Any recommendations for a Super 8 camera that has time exposure? I'm looking for something that will also be able to deal with various film speeds, e.g., the new Plus-X, etc.
I like the Braun C Royal 8 and 10 but I'm not sure how they read the cartridge notches.
Thanks,
Steven
Camera Recommendation
Moderator: Andreas Wideroe
Camera Recommendation
My needs are few but very expensive.
For time lapses I'm really happy with my Nizo Professional. Its got a variable timer that allows me to shoot anywhere from about one frame a second all the way up to one frame per minute. I've got some nice examples in my new movie, Sanctuary. I think that most newer edition Nizo's have this same capability.
Shralp,
Just so long as I am making myself clear, it's not regular "timelapse" that I'm looking for but "time exposure" meaning that I can keep the shutter open between frames for as long as the intervalometer is set. I want to do some shooting at night and the typical application of this effect is capturing streaks from car headlights.
I believe this is a capabilty of the Nizo Professional, have you tried this effect specifically?
Just so long as I am making myself clear, it's not regular "timelapse" that I'm looking for but "time exposure" meaning that I can keep the shutter open between frames for as long as the intervalometer is set. I want to do some shooting at night and the typical application of this effect is capturing streaks from car headlights.
I believe this is a capabilty of the Nizo Professional, have you tried this effect specifically?
My needs are few but very expensive.
disjecta,
when were are talking about the same thing (maybe i missunderstood you)
there will be a kind of timelapse as an effect.
maybe just with my camera, because time exposure is automatic.
you can not set it manually - so it depends on the light how much frames you get in a second.
btw it looks really cool because motion is more "fluid" as in normal timelapse
when were are talking about the same thing (maybe i missunderstood you)
there will be a kind of timelapse as an effect.
maybe just with my camera, because time exposure is automatic.
you can not set it manually - so it depends on the light how much frames you get in a second.
btw it looks really cool because motion is more "fluid" as in normal timelapse
I have a nizo s800 and it does the time exposure thing. The intervalometer can be set from 6 frames per second to 1 frame per minute. This can be utilized in normal mode, where the shutter only stays open for a fraction of a second, or in shutter open mode, (by pulling the fade lever back past full fade and locking it with a little button) the shutter only closes for the time it takes to transport the film. I have only recently tried it, and haven't gotten the film back yet. I filmed some interior shots on K40 at 6 fps, shutter open, which should've given me about 1/8 sec. exposure. I'll post results as soon as I get'em. I would assume all of the similar nizos do this... (560,801, etc...)
Wells
Wells
What Wells said......
Yes I have tried the time exposure method as well on my nizo pro. This shot, also in my film, was set up to shoot the port in Haines, AK during an Aurora Borealis event last April. I locked the shutter open and set the cam to exposure each frame as the secondary meter saw fit for good exposure. I started this at about 10 p.m. and then went to bed. By the time I shut it down at 9a.m. the next morning it had exposed around 10 feet or so. The final shot, while it did not render any aurora effects, (just not enough light and it wasn't really strong that night), did give me an all night time exposed shot, with blurred headlights, etc. As the sun came up and the system ramped up exposure time and frame rate, I got a really cool growing alpenglow out of the darkness until it go so bright that it reached the outer limits of the camera. Shot goes from all night to growing blue/purple alpenglow, to complete white overexposure of the whole frame. Really nice effect....
Yes I have tried the time exposure method as well on my nizo pro. This shot, also in my film, was set up to shoot the port in Haines, AK during an Aurora Borealis event last April. I locked the shutter open and set the cam to exposure each frame as the secondary meter saw fit for good exposure. I started this at about 10 p.m. and then went to bed. By the time I shut it down at 9a.m. the next morning it had exposed around 10 feet or so. The final shot, while it did not render any aurora effects, (just not enough light and it wasn't really strong that night), did give me an all night time exposed shot, with blurred headlights, etc. As the sun came up and the system ramped up exposure time and frame rate, I got a really cool growing alpenglow out of the darkness until it go so bright that it reached the outer limits of the camera. Shot goes from all night to growing blue/purple alpenglow, to complete white overexposure of the whole frame. Really nice effect....
Wow, sounds really cool...Does the professional change the intervalometer and or aperture settings when in this mode? ie speeding up the frame rate to keep up with changing light? if so, that would produce some really cool effects...My nizo does not, but after reading someone's description of a professional intervalometer that does, I got to thinking how cool it would be...esp. regarding night to day transitions, moonlit shots, situations with blowing clouds and sun where the exposure jumps up and down several stops...Ah, crap, gotta start saving up again...
Wells
Wells
Yup, its a cool function for sure. On the Nizo pro, you just set your variable speed dial to the autom B setting, slide your variable shutter angle
lever all the way back, locking it open, and push the continuous run button thats on the right side of the camera body. Lock down the cam on sticks and walk away. Since the cam is now using the external meter and not through the lens metering anymore, you need to be sure to not block the electric eye thats in the front of the cam as well as remove your lens hood.
So yeah, the cam picks the aperature, the length of time each frame is exposed, everything. You gotta keep in mind though, this is only for REALLLY dark situations. With each frame being exposed the entire time before it advances, this set up is really ideal for night type, underlit situations otherwise it just can't handle all the light coming in. For regular time lapses, clouds, sun, etc. I find that its better to just use the intervalometer, usually about 1 frame every 4 seconds, (not with the shutter locked open however), this usually renders nice smooth action. You can see two examples of this on the Flying Spot Film Transfer site http://www.fsft.com Both of these are shots that I did last year, (along with the other shots on the demo), they posted them on their site to show what can be done with a clean, Super 8 transfer on high end telecine gear.
lever all the way back, locking it open, and push the continuous run button thats on the right side of the camera body. Lock down the cam on sticks and walk away. Since the cam is now using the external meter and not through the lens metering anymore, you need to be sure to not block the electric eye thats in the front of the cam as well as remove your lens hood.
