that went on, let it go, we are all here to help and SUPPORT one another. If you don't buy into Logmar, no problem, you made yourself heard. Just cool the uncovering of a scandal rhetoric for a bit. Film needs all the help it can get. If you truly love film don't fight this.

 

Lasse and company, please know that there are many people watching and reading who are 1000 percent with you, please don't be discouraged by the kick back. You are the rock stars of small gauge. My birthday is in April and I now know what to ask for.

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Friedmann, I understand your point about newer film stocks not being the same, but do you think the Super 8 cartridge was only made for Kodachrome ? I thought that from the start they used different stocks, with a black and white emulsion too.

 

 

No, actually. The original cameras were only marketed for/with Kodakchrome II.

 

An exceprt from http://www.kodak.com/country/US/en/corp/kodakHistory/1960_1979.shtml

 

1965 - Kodak developed the super 8 format and launched super 8 movies with new cartridge-loading KODACHROME II Film.

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Hi Guys,

 

I've always been a fan of a heated debate - it's nice to see people getting passionate :) and if we keep it going we might hit 500 replies to this single thread - think about that isn't it amazing that this thread has spawned so much action in such a short period of time, I find that really encuraging.

 

 

I saw on Friedemann's blog that you "never shot super 8"... Is that true ? Maybe the reason you feel it's cheap is because you didn't actually tried it. I can assure you, having (and still) used it a lot of time, it's not as bad as you may think. Now that I've seen this statement, your product makes me feel a little uncomfortable, because I thought it was at last a product made by someone like us here, a real enthusiast that love the format. Now I can't see clearly your goal if you won't use it, apart from just making money.

 

You too are trying to sell a product here. You too put a wealth a feature to appeal to us. "Pressure plate, sprocket feeding, register pin" are too words to make the potential buyer comfortable.

 

I don't want to prove anyone right or wrong here, so be it clear. I'm just using some critical thinking to better understand your product, to see if it really is better than what we already have as you claim.

 

Tom, It's completely true what is mentioned - I have properly only shot one film in total of Super-8 in my lifetime, and that film has been shot on our own camera entirely. Obviously I've worked endless hours with test cartridges inside our camera and played with that but when talking about real shot film for private purposes then it's only that one film - My first motion camera was a Panasonic NTSC video camera which I purchased on my first trip to USA after graduating university in 2004. I still own it today and the last time it was in use was in 2010 when I used it to film my daughters first months after birth, I wish I had our camera ready back then as the NTSC video looks "horrible" (especially when my PAL TV tries to convert and upscale it to HD). :D

 

Just because I wasn't born back when Super-8 had it's glory days doesn't mean I don't want to strive at creating the best camera electronics ever made (just like all the people Erkan mentioned tried to do before me) nor does it imply that I'm not affectionate about what we (Logmar) are trying to achieve - I would put it the other way that I do not carry any emotional baggage from the Super8 era so I can concentrate on looking at the results and judging from that.

 

In all honesty this camera started as a farther / son project back in 2008/9 being a Krasnogorsk motor driver and then quickly evolved from there since we both had the appetite to make something more grand than just a plug-in for an existing camera body - In the beginning I just went along for the fun of it (I really enjoy working with my father) and although many people including our own family thourght we where nuts for spending so much spare time and money I could see that my father really believed in film and thourght it so important to finish this camera, so that other's could also share his passion, that's when I realized that perhaps this camera we were building could have some success as there had to be more people out there with the same dream.

 

Does Tommy love the super-8 format? - Absolutely - if he didn't we wouldn't have a camera for it today!

Do I love the Super-8 format? - I love the image our camera produces - I do not like the image other cameras which I've seen produces like for instance this video I just randomly found on youtube:

http://www.youtube.com/watch?v=qd87_jjK1-8 not judging the content but only looking at the video I do not like the lack of Image stabilization, the image moves all over the place and the image pulsates in brightness/intensity which makes it (to me) miserable to watch.

