American Cinematographer
American Cinematographer
American Cinematographer
Headquarters
for everything Super in Super-8
Professionals are calling upon Super-8 to do Projectors: hi-intensity and double band
jobs that used to be reserved for the larger film interlock projectors.
formats. Not only is Super-8 doing those jobs, it's Plus an incredibly varied line of accessories
doing them as well, for less money and with a lot and sundries.
less bulk. And we're authorized Super 8 Sound'," Inc.
F&B/Ceco has believed in the future of Super-8 dealers.
for a long time. That's why we carry one of the So if it's professional Super-8
largest and most complete lines of equipment, F&B/Ceco has it.
professional Super-8 equipment and And we'll sell it, rent it or lease
accessories available anywhere. it to you. Call or write for our
Cameras: crystal sync, single free, comprehensive catalog.
and double system. But whatever you do, don't buy
Sound: crystal sync full coat, or rent a piece of Super-8
cassette and displacement recorders. gear until you've gotten
Editing: motorized editing a quote from us.
benches and flat bed tables. Are we on your bid list?
AMERICAN CINEMATOGRAPHER, established 1920, in 56th year of publication, is published monthly in Hollywood by ASC Holding Corp.,
1782 North Orange Drive, Hollywood, California 90028, U. S. A. SUBSCRIPTIONS: U. S. $9.00; Canada, foreign, including Pan-American
Union. $10.00 a year (remit International Money Order or other exchange payable in U.S.). ADVERTISING: rate card on request to Hollywood
office. CHANGE OF ADDRESS: notify Hollywood office promptly. Copyright 1975 ASC Holding Corp. Second-class postage paid at Los
Angeles. California.
— although we have no way of than 35mm simply because it has side of Super-8's cost-effectiveness.
knowing for sure — that even Eastman proved to be economical and of good The comprehensive equipment
Kodak never envisioned it as anything enough quality to satisfy themselves review presented in this special issue
more than a vastly improved format for and their clients. It is also a com- on Professional Super-8 will convince
the highly lucrative mass amateur bination of simple economics and knowledgeable cinematographers that
market. "adequate" image quality that is caus- virtually every production and post-
By the time the special "SUPER-8: ing many television stations to drop film production technique of sync sound
THE STATE OF THE ART" issue of production entirely in favor of video- cinematography is now possible in
American Cinematographer appeared tape production. A key question raised Super-8. There is no basic cinematog-
in December, 1969, it was already be- by many of the writers of this special raphic reason for rejecting Super-8, ex-
coming obvious that the spunky little issue of American Cinematographer is cept that of image quality. So the
Super-8 format was refusing to "stay in whether Super-8's extremely low-cost answer to the "effectiveness" side of
its place" as a strictly amateur play-toy. can compromise with the effect of a Super-8 cost-effectiveness lies
Despite the wait-and-see inertia main- slight sacrifice in image quality, in primarily in the size of the presentation
tained by Eastman and an appalling order to produce a "cost-effective; screen. Where the presentation
lack of standardization promulgated by medium that will keep the techniques of medium is television, including video-
greedy equipment manufactuers, cinematography active in original pro- tape and the upcoming videodisc, a
Super-8 was being forced into use as a ductions for television, as well as lower rear-projection portable Super-8 pro-
professional medium — for certain the production costs in many non- jector, or a classroom screen, Super-8
specific applications — by innovative theatrical films. is more than adequate, as can be seen
fil m-makers all over the world. The "cost" part of the answer to the by looking at the quality achievable in
In the six years that have elapsed question of Super-8 "cost-effective- one-quarter of any 16mm screen
since then things have changed ness" is to be found in a simple budget i mage. Technically, a Super-8 print in
radically. There is no longer any analysis of any film production. That 1975 has image resolution and grain
question as to whether Super-8 will be part of the budget allocated for equip- structure superior to that of a com-
accepted as a professional format. It is ment and film stock is the primary part parable 16mm print made in 1965,
a fact — like it or not, and one is influenced by the gauge or format when both are projected to the same
tempted to say: "You've come a long decision. Some sound costs, lab trans- screen size.
way, Baby!" fers and studio mixes, are reduced by So two elements combine as
Just how far Super-8 has come as a the techniques used in Super-8 sync sufficient conditions to shoot original
professional medium is the reason for sound equipment, which allow the film- Super-8: Cost — if a substantial frac-
this current special issue of American maker to do his own sound work. A tion of the budget will be spent on
Cinematographer. The intent is to re- typical non-theatrical film production equipment and expendables, and
port in detail the significant advances in budgets only about 10% for equip- Image Size — if the size of the in-
equipment and techniques that have ment and expendables, the balance tended audience's viewing screen is
made possible the acceptance of consisting of research, scripting, talent, small enough, then the decision to work
Super-8 as a professional medium — crew, travel, etc. Even if Super-8 stock in Super-8 is an intelligent profes-
for certain specific applications. costs only one-third as much as 16mm; sional decision. As more professional
We purposely and repeatedly even if Super-8 location, editing, and producers make that decision, we can
emphasize that latter phrase because studio equipment costs only one-fifth look forward to a healthy growth in
certain realities must be faced in order as much as comparable 16mm equip- cinematography for the small screen.