So yeah, the cam picks the aperature, the length of time each frame is exposed, everything. You gotta keep in mind though, this is only for REALLLY dark situations. With each frame being exposed the entire time before it advances, this set up is really ideal for night type, underlit situations otherwise it just can't handle all the light coming in. For regular time lapses, clouds, sun, etc. I find that its better to just use the intervalometer, usually about 1 frame every 4 seconds, (not with the shutter locked open however), this usually renders nice smooth action. You can see two examples of this on the Flying Spot Film Transfer site http://www.fsft.com Both of these are shots that I did last year, (along with the other shots on the demo), they posted them on their site to show what can be done with a clean, Super 8 transfer on high end telecine gear.
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christoph
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as far as my research went, i think that the 560 and 800 series only have manual time exposure, while the 561, 801 and professional do both, automatic and manual (i'm not too sure about the 560 though). the only difference between the pro and the 801 i'm aware of is that the 801 has a special battery for the meter.. are ther any other important things that makes the pro a better choice?Wells wrote:.Does the professional change the intervalometer and or aperture settings when in this mode? [...] My nizo does not...
the bauer A 512 should do time exposure too, but my guess is it only does automatic.
i'm sure someone can clarify my rather vauge guessing.
++ christoph ++
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discs of tron
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i need a recommendation also. i want a second (actually fourth,) backup camera. my main camera is a 4080. i don't need intervalometer features. my main concern is low light situations. i like nizos generally. i don't need macro, but i like good optics. one idea is to try to use a 560 in 6 fps intervalometer mode in really low light situations, and telecine at 6 fps.
i'm fully aware that this wouldn't resolve motion in the way we are accustomed to. but for my low-light needs, which involve stuff like concerts, i think it can be very cool. and i'd rather have 6 fps super8 than 60 field dv for this type of stuff. (6fps super8 versus dv could be a whole new thread...)
the only cheaper, smaller nizos that use the xl shutter (another helper in low light) are like the 156 macro, which i think shoots at 9 fps as well, for the same slow fps= slow shutter speed arrangement. someone told me that the 1xx series nizos have a weird shutter arrangement which is prone to breaking though. has anyone here experienced this?
my 4080 can do all of the stuff i need, but i want a smaller, very reliable backup camera for when i don't want to pull out the big old beast. another argument for the 5xx nizos is that they use the same battery pack as my 4080, so i could bring 2 battery packs on a shoot. thanks for all recommendations and experiences.
i'm fully aware that this wouldn't resolve motion in the way we are accustomed to. but for my low-light needs, which involve stuff like concerts, i think it can be very cool. and i'd rather have 6 fps super8 than 60 field dv for this type of stuff. (6fps super8 versus dv could be a whole new thread...)
the only cheaper, smaller nizos that use the xl shutter (another helper in low light) are like the 156 macro, which i think shoots at 9 fps as well, for the same slow fps= slow shutter speed arrangement. someone told me that the 1xx series nizos have a weird shutter arrangement which is prone to breaking though. has anyone here experienced this?
my 4080 can do all of the stuff i need, but i want a smaller, very reliable backup camera for when i don't want to pull out the big old beast. another argument for the 5xx nizos is that they use the same battery pack as my 4080, so i could bring 2 battery packs on a shoot. thanks for all recommendations and experiences.
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Rick Palidwor
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Alex
This topic opens up a whole interesting can of worms. Some cameras like the Eumig 800 series use the shutter speed of the real time frames per second dial even when one is using the intervalometer function.
For instance. If I set the frames per second dial to 24 FPS, then set the intervalometer dial to time-lapse at 1 frame per second, the shutter is open approximately 1/50th of a second between each frame taken. If, however, I move the frames per second dial to 9 FPS, and then shoot intervalometer at that same one second interval, the effective shutter speed is around 1/20th of second! A GAIN of one and a half stops of sensitivity even though my time-lapse speed is the same one frame per second! I suppose one could say that the 24, 18, and 9 FPS act as a poor mans manual shutter selector.
However, on my Canon 814XLS, it appears by the light meter and the sound the camera makes that no matter what frames per second speed I select, the shutter stays open the same amount of time when I am using the intervalometer mode. (this doesn't count the 220 degree versus 150 degree option).
As for time exposure work, I have found it quite useful to cover part of the light sensor with black tape when doing time-exposure headlights because the camera's light time-exposure light sensor can be "tricked" into tripping too soon.
For instance. If I set the frames per second dial to 24 FPS, then set the intervalometer dial to time-lapse at 1 frame per second, the shutter is open approximately 1/50th of a second between each frame taken. If, however, I move the frames per second dial to 9 FPS, and then shoot intervalometer at that same one second interval, the effective shutter speed is around 1/20th of second! A GAIN of one and a half stops of sensitivity even though my time-lapse speed is the same one frame per second! I suppose one could say that the 24, 18, and 9 FPS act as a poor mans manual shutter selector.
However, on my Canon 814XLS, it appears by the light meter and the sound the camera makes that no matter what frames per second speed I select, the shutter stays open the same amount of time when I am using the intervalometer mode. (this doesn't count the 220 degree versus 150 degree option).
As for time exposure work, I have found it quite useful to cover part of the light sensor with black tape when doing time-exposure headlights because the camera's light time-exposure light sensor can be "tricked" into tripping too soon.