 

My "dream" (which might be different from yours) is to reproduce the look of movie theather quality on an 8mm easy to use camera, that will allow people to film (for instance) their children and proudly show it to their friends without having to excuse the quality or state "you know how super-8 looks like - this is expected behaviour". - I realize this is a strong statement which might hurt some people's feelings but never the less this is my dream and since I was born in 1983 and brourght up with video and later on with HDTV and plastic colors looking at my fathers old super8 recordings from his childhood just looks dull and bad to me - it's hard (in my mind) to make this format appealing to a younger generation without doing a mayor overhaul and vetting out all the "quircks" as well as making it appealing from a technical standpoint (no more wind-up cameras etc.).

I have a dream that one day my daughter (who is severely handicapped) will be able to show her caretakers or perhaps remaining family (when my wife and i are no longer around) some film of how her life was growing up and the only media that can give me this assurance of time is film, which doesnt fade out or becomes lost as digital memory does it - this is why I'm doing it, that's my motivation and it's a very strong one for me.

 

Are we in it for the money? I would be lying if I said no, since there has to be a profit to ensure warrenty and pay back our investment, but make no mistake we are not whipping the cream on this camera with the current price point of 2.000€ ex. vat, the small scale of things makes it extremely expensive to make. If we had the luxury of say Arriflex that we could manufacture 1.000 cameras inhouse with existing equiptment the case would be different

however we need to get third-party vendors to do the majority of the work and they do not work for free as mentioned earlier labour costs are extremely high in Scandinavia - properly amoung the highest world wide which doesn't help us at all.

 

 

I know there's also Tommy on the team, but he's not the one we're talking to. I asked about Lasse's motivations, not Tommy's. I read too that they initially wanted to make a 16mm camera, but as the market is declining more rapidly, they turned to Super 8 instead. Put this way, it sounds like a marketing move to me.

 

My motivations are listed above :)

 

It was a "marketing move" - There didn't seem to be a point of releasing a camera with no market for it :blink:

That said our camera is a platform - the "box" supports 8, 16 and 35mm with more or less the same mechanics* and electronics (*=ofcause there's big differences on take-up etc. but the motor etc. is the same)

it was build in this way so that we could "quickly" spin derivatives depending on the market situation and allow us to build follow-on camera's later.

 

Our vision is to become the preferred supplier of easy to use, afforadble film cameras wheather it be 8, 16 or 35mm.

It's a big vision but we believe we have the ingredients to make it work.

 

 

Dear Lasse,

 

Also you mention: "if the playback speed varied that would be noticable only as "lip sync" problematic - you wouldt be able to tell if it was running too slow or too fast (unless we are talking many fps difference)".

 

Small format sync difference could be more understandable due to the slower speed than larger formats!

Film transport speeds, mm/sec. @ 24fps: 456 for 35mm film, 182,98 for 16mm, and 101,5 for Super 8/Single-8.

 

Erkan - your statement about the transport speed is true, however when watching the recorded film you are playing it back at a fixed speed and hence you wouldnt notice if it ran a little too fast or slow regardless of the transport speed since frame rate is what you see with your eyes and then it doesnt matter what the transport rate is - the only way to tell is that audio comes out of sync or if the movie all of the sudden plays back in charlie chaplin mode :D

 

 

Dear Friedemann,

Please don't throw these words.

People may think that "It also smells that you are the third person or guaranteed a free camera"...

 

I would like to clarify this a little so that people dont get the wrong impression or starts screaming conspiracy :D

 

Logmar is compromised of Tommy and myself - a two man strong team doing mechanics and electronics, we've had help externally with certain aspect of the project, for example we've hired in some marketing people to do logo and website and we've had an external FPGA designer wokring on our first CMOS based viewfinder but that is "history" now as we now use CCD, we've also had help from friends with getting some of the first mechanical parts manufactured before we had enough money put together to have it made a proper factory.