not to confuse the issue — namely that ment; and even if Super-8 video trans- However, despite all the aforemen-
there is no way that a Super-8 image fer equipment costs only one-tenth as Continued on Page 1297
Super-8 was introduced about 10 to design the tolerances of the 16M illu mination level will require the same
years ago as an amateur format. In the much tighter than those of the 351IC in amount and type (and cost) of equip-
first five years of its infancy, this order to achieve the same standards of ment regardless of the format being
amateur classification went almost un- visual precision. As a result, the 16M used. So here the expense is the same
challenged. With the seventies and an actually cost 30% more than the Arri- for any format. However, there are
apparent improvement in related flex 351IC. One can draw the similar cases, quite frequently, where the
Super-8 equipment, the cry of "profes- conclusion that if Arriflex ever came out Super-8 production will cost more to
sional format" should have been with a professional Super-8, it would li ght than if 16mm or 35mm were em-
expected. There is no doubt that most likely cost about the same as their ployed. This is due to two facts.
Super-8 is applicable for certain equivalent 16mm camera. Firstly, almost all Super-8
professional (remunerative) situations. Conversely, the precision of most camera/lens combinations are much
However, the reasons given by Super-8 currently available Super-8 cameras slower than the average 16mm pack-
aficionados for using the small format would be comparable to that of a Fair- age. This is due to the fact that almost
are usually erroneous, irrational and child 16mm Gun Camera which can be all Super-8 cameras have zoom lenses
sometimes ludicrous. By taking a close had for about $25. There are many coupled with beam-splitter-type view-
and objective look at the "Super-8 16mm cameras in the $100. to $1000. finders. The average Super-8 zoom
System" we may get a more realistic range that will give results, in terms of lens does not employ as effective a
appraisal of its professional applica- registration, better than Super-8 coating as the better large format
bility. cameras of the same price. The point lenses and thus loses more light in the
Super-8 equipment is much less ex- here is that for a given amount of lens, not to mention the half-stop or so
pensive than similar larger format money, a 16mm camera can be pro- lost in the beam splitter. A Super-8
equipment. Not true! As a matter of cured that will give as good, if not camera/lens using the beam-splitter
fact, a Super-8 camera will cost more better, registration results than a system will lose better than one stop
than a 16mm or 35mm camera of simi- similarly priced Super-8 camera. and sometimes as much as two stops in
lar quality! The trap that most Super-8 There is another important point to the lens/finder optics. This is why
proponents fall into is illogically com- be made about precision. Not only are almost no Super-8 manufacturer ad-
paring amateur Super-8 cameras with the closer tolerances of Super-8 equip- vertises or even indicates 'T' stops on
professional 16mm and 35mm ment more difficult and costly to the lens (the exception being
cameras. achieve, but also more difficult to main- Angenieux) because that nice f/1.8 be-
A professional Super-8 camera must tain. A Super-8 camera/lens is far comes a T/3.5, and even some of the
be manufactured with double the pre- more vulnerable to dirt and abuse than so-called reflex XL cameras are still in
cision of a 16mm camera to achieve the a camera of larger format. A given error reality around a T/2.8. Therefore, in
same professional standards. For in alignment, registration or seating will 16mm, where fixed focal lengths of
example, professional registration is cause a much greater visual distortion T/1.4 to T/1.8 and zoom lenses of T/1.9
usually stated as at least 1/1000 of with the smaller format. Super-8 equip- to T/2.5 are quite common, the stand-
frame height for any size format. For ment will thus have to be handled and ard Super-8 lens will more likely be a
35mm this relates to about seven- maintained with greater care. Like- T/2.8 to T/3.5, requiring from two to
tenths, for 16mm this becomes three- wise, dirt and scratches on the film will four times more light (and lighting
tenths and for Super-8 it is almost one- visually appear at least three times as equipment). Of course, there are new
ten-thousandth of an inch. That is a large with the smaller format. These Super-8 zoom lenses, notably the
pretty close tolerance, and very ex- facts hardly make Super-8 a format Angenieux 6mm-80mm, T/1.4, that are
pensive to achieve. Likewise, flange-to- conducive to Q & D (quick and dirty), fast and of professional calibre, but
focal-plane distances (lens seating) will low budget or knock-about produc- they are also professionally priced.
also have proportionally closer and tions. As a matter of fact, if a produc- There are other factors that could
more expensive tolerances to achieve tion has to be shot Q & D, i.e., no A & B make the large formats more con-
the same visual standards of the larger rolls, no work print, no editing gloves, ducive to low budget films. There are
formats. What this boils down to is that etc., it most assuredly should be shot in many devices, film stocks, special proc-
a Super-8 camera will cost more than a 16mm. Under these extremely low budg- esses, etc., that can facilitate quick
larger format camera if you compare et conditions, a Super-8 print would and cheap location production that are
them on the basis of the same be totally unintelligible. If Super-8 were not available for the Super-8 format.
