Rick Palidwor wrote:However, Phil at Pro 8 is quoted as saying he was toying with the idea some years ago and was going to call it super-duper 8, so maybe it's not a good name after all.
He would have snuck a Pro in there somewhere. Super Duper Pro 8. Pro Duper Super 8. SuperDuper8Pro. Or sumthin'. :roll:
And some great news: Eric at Flying Spot let me know this afternoon that they can telecine Super Duper 8 as 16:9 letterbox or anamorph, which is makingmewanttosendthemafewtestrollsrightnow!
We, I say we because we are a group of filmmakers in England. Most of us work in the industry, are are always submitting tenders to Broadcasters. We are all working with video technology in our day jobs but film is our passion.
Most broadcatsers are quite keen on using Super 8 especially for promos and inserts in programmes and even for documentaries. And this idea of a wider image is especially apealing to them, especially in this age of 16.9, it just seems like a natural progression.
As far as scratches I doubt if the processing labs cause them. The most likely place is the filed gate of the camera and projector themselves. Most automatic film processers have spindles with a groove so the film always moves along the very edges.
I think there should be some serious thought into producing or moulding gates with enlarged areas that ensure no scartching. I am sure it can be done and it can't be all thst expensive. I think the viewfinder frame should also be altered to make framing accurate and easier.
Has anyone tried an enlarged gate on a Beaulieu camera?
I know people are saying it can't work on a Beaulieu, which I think is a shame. Beacuse if the viewfinder on a Beaulieu was also widened problems such as vignetting, or the lens barrel comming into the frame could be solved.
reflex wrote:Nizos have two teeny-tiny springs mounted behind the film gate to tension the film guide. If these get loose while you're removing the gate, you'll need a team of elves with magnifying glasses to find them. A (really) tiny dab of glue will hold them in place and allow them to function when reattached.
I also found this out when I took out the filmgate of my Nizo s480 and spent next 30 minutes searching for one of the springs on the floor. Somehow I managed to put it back together without any glue or other tricks but it was really a pain.
I also have a Canon 814 xls and I've thought of modifing it also. Doesn't Canons have these springs? Atleast it has these little things that pushes the film horizontally that in Nizo use springs...
i modified my 1014xls, it wasn't difficult. much easier than the nizo.
the canon gate is plastic, more likely to have burrs and have found it is more likely to scratch your film than a smooth metal nizo gate. be very careful to ONLY widen the side of the frame, NOT the top of bottom... 'cause you're gonna have to do a fake widescreen mask to cover up any mistakes you make if ya accidentally widen into the top or bottom frame line.
man the more and more i use the nizo, the more i love it. it's hard to find comparable good things about the canon now...
All the canon provides is a nice feel, bulky sturdy size.. and well.. is there anything else? oh the 6.5 wide end of the lens is nice... umm.. anything else... hmmmmm.... not really all that quiet, runs at 9fps.. but nizo will do something like that if shot at 54fps in conjunction with the fastest interval setting, but won't give you as much light (unless you set the camera to B... hmph...
Comparitively, nizo has so much more manual control and so much more to offer. i just don't want to admit it yet.
jusetan wrote:man the more and more i use the nizo, the more i love it. it's hard to find comparable good things about the canon now...
All the canon provides is a nice feel, bulky sturdy size.. and well.. is there anything else? oh the 6.5 wide end of the lens is nice... umm.. anything else... hmmmmm.... not really all that quiet, runs at 9fps.. but nizo will do something like that if shot at 54fps in conjunction with the fastest interval setting, but won't give you as much light (unless you set the camera to B... hmph...
Comparitively, nizo has so much more manual control and so much more to offer. i just don't want to admit it yet.
jusetan
Silent Nizo's have some great shutter and intervalometer controls no doubt. I think the Canon is a winner for 24fps low light shooting though. The shutter isn't as flexible as the Nizo but a 220 degree angle option helps. I think the Canon metering in the 814XL-S and 1014XL-S is excellent. You adjust the auto exposure compensation in 1/3 f-stop increments and the camera can read a wide range of film speed notches making it ideal for negative film. The good thing about having a selection of cameras is picking the best tool for the job.
Have you compared the lenses/image quality?
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Yemi
I thought I should put a warning on here before anybody tries this on the Legend of Super 8 as they would only succeed in wrecking their camera.
As tempting as the idea of wide screen super 8 or "super duper 8" might appear to apply to the Leicina Special, with its demonstrated best registration in non-pin registered small gauge, along with its bayonet M-mount which eliminates any concern for vignetting thanks to the larger format still and cine lenses which can be used (Leica along with Arri, M42 and others with one of the optional adapters or aftermarket Novoflex ones), it is not a good idea. I've made up a simple image, as a picture is worth a thousand words:
I like the term Wide 8 myself -- seems like something to be taken more seriously, but maybe that's just me. Anyways, have fun modifying those cameras and experimenting!
Santo wrote:
I like the term Wide 8 myself -- seems like something to be taken more seriously, but maybe that's just me. Anyways, have fun modifying those cameras and experimenting!
Wide 8 was my first choice, but Mitch wanted super-duper and as the techie behind it he won. I don't regret running with super-duper now, but wide 8 was definitely second. Ultra 8, or 8xtra, would never stood a chance in our books.
Nizos have two teeny-tiny springs mounted behind the film gate to tension the film guide. If these get loose while you're removing the gate, you'll need a team of elves with magnifying glasses to find them. A (really) tiny dab of glue will hold them in place and allow them to function when reattached.
I feel the pain! I have a Nizo gate that needs to be replaced. Haven't lost the springs yet, but haven't figured out how to get the thing back in position without losing them.
I used some all-purpose glue - the kind that remains flexible when dry. I attached the end of each spring to the end of the film guide arm so that the springs could still do their job but wouldn't fall off as I put the gate into place.
Okay, let's see. It's Super-Eight with a widened gate. How about Super-G8, pronounced "Super-Gate"? It could be abbreviated to SG8 for forum purposes. I suppose you could also spell it "Super-Geight" but that sounds like a big German sneeze if pronounced wrong.
MovieStuff wrote:How about Super-G8, pronounced "Super-Gate"? It could be abbreviated to SG8 for forum purposes. I suppose you could also spell it "Super-Geight" but that sounds like a big German sneeze if pronounced wrong.
Roger
Letter/number combinations don't work well because one tends to "interpret" them in one's native language when reading them. In French, it becomes a phonetically meaningless "gi-huit" for example.