 

When we the first time told people about our project (on this very forum, in this exact thread) a few people approached us volunteering to alpha test our camera. One of these people was Mr. Friedemann, who amoung others have been instrumental to our current success by providing feedback on things to improve in both hardware and software. We rely on these people to give us open and honest feedback on things they like and things they don't like as well as figuring out what can be improved - for instance when it comes to stuff which can break (see below)

 

As a direct result of this feedback we are doing a major overhaul of the camera just now - removing the jog wheel and replacing it with navigation buttons instead - as Erkan also pointed out the jog wheel could break off and that happened to one of our testers - also the WIFI antenna placement is under consideration (luckily we haven't had any lawsuits over an alpha tester going blind yet) :) but it's position will most likely move. Other things we are improving is the battery holder (making it more sturdy) as well as placing the record button and alternate speed/phase advance button in a different more accessible place and adding the provision for an external record trigger - for example from a handgrip with trigger button or similar.

 

There's no agreements of giving away free cameras to any of our alpha testers nor paying them to work for us! - their work is entirely voluntarily – we just provide them with a camera and film plus accessories, provided they give us the film shootings they’ve made so that we can publish them on our website as well as provide us with feedback on the camera - after the alpha test the cameras are returned to us as the alpha camera's will no longer resemble the final product this has been agreed with all our testers in advance.

Also having external testers provides us with an unbiased opinion - obviously we think we are the best in the world and that our product is as well, but third party people doesn't have this bias and that's why we use them.

Best regards

Lasse

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...
In all honesty this camera started as a farther / son project back in 2008/9 being a Krasnogorsk motor driver and then quickly evolved from there since we both had the appetite to make something more grand than just a plug-in for an existing camera body - In the beginning I just went along for the fun of it (I really enjoy working with my father) and although many people including our own family thourght we where nuts for spending so much spare time and money I could see that my father really believed in film and thourght it so important to finish this camera, so that other's could also share his passion, that's when I realized that perhaps this camera we were building could have some success as there had to be more people out there with the same dream.
...
I have a dream that one day my daughter will be able to show her caretakers or perhaps remaining family (when my wife and i are no longer around) some film of how her life was growing up and the only media that can give me this assurance of time is film, which doesnt fade out or becomes lost as digital memory does it - this is why I'm doing it, that's my motivation and it's a very strong one for me.
...

 

Hey Lasse,

 

I'll take a red one and where do I pre-order? However the project turns out, realize that you are a very lucky man and cherish the very experience you're living right now.

 

Best wishes to you and yours,

Avery

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As a direct result of this feedback we are doing a major overhaul of the camera just now - removing the jog wheel and replacing it with navigation buttons instead - as Erkan also pointed out the jog wheel could break off and that happened to one of our testers - also the WIFI antenna placement is under consideration (luckily we haven't had any lawsuits over an alpha tester going blind yet) :) but it's position will most likely move. Other things we are improving is the battery holder (making it more sturdy) as we

Possibly a WiFi antenna normally built in into laptops (or tablets) could work. Fast changing availability is a risk here.

Although it likely cannot be installed inside the metal housing :) Possibly inside the top handgrip?

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Hi Avery,

 

 

Hey Lasse,

 

I'll take a red one and where do I pre-order? However the project turns out, realize that you are a very lucky man and cherish the very experience you're living right now.

 

Best wishes to you and yours,

Avery

 

Thanks for your warm wishes they are very much appriciated.

 

We will open up for pre-orders and normal fundraising via Indiegogo in January and we expect to deliver the first cameras in April provided that we reach a minimum of 10 pre-orders or the equvivalent cash in terms of donations/fund raising.

 

If we make it to 50 cameras or more during the fundraising period, we hope to include NFC tagging of the film cartridges from the get-go, again as first in the industry to do so. This is a direct result of feedback we got from Friedemann for example. The idea is that if you film half a cartridge, and then perhaps decide to swap for a different film type, the camera then automatically (during run time) stores the amount of frames spend on that cartridge together with a programmable name - you can then conviently read it out via your smart phone if you have a big bag containing multiple films that's a very easy way to do so - that way you can easily figure out how many frames should be present on each film and you can have individual names for each film to help you remember what's on them and when you insert an NFC enabled cartridge into the camera it auto loads the settings from that specific cartridge.