professional standards. used, greater care in terms of clean- For example, there are several pro-
This is not just theory. As an li ness and splicing would have to be prietary processes, such as Chem-
example, take the Arriflex 3511C and the used, even to get barely acceptable tone, for the development of ECN II at
Arriflex 16M cameras. Arriflex de- results. 250 ASA with virtually no quality loss
signed the 16M camera as a 16mm We've been looking at camera gear. and 500 ASA with a minimum of loss. In
version of the 351IC camera. These two What about lighting and sound? Light- addition, this process reduces con-
cameras are almost identical in terms ing for Super-8 is obviously going to be trast, which can minimize the use of fill
of design: quick-change magazine, the same or more expensive than for a li ght both indoors and out. Because
three-lens bayonet turret, mirror-shut- similar production in a larger format. these processes are not available for
te• etc. Yet the Arriflex engineers had To light a given area to a particular Continued on Page 1296
The Whole yourself processors, film stock and fullcoat mag stock,
complete film and video production system recommen-
Super 8 Catalog dations, and cables of every description that are needed
to connect system components together.
All this plus technical data tables on film stocks, on
camera and projector specifications, and over 100
photographs and illustrations.
The Super8 Sound Catalog attempts to make at least a
brief comment about every professional Super 8 tool.
It tries to be objective, and frankly critical where
necessary. We believe the Catalog will prove invaluable
to anyone studying the new possibilities in professional
Super 8. Send $2 for your postpaid copy, and, as with
any Super8 Sound product, return the Catalog for a full
refund if you're not satisfied.
Now that every production and post-production
technique of professional cinematography can be accom-
plished in Super 8 — at a cost averaging one-fifth that of
access to film and video tools comparable 16mm equipment — Super8 Sound is
establishing a national and international dealer network
to provide Super 8 filmmakers everywhere with local
sales and service of the same high quality they have
Some of our customers think of it as "The Whole come to expect from our Cambridge headquarters.
Super 8 Catalog", but it's really called the "Super8 Our current dealers are listed below. Since none of them
Sound Catalog". Its 72 pages contain the most as yet stocks every Super8 Sound product, please call
comprehensive listing available anywhere of Super 8 ahead before visiting, but they all can supply any of the
sync sound and low-cost video production equipment — 715 production items listed in the Super8 Sound
single-system cameras and double-system cameras, Catalog.
crystal camera controls and camera silencers, sync
With all these developments, isn't it time you got into
cassette recorders and sync fullcoat recorders, inexpen-
Super 8?
sive motorized editing benches and elegant horizontal
editing tables, sync projectors and interlock projectors, And if you're already using Super 8 as a silent film —
telecine projectors and flying-spot-scan videoplayers, Isn't It Time You Got Into Sync?
SUS TAINING
f4/1141g
MEMBER
Super 8 Sound, Inc.
95 Harvey Street, Cambridge, Mass. 02140
Choosing a Super-8 camera from double-system sync sound camera? I mportant accessories, such as
among the many fine double-system All that's required is a sync signal crystal camera controls and silencers,
sound, single-system sound, and (some means of carrying information are available only for some cameras;
Double Super-8 cameras on the about the frame rate of the camera — if you need these devices, choose
market is a difficult task. The Super-8 exact speed in fps — to a sync sound your camera carefully. Besides the
cinematographer is faced by an array tape recorder). This sync signal may brief description of the more notable
of features that includes zoom ratios be recorded by a tape recorder on a cameras, we have collected data on
up to 13.3 to 1, lenses as fast as f/1.2 special sync track alongside the audio 29 double-system cameras, 14 single-
for filming in available light, track. Alternatively the sync signal system cameras, and two Double
interchangeable lens mounts, run- may be used to speed-control Super- Super-8 cameras into convenient
ning speeds from time-lapse inter- 8 fullcoat magnetic film if a Super-8 comparison tables. Unless otherwise
valometry to 80 frames per second, Sound Recorder is used. Electronic specified, all Super-8 cameras des-
crystal camera controls, through-the- servo-control of the recorder's speed cribed in this article have the follow-
lens automatic exposure control with insures that for each frame of picture ing features:
manual override and manual offset by fil m exposed in the camera exactly — Use Super-8 film in 50'
one or two stops from the automatic one sprocket hole of magnetic film cartridges
setting, single-lens reflex viewing, passes the magnetic head of the —Automatically keyed to film's
macrocinematography down to the Super-8 Sound Recorder. ASA speed from ASA 25 to 160
lens front element, and in-camera The sync signal from the camera —Integral type-A (Wratten 85)
fades, dissolves, and superimposi- can be as simple as a switch that filter manually keyed
tions. opens and closes once for each frame —Footage counter
Double Super-8 cameras use of film exposed. This 1/F (once-per- — End-of-film indicator in
