sciolist wrote:The description of the proposed camera, cited in the post that began this thread, included the following:
"The camera uses standard Kodak film cassettes, however the film is brought out of the cassette and into the widened gate with integrated pressure plate and pin registration, which completely freezes the film during exposure to make sure the bouncing never occurs which is a typical trademark of older super-8 cameras."
If thatÃ¢â‚¬â„¢s the case, the convenience of which you speak doesnÃ¢â‚¬â„¢t exist. I've got a Visual Instrumentation Corporation SP-1R high-speed Super 8 camera incorporating this design (viz., pin registration with a loop of film pulled out of the cartridge) and it's no breeze to load. I like this proposal a lot; it's just that the convenience of the Super 8 cartridge isn't likely to be enjoyed by owners of the camera if and when it comes to market.
Ah yes, very true, not quite as convenient as a traditional Super8 camera. A bit of over-exaggeration on my part.
An interesting idea (if somewhat fluffy) would be to automate that, ie. where the camera engages the cart and pulls out the film, like videotape camera/players. Wouldn't have to be as fluffy as videotape machines - could be some sort of snap-lock system that uses the energy supplied by the user, as they push the cart in, to drive the engagement method. Whacklockety-click ... drrrrr ... of course, even without such fluff it's the improvement in results, that pin registration provides, that is the important thing. Even if it compromises convenience a tad.
Its all a bit of a balancing act really. The more importance you put on technical quality the more you might move from 8mm/Super8 to 16mm, to 35mm. The more importance you put on convenience the more you might move back down to Super8 and across the dividing line, to video and up to digital. Having crossed that divide you might not be capable of returning to film - you might have to return to a different kind of technical quality, by means of bigger and better sensors.
But it's at that interface, between film and digital, that is where one can start to see the fundamental differences between film and digital. It's strangely a-historical. Super8 occurs at that moment of transition. Thirty years ago. But the transition proper is thirty years later. The transition has to wait for video/digital to mature before the real difference between film and digital actually becomes technically visible. Super8 (and 8mm), because it blows up film to such a large scale, is where the difference has always been most visible, if only to the eye. Digital has to reach 4K before one can actually appreciate the difference in a technical sense. In a bizzare sort of way. The difference is not where it was assumed.
Super8. Half toy. Half seriously cool fun. Half convenient. Half art. And with the ongoing improvement in datacines: half seriously cool beauty, power and history.
Art can be made with anything.