 

This works with standard NFC tags that supports the NFC Forum V2 specification - we are right now planning on supporting the NTAG203 sticker which is broadly available with prices below 0.45£ per sticker in low volume.

 

ntag203_minitrack.png

 

You then put a sticker on each of your film cartridges and that way you can always keep track of them, this is obviously an optional feature - if you dont want to use NFC and put stickers on the cartridge for it then you can use the camera without as well.

 

 

Regards

Lasse

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Brilliant! We deeply appreciate your willingness to work with our very enthusiastic film community.Cheers!

 

 

 

 

This works with standard NFC tags that supports the NFC Forum V2 specification - we are right now planning on supporting the NTAG203 sticker which is broadly available with prices below 0.45£ per sticker in low volume.

 

ntag203_minitrack.png

 

You then put a sticker on each of your film cartridges and that way you can always keep track of them, this is obviously an optional feature - if you dont want to use NFC and put stickers on the cartridge for it then you can use the camera without as well.

 

 

Regards

Lasse

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I think by now I'd prefer to own 3-4 Logmar Bodies loaded with different film stock. :)

 

LOL. Now if I were to be living in my dreams, or strike the lottery I'd go for 3, seeing as those are the colours planned. Then again, Tommy & Lasse could do one more hey? OK make it 4 if we have White as an option too... Hey where's the white one? I have half a roll of Julie on that one.

 

But seriously, Black or gunmetal Grey would suffice. And Lasse, I know how things could be tweaked and twiddled forever and nothing ever is finished so a commitment to a date is important, but ergonomics and aesthetics wise, is it too late to work on the "box" a bit more? You know we all like to fondle our cameras... So here's a chance to make things sexy oozing shapes that has the stamp of real film on it, not have someone say ahh that an Amira (or whatever box they all look like nowadays)?

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BTW- is there an internal 85 filter option? Otherwise having the ability to use various lenses or prime lenses will require various filters at various sizes. If the Switar H8 primes will work, they are very difficult to add filters to.

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Hi Anthony.

 

BTW- is there an internal 85 filter option? Otherwise having the ability to use various lenses or prime lenses will require various filters at various sizes. If the Switar H8 primes will work, they are very difficult to add filters to.

The mentioned H8 lenses doesn't work with our wide gate (the lens doesn't cover the entire image)

also we do not include any filters inside as there's just air between the lens mount and film.

 

regards

lasse

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Hi Avery,

 

quote name="Avery Dark" post="398791" timestamp="1385568508"]

But seriously, Black or gunmetal Grey would suffice. And Lasse, I know how things could be tweaked and twiddled forever and nothing ever is finished so a commitment to a date is important, but ergonomics and aesthetics wise, is it too late to work on the "box" a bit more? You know we all like to fondle our cameras... So here's a chance to make things sexy oozing shapes that has the stamp of real film on it, not have someone say ahh that an Amira (or whatever box they all look like nowadays)?

 

we are doing an overhaul on the design in terms of custom buttons ect. however the box will still be square since its made out of bended aluminum (to keep the cost down) if we where to mill a box with all sorts of sexy shapes (I would really love to do that)then the price would be around 1000€ more expensive which I'm not sure people will pay just for the looks of it

 

if you look at the beautiful Ikonoskop 16mm camera that's a milled body which in my mind is the reason for their substantially higher price point.

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Is there any way a list of decent C-mount lenses can be made eventually that will cover the S8 frame? I'm assuming that there are Beaulieu Angeneux zooms that would work. It seems that most primes are for regular 8 or 16mm, if anyone knows what will work then please share.

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Guest Glenn Brady

Is there any way a list of decent C-mount lenses can be made eventually that will cover the S8 frame? I'm assuming that there are Beaulieu Angeneux zooms that would work. It seems that most primes are for regular 8 or 16mm, if anyone knows what will work then please share.

 

See this recent thread: http://www.cinematography.com/index.php?showtopic=60974.