16mm-width film perforated Super-8 frame) sync signal is available on over viewfinder
(1-4) and permit up to twenty-minute 40 Super-8 cameras, where it has — Zoom lens with battery-
continuous-run loads, full backwind, generally been included by the manu- powered zoom, and manual
professional emulsions such as 7252 facturer as an electronic flash (PC) override
(ECO), superior image registration, contact. Several cameras generate a —Reflex groundglass viewing
and stock processing economy. 1/F tone burst, and have a special with beamsplitter in front of
Single-system cameras offer in- sync corrector. diaphragm
camera recording on a magnetic edge The traditional sync signal used in — Focusing down to
stripe, some with high-fidelity sound 16mm and 35mm filmmaking is a approximately 3-4 feet (some
recording specifications, and you can 60Hz pilotone continuous wave, and have macro capability)
transfer later to full-coat magnetic film this sync signal is used on some — Automatic exposure control
for serious editing. New 200-foot Super-8 cameras, Beaulieu, Cinema (CdS cell) through the lens with
sound cartridges allow up to ten- Pathe, and Nizo Professional. The exposure value displayed in
minute continuous-run filming, and difference between the pilotone and viewfinder and manual override
some single-system cameras also 1/F sync signals is shown in the — Powered by AA (penlight)
have double-system sync connec- accompanying figure. batteries
tions. We are summarizing here the — Screw-in filter mount (size
major characteristics of the Super-8 specified)
Double - System Super - 8 Cameras cameras that are most widely used for —24 fps speed as well as amateur
What makes a Super-8 camera a double-system sync sound work. 18 fps
(LEFT) The new Beaulieu 5008S is probably the highest quality Super-8 sound camera of any kind, single- or double-system, with sound
recording specifications superior to those of most cassette recorders (Hervic Corporation). (RIGHT) The Canon 814E Sync Sound camera is
compact and ruggedly built. Bell & Howell first modified this camera's very simple predecessor, the Canon 814, for Its Filmosound-8 (double-
system with cassette recorder) combination.
BAUER C ROYAL 8E C
(LEFT) The Braun line of Super-8 cameras, which can be used for sync sound filming, has many sophisticated features and capabilities. Nizo
also manufactures the Nizo 800 Professional, which features built-In 60Hz pilotone and slating devices. (CENTER) The Bauer C Royal BE
sync sound camera. (RIGHT) The Nikon R8 sync sound camera. This camera features the excellent CineNikkor lens and very complex con-
trols allowing for a wide range of effects.
—Single frame with separate Nizo S560 to include lap dissolves Nikon Sync Cameras
cable release socket and a 1/F sync pulse tone burst. Its The strong points of the recently
—Sound sync jack with one current version, the Nizo 561, has an introduced Nikon Super-8 cameras
contact per frame (1/F) i mproved viewfinder that makes the are the excellent lens quality of the
f/stop scale easily visible. The 481 CineNikkor, and the very complex
Beaulieu 4008ZM2 and 4008M3 Sync
and 801 cameras are similar to the controls which allow virtually every ef-
Cameras
561 except for the lens capability. See fect, and which are extremely well
Two-thirds of all the Super-8 the double-system data table for de- thought out. For example, when the
cameras in use as double-system tails. exposure control is switched from
sync sound cameras are made by The Nizo cameras have always had auto to manual it does not reset to the
Beaulieu or Nizo. The Beaulieu two sync contacts — 1/F tone burst maximum f/stop; it stays on the f/stop
4008ZM2 is the single most popular system, and the PC contact 1/F that had been automatically set.
camera among Super-8 Sound switch. Now the Nizo Professional The Nikon PC sync socket is an
customers, and also the most ex- 800P has a third sync capability — the unusual locking type that provides a
pensive. The Beaulieu's popularity is standard 60 Hz pilotone signal (50Hz secure sync sound connection, and
due to its Schneider 6-66mm lens (the in European cameras). The Nizo the camera itself is very ruggedly
widest angle lens of any Super-8 Professional also has a macro ver- built.
camera), its C-mount lens inter- sion of the 7-80mm Schneider lens
changeability, variable speeds from 2 used on the 801, and a built-in slating Bauer Sync Cameras
to 70 fps, and manual ASA setting, lamp that fogs a frame and sends a Bauer was the first manufacturer to
together with the availability of a crys- clapper voltage for use with recorders include lap dissolve in its cameras
tal camera control and silencer. The having a bloop (beep) oscillator. and to incorporate automatic ex-
mirror shutter gains nearly half an All the Nizo sync cameras except posure control down to one frame per
f/stop over cameras with a beam the S56 and S80 can be modified by minute. Bauer sync sound cameras
splitter, and p'•,;.„ des a 2-stop
,
Braun North America (55 Cambridge are equipped with the same min-
brighter viewing image. The 4008M3 Parkway, Cambridge, MA. 02142) to iature DIN 8-pin sync socket used by
is a less expensive version of the accept the Super-8 Sound Crystal Nizo. The cable is different, however,
4008ZM2, with the electric zoom re- Camera Control. because Bauer provides a 1/F switch,
placed by a smooth manual zoom. Nizo also offers a number of "XL" and not a tone burst like the Nizo.
