Pro-8mm WINS, EVERYONE ELSE LOSES...

Alessandro Machi · May 14, 2005

If your camera cannot read all NINE speed notches specified in the SMPTE standard, technically, you have a non-standard camera.

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That's an interesting way to look at it. It's actually a selling point if one's camera meets such a standard. Too bad Super-8 camera manufacturers never made mention if their cameras were SMPTE compliant or not, and probably no "official list" exists, although one should exist.

The notch situation is perhaps a resolveable issue if one has manual aperture override in their camera. The whole overexposure and underexposure issue has been dissected in confusing ways in the past.

Many times, the internal automatic meter will underexpose an image if the image includes background sky.

In filming situations where the contrast is more even, the 2/3's over exposure may not be bothersome (in my opinion) since reversal films latitude can increase in non contrasty situations.

However, the argument for slight underexposure rather than overexposure is also valid because it means the camera's lower f-stop will help produce a potentially sharper image.

One scenario where this 2/3 overexposure will be a problem is when a performer is in the foreground and lit, and the background is darker. The non-SMPTE compliant camera's automatic metering system will naturally want to overexpose the entire image already, and the additional 2/3's overexposure will pretty much overexpose the performer.

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In my opinion I'd rather Kodak compromise by a 1/3 of a stop and notch the Ektachrome film to closer match the non-standard cameras so they only overexpose by 1/3 of a stop rather than 2/3's of a stop.

Since people who own the SMPTE compliant super-8 camera have more options to match the exposure more closely they probably won't have a problem with the resulting 1/3 underexposure because they will be able to override it if necessary.

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I would like to think that someone at Kodak would select a range of non-SMPTE compliant super-8 cameras to test the Ektatchrome 64 film with. Run a cartridge of Ektachrome 64 through each non-SMPTE compliant Super-8 camera and see if the ideal cartridge notch setting needs to be slightly augmented.

How does this altered notching affect the better Super-8 cameras? The affect will be minimal, and ultimately quite easy to override.

Jonathan Spear · May 14, 2005

Looks like someone needs either a long nap or a 16mm camera with a few rolls of 16mm film.

;)

Alessandro Machi · May 14, 2005

Looks like someone needs either a long nap or a 16mm camera with a few rolls of 16mm film.

;)

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I guess you thought that was funny when you thought of it. :unsure:

Anthony Schilling · May 14, 2005

In my opinion I'd rather Kodak compromise by a 1/3 of a stop and notch the Ektachrome film to closer match the non-standard cameras so they only overexpose by 1/3 of a stop rather than 2/3's of a stop.

How is this possible, the film will still be 64ASA and your camera will still only detect 40ASA, with these factors being constant, even a 50ASA notch would yeild the same results with your camera.

Alessandro Machi · May 14, 2005

How is this possible, the film will still be 64ASA and your camera will still only detect 40ASA, with these factors being constant, even a 50ASA notch would yeild the same results with your camera.

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Yeah, I think my idea won't work.

There might be some cameras that read more than two settings but less than the 9 that Mr. Pytlak mentioned. What would be useful to know is after the 40 and the 160 ASA settings, which I believe are standard on all cameras, is there a second grouping of ASA readings that were considered, just in case. Or do all cameras read at least four ASA's, which would then include ASA 25 and 100? What combinations of ASA readings can the most sophisticated Super-8 cameras read, and then what about the "middle of the road" Super-8 cameras?

John Pytlak RIP · May 15, 2005

Yeah, I think my idea won't work.

There might be some cameras that read more than two settings but less than the 9 that Mr. Pytlak mentioned. What would be useful to know is after the 40 and the 160 ASA settings, which I believe are standard on all cameras, is there a second grouping of ASA readings that were considered, just in case. Or do all cameras read at least four ASA's, which would then include ASA 25 and 100? What combinations of ASA readings can the most sophisticated Super-8 cameras read, and then what about the "middle of the road" Super-8 cameras?

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The SMPTE standard specifies nine notch positions for EI, and one for filtration. You should buy a copy of the standard from the SMPTE. I can't post the standard (it is copyrighted), but I will post the EI''s that cameras should recognize when I get back to my office next week.

John Pytlak RIP · May 15, 2005

The SMPTE standard specifies nine notch positions for EI, and one for filtration. You should buy a copy of the standard from the SMPTE. I can't post the standard (it is copyrighted), but I will post the EI''s that cameras should recognize when I get back to my office next week.

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I got up early to get you the information from my office:

Daylight Tungsten Dimension

(no notch) (With notch) of X

10 16 1.000

16 25 0.900

25 40 0.800

40 64 0.700

64 100 0.600

100 160 0.500

160 250 0.400

250 400 0.300

400 640 0.200

Anthony Schilling · May 16, 2005

I own 3 different models of Canon Super 8, 512, 814, and 1014. all of which match that list with the exception of the lowest and highest settings.. 25-400ASA tungston and the matched daylight ratings. I can't remember which models for sure, maybe Nizo and or Beaulieu can recognize all the settings including 640ASA.