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I've been away for about a week or so and so much has happened in that time. What a great talk. It's taken me hours to read through all the posts.

 

Great to read Friedmann's detailed knowledge on Super8 transport.

 

I'm not sure that Chabatt's counter-arguments (based on stories from old film magazines) act as a good counter-argument. Such magazines might be proof of something, but proof of what? That early Super8 filmmakers were happy with the design of the Super8 cart? I'm sure they were. But that doesn't really mean anything. I'm sure the filmmakers building the first 35mm cameras, with a hand winder were very happy with their results. But that doesn't mean the camera couldn't be improved. I mean I was very happy with the VHS camera I was using back in the day. Doesn't mean I wasn't then suitably impressed when S-VHS came out.

 

To say something is "good enough" (or whatever other compliment one can muster) does not mean that something else can't be done to make it a little better.

 

Friedmann is right. Many have been calling for an improved Super8 camera for a very long time. I don't offer any proof here, but it's there to be found in a search of film forums. But the call is from a different kind of filmmaker than those represented in the old consumer magazines. Many of the filmmakers targeted in those magazines were those who didn't really care about the deep details. They wanted something easy to use, for home movies. But Super8 was also adopted by those familiar with 35mm and 16mm, and it was these film-makers (not the original target market for Super8) that would start to argue for a better Super8 design.

 

My favourite post over the last few weeks is from Matt Stevens:

 

"Great information. This continues to give me a woody"

 

Me too.

 

C

 

 

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Is there any way a list of decent C-mount lenses can be made eventually that will cover the S8 frame? I'm assuming that there are Beaulieu Angeneux zooms that would work. It seems that most primes are for regular 8 or 16mm, if anyone knows what will work then please share.

 

A C-mount prime for 16mm will be fine. The lens only needs to have a coverage larger than Super8 to be usable. The only exception (I think) are those C mount lenses made for a Bolex reflex camera as these were designed to compensate for a prism.

 

A search on Edmunds Optics throws up a few lenses that will work just fine - just check the area that the lens covers - needs to be an area larger than the Super8 frame. Keep in mind that the new camera has a little bit of a wider frame than the original Super8 spec.

 

http://www.edmundoptics.com/search/index.cfm?criteria=C+mount+lens&x=0&y=0

 

Here's a cool one from Edmunds with an aperture that opens to f/0.95 (Kubrick would love it) versions that cover a 2/3 inch and 1 inch area (both of which are larger than Super8 so can be used)

 

http://www.edmundoptics.com/imaging/imaging-lenses/fixed-focal-length-lenses/schneider-fast-c-mount-lenses/2892

 

Check here for a list of sensor sizes: http://en.wikipedia.org/wiki/Image_sensor_format

 

C

Edited by Carl Looper
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we are doing an overhaul on the design in terms of custom buttons ect. however the box will still be square since its made out of bended aluminum (to keep the cost down) if we where to mill a box with all sorts of sexy shapes (I would really love to do that)then the price would be around 1000€ more expensive which I'm not sure people will pay just for the looks of it

 

if you look at the beautiful Ikonoskop 16mm camera that's a milled body which in my mind is the reason for their substantially higher price point.

 

The Leicina Special (I now have two of these) has a box like design - I love that look. And the Volvo (a car) from the 70s. A box. You can't beat a box I reckon.

 

Was working on a car show in LA last week and a number of the new cars there are going for a box aesthetic. I reckon it looks super cool.

 

C

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I have often used c mount CCTV lenses for both Super 8 and 16mm and have fund the quality quite good, especially the Pentax CCTV lens for 1/2 inch sensors.

 

Pav

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I've been away for about a week or so and so much has happened in that time. What a great talk. It's taken me hours to read through all the posts.

 

Great to read Friedmann's detailed knowledge on Super8 transport.