See the camera data table for more cameras with a 225 shutter. The lens
details. aperture _" ,,,ec1 has not been in-
,
Bolex Sync Cameras
The Beaulieu has some negative creased to f/1.2, as with most cam- Although Bolex is one of the great
features. It is relatively noisy and eras carrying the XL designation.
somewhat fragile. It has no internal These cameras have a PC contact for
1/F switch, and requires the addition sync sound filming, and are the small- The Bolex 580 sound camera. Bolex now in-
of the modified Er!son sync contact cludes 1/F sync contacts on its two best
est sync sound cameras available. Super-8 cameras, the 450 and the 480
switch to provide 1/F sync signals.
Macrozoom.
Note that the single-system Beaulieu
Canon Sync Cameras
5008S described below is also a dou-
ble-system camera. Canon cameras are very ruggedly
built. Their f/1.4 lenses were the
Nizo Sync Cameras fastest Super-8 lenses until the new
The Nizo cameras are probably the XL f/1.2 lenses. The Canon cameras
most reliable double-system Super-8 are next most popular after Nizo and
cameras; they are also the quietest. Beaulieu as sync sound cameras.
They withstand heavy student use They have been used for sync sound
(and abuse) with a minimum of since Bell & Howell first modified the
repairs. The old Nizo S56 was cho- Canon 814 for their Filmosound 8
sen by MIT to be the crystal sync system in 1970. The Canon's low
camera in the Leacock system. The prices are perhaps the lowest-cost
S56 was redesigned by Braun as the high-quality Super-8 cameras.
Single•System Camera Data Table Super-8 sprocket holes along both
edges (perforated 1-4). It is used
Head Zoom Double-
exactly as was old regular 8mm,
CAMERA
Phone
Monitor 200' Speeds ASA
Range
( met) f/Stop
Min System which was 16mm film with twice the
Focus Filter Batt. Sync
usual number of 16mm sprocket
Beaulieu 5008S YES NO 24,18 25-400 6-80 f/1.2 2' 72mm NiCad YES
holes. DS8 film is run through the
Bell & Howell Filmosonic 1230 NO NO 18 25-160 8.5-24" f/1.3 none 6AA NO
camera once, turned over, and run
Bolex 550XL YES NO 18 25-160 8-40 f/1.2 5' 6AA+9V NO through again to expose the other
Bolex 580 YES NO 18 25-160 7.5-60 1/1.7 5' NO side. Film is loaded on daylight
Eumig 30XL YES NO 18 25-160 8.5-24 1/1.3 4' none 6AA NO
spools, 100 ft. or 400 ft. in length.
GAF SS805 YES NO 18* 25-160 7.5-60 01.7 5' 58mm 6AA NO
Many 16mm films are available in the
GAF SS605
DS format (e.g. Ektachrome
YES NO 1 8* 25-160 8-48 1/1.7 5' 58mm 6AA NO
Commercial and EF 7242). Since the
GAF SS250XL YES NO 18* 25-160 9-22.5 1/1.1 6' none 6AA NO
DS8 cameras have built-in metal
Kodak Ektasound 130 NO NO 18 25-160 9 01.2 6' none 6AA1-9V NO pressure plates, image registration
Kodak Ektasound 140 NO NO 18 25-160 9-21' 1/1.2 6' none 6AA+9V NO and stability are superior to any
Kodak Ektasound 150 NO NO 18 25-160 9-21 f/1.2 6' none 6AA-19V NO Super-8 cartridge camera.
Kodak Ektasound 160 NO NO 18 25-160 9-21 1/1.2 6' none 6AA-19V NO Only two manufacturers have
Kodak Supermatic 200 YES YES 24,18 25-160 9-21 1/1.2 6' none 6AA+9V NO
regular production Double Super-8
Sankyo X L4OS YES YES 24,18 25-160 8.5-34
(DS8) cameras - Cinema Pathe and
1/1.2 macro 55mm 6AA NO
Canon. Since the DS8 format has so
many advantages to offer to the
professional Super-8 filmmaker, we
Double Super 8 Cameras expect that other 16mm manu-
facturers may soon offer DS8
Sync
CAMERA Battery Socket ASA Zoom f/Stop
Min
Focus Filter Weight
Noise
Level Options
versions of their equipment. Eclair
Cinema Pathe DS8
and Arriflex both have built special
Special Special 1 2-400 6-80 f/1.2 2' 72mm 3.4kg NA 400' loads
NiCad 4-pin ( T/1.4) Barney DS8 versions of their cameras, and
(1/F
switch + have given them limited publicity at
pilotone)
Photokina. Bolex has a strong posi-
Canon DS8 8AA none 1 0-320 8-64 1/1.4 4' 58mm 3.4kg 6046 - tion in the 16mm and Super-8 market,
( T/2)
and might be expected to offer a DS8
version of their H-16 or new EL
cameras. Beaulieu could offer a DS8
version of their R16B. If the strong
names in 16mm, Bolex Super-8 cam- Other Sync Cameras interest in Super-8 TV News con-
eras show little sign of benefitting There are a number of other Super- tinues, Cinema Products might be
from the technical expertise that pro- 8 cameras that can be used as tempted to build a DS8, perhaps
duced the Bolex H-16 camera, the double-system sync cameras with the based on their planned relatively in-
Bolex 16 Pro, and the new crystal- Super8 Sound Recorder and various expensive SMO camera.
