The International Film Cooperative

[Scotness]

Check your quoting there -- I was actually responding to Supermag Inventor, not mattias.

Whoops - sorry - I therefor agree with you :oops: :lol:

Scot

[Mr. Apathy]

see, i think that the supermag is a great idea. i think that continued production of s8 film is, of course, a great idea. but the thing that is keeping s8 out of the prime time is, and will always be, the lack of a true pro level modern camera.

please someone fix that. :?

[ccortez]

see, i think that the supermag is a great idea. i think that continued production of s8 film is, of course, a great idea. but the thing that is keeping s8 out of the prime time is, and will always be, the lack of a true pro level modern camera.

please someone fix that. :?

as moviestuff and mr. leugers and others continually point out, the crap registration of the crap kodak cartridge would make many, many cameras function much more reliably and acceptably for pro use.

i guess a fantastic new modern camera ($~2000?) might be of some use as long as it incorporates a pressure plate and registration solution for the crap cartridges. but ALL of my cameras would be *closer* to "primt time" if the cartridges worked as they are meant to.

fix that first? ;)

[steve hyde]

My Nikon R10 is pretty steady. The only time I get jump is when I'm shooting Nizo.

What about straight - 8 with a wide gate?

Steve

[supermag400_inventor]

The main problem with super 8 cartridges isn't the plastic plate, it's the spring used to put pressure on it to hold it against the gate walls. This is the problem I ran into in the first few mags. The gate plate in the mag is made of polished stainless steel. The first few mags were having problems with the film tension. This was caused by the plate not having enough pressure behind it to hold it tight against the gate. The original plate didn't have a back. This made the plate go in too far and put pressure directly against the film as it moved down the gate ramp. When I realized the problem, the simple solution of putting a back plate on the pressure plate corrected it. The back plate keeps the plate from sinking in to far. It actually rests against the gate walls as it's suppose to. This makes the gate stable with a proper spring behind it. The only reason Kodak used a week spring was for economy. It was not meant to be used but once. The spring looses it's tension over time and the plate just doesn't have the pressure behind it to keep the film against the gate.

[audadvnc]

In your opinion, would a filed-out gate such as the Super Duper 8 gate be more or less susceptible to jitter, based on your experience?

[supermag400_inventor]

Not really, just because the gate window was filed wider.f The wider gate opening will not have any real effect on the gate plate unless burs or ribs left behind interfear with the film movement. As long as the height of the ramp is the same and the walls of the gate remain untouched, then it would be work fine.

Personally, I think it's just a gimick. The amount of image area you get is negligable. If you want true wide screen then you need wide angle lenses and a proper camera system. But that's just my opinion.

[christoph]

Personally, I think it's just a gimick. The amount of image area you get is negligable. If you want true wide screen then you need wide angle lenses and a proper camera system. But that's just my opinion.

actually it's not the image area you gain but the effect that you loose less through cropping that makes is quite worthwile...

if you aim for 1:1.66 or 16:9 you gain like 28% usuable image area, for 1:1.85 it's still 24%. whether this is worth the hassle or not is arguable, but anamorphotic systems have their own problems (mainly bulk and focus issues)

++ christoph ++

[Mr. Apathy]

yes, the camera that i had in mind would uses its own pressure plate as well as being pin regestered. I would want it to be switchable between super and super duper and I would like it to have an orentable viewfinder. also a nice set of modern prime lenses would be nice. of course it would be uber quiet and crystal sync at all speeds.

the amount of money that is spent on leicena specials and beaulieu cameras, i could see this going for around 3000 - 3500 dollars without problem. 5000 dollars would probably sell quite a few cameras as well.

[christoph]

the amount of money that is spent on leicena specials and beaulieu cameras, i could see this going for around 3000 - 3500 dollars without problem. 5000 dollars would probably sell quite a few cameras as well.

hmm.. i've bought beaulieus and leicinas from 100-500 EUR and they all work perfectly fine. cant imagine anything that would make me spend 5000 bucks on a super8 camera, that's a whole lot of film ;)
++ christoph ++

[ccortez]

hmm.. i've bought beaulieus and leicinas from 100-500 EUR and they all work perfectly fine. cant imagine anything that would make me spend 5000 bucks on a super8 camera, that's a whole lot of film ;)
++ christoph ++

For 5000 I could buy a crystal sync Super16 EBM w/lens...

[Mr. Apathy]

hmm.. i've bought beaulieus and leicinas from 100-500 EUR and they all work perfectly fine. cant imagine anything that would make me spend 5000 bucks on a super8 camera, that's a whole lot of film ;)
++ christoph ++

For 5000 I could buy a crystal sync Super16 EBM w/lens...

if you look around you can find it for far cheaper than that. however the ebm doen't have an orentable viewfinder (the one it has is dim), and it is still quite loud. my point is their are alot of people out their, like my self, who would/ will shoot super8 because it is super8, it has the look i want for my project. 16mm doesn't have that look. and I would like a modern Pro camera in my format of choice. I know i won't get it but i still want it

[audadvnc]

This talk of expensive new Super 8 cameras reminds me of the late 80's, when Nakamichi was making their excellent Dragon cassette recorders. They really did sound better than any other cassette deck on the block.
But for about the same price you could buy a professional reel to reel tape recorder that could do things no Nakamichi would ever do.

I admired the Nakamichi Dragon but bought cheaper 480's and a reel to reel recorder for production use.