 

I'm not sure that Chabatt's counter-arguments (based on stories from old film magazines) act as a good counter-argument. Such magazines might be proof of something, but proof of what? That early Super8 filmmakers were happy with the design of the Super8 cart? I'm sure they were. But that doesn't really mean anything. I'm sure the filmmakers building the first 35mm cameras, with a hand winder were very happy with their results. But that doesn't mean the camera couldn't be improved. I mean I was very happy with the VHS camera I was using back in the day. Doesn't mean I wasn't then suitably impressed when S-VHS came out.

 

To say something is "good enough" (or whatever other compliment one can muster) does not mean that something else can't be done to make it a little better.

 

Friedmann is right. Many have been calling for an improved Super8 camera for a very long time. I don't offer any proof here, but it's there to be found in a search of film forums. But the call is from a different kind of filmmaker than those represented in the old consumer magazines. Many of the filmmakers targeted in those magazines were those who didn't really care about the deep details. They wanted something easy to use, for home movies. But Super8 was also adopted by those familiar with 35mm and 16mm, and it was these film-makers (not the original target market for Super8) that would start to argue for a better Super8 design.

 

My favourite post over the last few weeks is from Matt Stevens:

 

"Great information. This continues to give me a woody"

 

Me too.

 

C

 

We had been missed you Carl! Welcome again our optics expert!

 

Last night, I made some observations using four S8 gates, molded plastic/machined metal plates, 60X magnifier, and electrical micro contact sensors. The results were so clear: The people, who advocate the need of a pressure plate/pad are so right! There is no any contact between the plate rails and film back absolutely. And I am ashamed!

 

The obsessive passion with the almost all branches of motion picture technology and reading a lot of rare documents in the field for nearly 30 years made me blind and tired. If I were an engineer, would be a very bad one, hopefully I am not, but a technologist. :)

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I've mentioned this many times, over many years, but there is a deep entrenched notion that Super8 should only be used to create work that looks as if it was shot on Super8. As silly as that sounds when put that way: "Super8 starring as itself", as someone recently suggested.

 

The "Super8 look" as others have otherwise said. Its a kind of "graphic artist" view of photography.

 

Its as if there exists, deep inside the brain of many, some sort of archetypal concept called the "Super8 look". One that has taken shape and become stuck in that shape for many decades. Indeed there are digital filters (for digital images) that have emerged that are able to target this deep entrenched archetypal concept called the "Super8 look". Some filters are better than others. The reason a digital filter can do this is because the preconception can be understood. That is the nature of preconceptions. They reside inside the head.

 

A more expensive way to target this look is to use a Super8 camera (with Super8 film). But doing so is not in any way more legitimate than if one had used a digital filter on a digital image because it amounts to the same thing - merely reproducing and further entrenching the preconception: the "Super8 look".

 

But what if you after something else - not just what Super8 is supposed to look like (the so called Super8 look) - but what else Super8 could look like. One way to to do that is to extend the range of the tools you are using rather than just treating them as is. That's how I see the new camera. Like any camera it's just a tool, but it just happens to be a better one - and in ways that can really matter. Especially when your concern is not just the surface look (the graphic art aspect) but what is also in front of the camera - outside of your head - outside of the camera - outside of your preconceptions.

 

So instead of just shooting Super8 to get a Super8 look (how easy is that anyway?) one uses it it to find something else - using a philosophy of photography rather than, or in addition to, a philosophy of graphics.

 

Carl

Edited by Carl Looper
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We had been missed you Carl! Welcome again our optics expert!

 

Last night, I made some observations using four S8 gates, molded plastic/machined metal plates, 60X magnifier, and electrical micro contact sensors. The results were so clear: The people, who advocate the need of a pressure plate/pad are so right! There is no any contact between the plate rails and film back absolutely. And I am ashamed!

 

The obsessive passion with the almost all branches of motion picture technology and reading a lot of rare documents in the field for nearly 30 years made me blind and tired. If I were an engineer, would be a very bad one, hopefully I am not, but a technologist. :)

 

Don't be ashamed. The very fact that you went to the trouble to actually test the theory you were otherwise entertaining means that you weren't just taking it for granted. The world at large is part of who we are as much as whatever happens to be running around in our heads at any given moment.

 

C

Edited by Carl Looper
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