controlled Bolex EL. Bolex was first to sync cassette recorders such as the
introduce a macro lens on a Super-8 Scipio, the Philips 2209, and the new Cinema Pathe Electronic DS8
camera. They now include 1/F sync Uher CR134. They are listed in the The Pathe DS8 is a conversion of
contacts on their two best Super-8 accompanying data table. the Pathe 16mm Electronic camera.
cameras, and 450 and the 480 Macr- Into the rotating 3-lens turret has
ozoom. Sync Camera Conversions been mounted the new 6-80mm f/1.2
Owners of Super-8 or 16mm Angenieux lens. The 6-66mm f/1.8
The Cinema Pathe Electronic DS8 double- cameras without a once-per-frame Schneider-Optivaron lens is available
Super-8 sound camera is a conversion of contact switch can have an as an option. The variable speed (8 to
the Pathe 16mm model and mounts a 6mm- inexpensive conversion made by 80 fps) includes the highest speed of
80mm Angenieux zoom lens in place of the
many fine camera repair services. We any Super-8 camera. The Pathe DS8
latter's three-lens turret.
recommend the work of Mr. Willi is a fully-equipped sync sound
(Vilmos) Keresztes at Marty For- camera, with built-in 60Hz pilotone
scher's Professional Camera Repair and 1/F sync switch. It is thus com-
Service, 37 W. 47th Street, New York, patible with all sync recorders, cas-
NY 10036. Professional Camera sette or reel-to-reel. The Pathe DS8
Repair also does 24 fps modi- can be fitted with a 400-ft. magazine
fications of GAF sound cameras, and with an integral take-up motor. This
projector modifications to include the permits a continuous shot of 20
once-per-frame sync switch. On the minutes, one of the longest available
west coast, we recommend the work runs in any film gauge. A custom
of Bill Allen at Cinema Sync Systems, sound barney is available from Karl
P.O. Box 61, Ontario, California, who Heitz, the importer, making the cam-
does in-warranty conversions of any era very quiet in operation.
Beaulieu camera with Hervic Cor-
poration approval. Canon DS8
Although closely related struc-
Double Super 8 Cameras -
turally to the Canon Scoopic 16mm,
Double Super-8 is 16mm film with the Canon DS8 is actually a
completely reworked camera. The
permanently-mounted zoom lens is
Double•System Camera Data Table
the same 8-to-1, f/1.4 lens as is on the
Zoom
Canon 814E. The Canon DS8 is not Sync ASA Range Min. Filter Noise S8S S8S Other
built as a sync sound camera; it must CAMERA Batt. Cable Range I mml f/Stop Focus Thread Weight Level XTAL Silencer Features
be modified (e.g. by Professional Bauer C 6AA CC8 25-160 7.5-60 f'1.8 Macro 49mm 1.1kg NA NO KIT 1,2,3,4
Royal 8E
Camera Repair of New York) to
Bauer C 6AA CC8 25-160 7-70 f/1.8 Macro 55mm 1.1 kg NA NO KIT 1,2,3,4
include a 1/F sync switch. Royal 10E
It is very noisy, and some kind of Beaulieu 7.2V Edson, 1 0-400 6-66 f/1.8 Macro 61mm 1.5kg 55dB YES YES 1*,2,3,5
barney is an essential accessory. The 4008ZM2 Pilotone
electric eye is not through-the-lens. Beaulieu 7.2V Erlson, 1 0-400 6-66 1/1.8 4' 61mm 1.5kg 5548 YES YES 1.,2,3,5
4008M3 NiCad Piiotone
Other technical details are listed in
Bolex 450 5AA PC 25-160 8-40 f/1.8 4' 55mm 1.4kg 5556 NO KIT -
the table.
