Best setup for a Super 8 Sync Sound Production in 2018?

[h.rashid]

Hello everyone,

I haven't been active on this forum for more than ten years, during which I've worked with digital cameras; but I think I'm catching the super 8 bug again and as I am approaching a new production I've been toying with the idea of shooting it on this format. While I'm aware of the many difficulties this would entail, I also believe that this format can find new life thanks to technology, (HD or 4K scans, for example) compared to when I used it.

So as I've been out of the loop for a while, I wonder if anyone has any advice and ideas on what the best solutions would be to shoot on super 8 with sync sound? The essential elements of my question are basically:

- What's a quiet (or with a known blimp or sound dampening solution), crystal sync camera that can sustain a 4-6 week production?
- Are 200ft rolls still a thing? I've seen Agfa rolls but is there a chance that Kodak for example would accept a special order if the quantity was right?
- Has anyone worked successfully with a video tap for Super 8 cameras?

And last but not least: what does everyone think about embarking on a feature film shoot with a Super 8 camera? Would be great to open up the conversation!

Thanks a lot!

[Silverdream]

Hi h.rashid,
It's good to hear you want to shoot film. The look is unique but I don't need to tell you that.
My thoughts on your questions;

Regards a crystal sync camera, I only know of the Canon 1014 XL-S and the Beaulieu 7008 that can be converted by Pro8. Maybe there are others. Both cameras run quiet for Super 8 cameras.

The 200' magazines are long gone and I can't see Kodak doing a special order when they probably have no empty cartridges and they're busy with getting their Ektachrome going. I believe Pro8 were doing 200' reloads at one time.

I have read about people putting a small ccd module and lens on the eyepiece to use as a video tap.

Regards to shooting a feature film on Super 8, I think you should consider 16mm. As much as I love Super 8, the cost of going to 16mm will only be around double when you factor in film processing, scanning, printing, etc. and all the professional services are available for 16mm just like 35mm.
Even if you were to shoot standard 16mm and cropped it to widescreen, you would have at least three times the resolution of Super8 and have a better chance to sell the film to a distributor.
Of course if this was a no budget feature and you wanted to cut costs to the bone, Super 8 would still look great and better than video.

Who knows, with all the buzz about Super8 making a comeback it might be a selling point to shoot your feature on Super 8.

[Silverdream]

After posting my reply, I realised the solution to your project is easy. The new Kodak Max 8 camera! How could I forget?
The camera has a 1.65 ratio picture area, takes all the Super 8 films, has exchangeable lens mount, has sound recorded to digital media, has a flip out video screen and only costs ???
Maybe you can get a deal from Kodak. Tell them you want to make a feature on Super 8 and it will be a good promotion for them. They might lend you one.
Just don't tell them I sent you, tell them it was Steven Spielbergs idea!

[Silverdream]

Should be 1.58 ratio for Max 8.

[Will2]

If you're talking actual SYNC, there is no currently working system out there for that...like the system Pro8mm invented back in the 70's.

BUT, you can manually sync up Super 8 and audio pretty easily these days. Clapper is a great way, or just have someone stand in front of the camera and clap their hands. When you see the clap, you just move the sound to that point.

If you're talking timecode sync you're getting into 16mm and 35mm and even then it's pretty tricky so manually syncing is probably easiest in the digital world.

I record a ton of bands and music videos and sync is pretty easy. I use a Zoom H4n to record audio (sometimes 4 channel...two mics and two line-ins from a sound board) and look for the drummer or guitarist to hit a note and that tends to work just fine.

I even mount the H4n to the top of my SR2 sometimes for run-n-gun sound and that works great.