Bolex 480 5AA PC 25-160 7-56 1/1.8 4' 55mm 1.5kg 55dB NO KIT -
Bolex DS8 Canon 814E 4AA PC 16-400 7-56 f/1.4 Macro 58mm 1.55kg 5448 NO KIT 1,2
Owners of the Bolex H8 Rex cam- Canon 1014E 6AA PC 16-400 7.70 f/1.4 Macro 58mm 2.0kg 54dB NO KIT 1,2
era should consider a conversion to Elmo 4AA Special 25-160 7-70 f71.8 3' 62mm 1.4kg 51dB NO KIT 3*
the Double Super-8 format. This Super 110R
under-$200 modification is performed Fujica Z800 4AA Special 25-400 8-64 f/1.8 Macro 62mm 1.4kg NA NO KIT 1,2,3
by J-K Camera Engineering, Dept. GAF ST802 4AA PC 1 6-250 7.5-60 f/1.7 5' 58mm 1.7kg NA NO KIT -
S8S, 5101 San Leandro St., Oakland, GAF ST1002 4AA PC 25-640 6.5-65 f/1.7 5' 77mm 1.9kg NA NO KIT -
CA 94601. Leicina Special 6AA CC9 10-1000 Interchangeable Leica-Mount Len s es 55dB Jensen KIT 3,4.
A single-system camera is a com- Nikon R8 6AA Locking 10-400 7.5-60 f/1.8 Macro 52men 1.6kg NA NO KIT 1,2,3
plete sync sound location outfit, PC
combining a sync camera and a sync Nikon R10 6AA Locking 10-400 7-70 f/1.4 Macro 67mm 1.9kg NA NO KIT 1,2,3
PC
recorder in one housing. Sound is
Nizo 136XL 4AA PC 1 0-160 9-36 f/1.8 3' 49mm .8kg NA YES KIT 4
recorded in sync on the magnetic
edge stripe at a standard position 18 Nizo 148XL 4AA PC 1 0-160 6-48 f/1.8 3' 49mm .85kg NA YES KIT 4
frames from the picture gate. Shot Nizo 156XL 4AA PC 10-160 7-56 f/1.8 3' 49mm .85kg NA YES KIT 4
after shot is in perfect sync; slating is Nizo 481, 5480 6AA PC,CC8 10160 8-48 f/1.8 3' 49mm 1.35kg 52dB YES YES 1,2,3,4
only needed for transfers to double- Nizo 561, 5560 6AA PC,CC8 10-160 7-56 f/1.8 3' 49mm 1.35kg 52dB YES YES 1,2,3,4
system. For one-person film crews, Nizo 801 6AA PC,CC8 1 0-160 7-80 f/1.8 4' 62mm 1.6kg 52dB YES YES 1,2,3,4
single-system is the ultimate in con-
Nizo 800P 6AA PC,CC8, 10-160 7-80 f/1.8 Macro 62mm 1.6kg 52dB YES YES 1,2,3,4
venience and simplicity. All the con- Tuchel
trols are in one place; all decisions, Rollei SL84 3AA PC 25-160 7-70 f/1.8 5' 55mm 1.1 kg NA ISS KIT 1,3,4.
sound and picture, can be made by Sankyo CME444 4AA PC 25-400 8.5-35 f/1.8 4' 49mm 1.3kg NA NO KIT
one person. For these reasons, it is
Sankyo CME666 4AA PC 25-400 848 f/1.8 4' 49mm 1.3kg NA NO KIT
clear that single-system sound
Sankyo 4AA PC 25-400 6.565 1/1.8 Macro 55mm 1.6kg NA NO KIT -
cameras will eventually dominate the CME1100
home movie market. This is probably
also the best way to introduce a 1. Lap Dissolve (* if with accessory) 2. Variable Shutter 3. Tape Recorder Start/Stop 4. intervalometer I
*
if with accessory)
There are a surprisingly large Photokina '74". made back in the laboratory.
number of sync sound recorders We summarize here the major Argus 7310
available for use in Super-8 pro- operating features of the Super8 Sound Bauer C-Royal 8E, 10E
duction. Recorder and a number of new cas- Beaulieu 4008ZM2, 4008M3, 5008S
First, any professional quarter-inch sette sync recorders that are widely Bolex 450, 480
pilotone recorder can be used with the used in double-system Super-8 sync Canon 814E, 1014E, DS8
various Super-8 pilotone cameras, or productions. We do not discuss sync Cinema Pathe DS8
with crystal-controlled Super-8 recorders like Arrivox-Tandberg, Uher, Elmo Super 110R, 612
cameras if a crystal sync generator is Stellavox, and Nagra because 16mm Fujica 2800
added to the recorder. cinematographers are familiar with GAF ST/802, ST/1002
Second, several hi-fi stereo these machines, and their operation in Leicina Special
recorders, reel-to-reel or cassette, Super-8 is the same as 16mm, except Minolta Autopak-8 D12
record an audio track, plus either a that the transfer to mag stock is not Minolta XL400
pilotone sync track or the new one- normally done in a lab, but by the film- Nikon R8, R10
pulse-per-frame (1/F) sync signal used maker himself, using his own Super-8 Nizo 136XL, 148XL, 156XL, S480, 481
in many Super-8 cameras. sound studio equipment. S560, 561, 801, 800P
Third, a number of cassette sync The Super8 Sound Recorder is now Sankyo CME444, CME666, CME1100
recorders have been specially de- in use by more than three hundred
signed for use in Super-8, most using schools and universities in the United In the Laboratory
the 1/F sync signal, and one that States and abroad, and more than two Transferring sync sound to Super-8
utilizes the standard pilotone. hundred industrial filmmakers, magnetic film requires a sync si
Fourth, any single-system Super-8 government filmmakers and tghapronvidesfmlation
camera is a sync recorder, since sound independent filmmakers. the Super8 Sound Recorder. The
from the magnetic edge stripe is in Recorder servo-controls its speed so
frame-for-frame sync and may be On Location that one frame of magnetic film passe
transferred to Super-8 fullcoat The Super8 Sound Recorder will the recording head for each "frame'
magnetic film for editing. record in sync on location with over 40 tohesyncigal,wfrpotne
Fifth, and finally, there is the Super8 available Super-8 sync sound cameras. doigtal1/Fsn.rTfecab
Sound Recorder, a Super-8 fullcoat No camera modifications are required. made from professional sync recorders
magnetic film recorder that is portable The cameras must be equipped with a such as Nagra, Stellavox, Arrivox-
enough to be used as location 1/F contact switch (electronic flash PC Tandberg, and Uher Neo-Pilot, and
recorder, laboratory resolver, sound socket), a pilotone generator, or be from the new sync cassette recorders
studio dubber, and transfer recorder to crystal-controlled. The list of sync such as Philips 2209 AV, Uher CR134,
and from magnetic edge stripe. These cameras currently available from Super8 Sound's Scipio and others.
multiple functions and the compre- Super8 Sound (all of which are also Transfers can also be made from the
hensive compatibility of the Super8 compatible with our sync cassette magnetic edge stripe of a single-
Sound Recorder have earned U.S. recorders) is given below. system film by connecting the Super8
letters patent no. 3,900,251 and led Crystal controls are available for a Sound Recorder to a projector with a
American Cinematographer to de- number of these cameras from Super8 1/F contact switch. Professional sou
scribe the machine as the most impor- Sound. Single-system cameras can ndlabs can use the Super8 Sound
tant addition to the Super-8 scene" in also be used as location recorders, with Recorder in AC line sync with their
their review, "Professional Super-8 at transfers to Super-8 magnetic film other recorder/reproducers.
(LEFT) The Super8 Sound Recorder is the most widely used Super-8 magnetic film recorder. This extremely versatile machine acts as a Sync
location recorder, a crystal recorder, a laboratory resolver, a mixing unit, and a transfer machine. With the use of this equipment and Supe
r8fullcoat magnetic film, Super-8 sync film-making is as straightforward as 16mm practice. (RIGHT) The side panel of the Super8 Sound
Recorder, showing the sync socket connector and the panel of switches used to select and monitor the synchronous functions of the recorcs-
in the Dubbing Theater Double-system interlock screenings Sound Recorder User's Manual is avail-
Since the Super8 Sound Recorder with a sync rollback capacity can be able for $1.
will run in perfect interlock with other accomplished on the Super8 Sound
DoubleBand Projector. The Super8 Super8 Sound Laboratory Recorder
Super8 Sound Recorders, with the
Super8 Sound Sync projectors, and Sound Recorder will also synchronize The Super8 Sound Laboratory
even with the Super8 Sound Double- with AC synchronous equipment such Recorder is a non-portable studio
Band Projector, the possibilities for as the Kodak TVM100A telecine version of the Super8 Sound Recorder.
dubbing and mixing are extensive. projector. The Kodak Videoplayer VP-1 It records on Super-8 fullcoat mag-
Filmmakers can listen to the original and VP-X are supplied by Super8 netic film, using 10 /2-inch reels (one
1
sync material, over and over if neces- Sound with a 1/F sync pulse for full hour). It has all the automatic sync
sary until perfect, on a second fullcoat double-system video transfers. functions of the Super8 Sound
mag film recorder. The Super8 Sound Recorder Recorder except portable crystal sync
operates at both professional (24 fps) operation. These include: transferring
In the Sound Studio and amateur (18 fps) film speeds, and (resolving) sync sound from any sync
The Super8 Sound Recorder offers has built-in quartz-crystal control for recorder — cassette or reel-to-reel, 1/F
two basic approaches to multiple track cableless sync work at 24 fps. A sync sync pulse or pilotone; transferring
sync recording. One is to use multiple meter provides positive indication of sync sound to a magnetic edge stripe
fullcoat magnetic film recorders, all sync condition. with any sync projector equipped with a
running in sync with the AC line The Super8 Sound Recorder is a 1/F sync switch or AC synchronous
frequency. Any number of Super8 modified Sony TC800B quarter-inch motor; transferring sound from the
Sound Recorders can be interlocked tape recorder. It operates on batteries magnetic edge stripe to fullcoat
this way, although sync operation is (12V) or 60Hz/110VAC. Export models magnetic film; and multiple recorder
li mited to a common start. No sync roll- operate on 50Hz, 220V or 110V; they synchronization via AC line interlock.
back is possible. synchronize at 24 fps, 25 fps, and 18 The Lab Recorder is a modified
Another method is to transfer edited fps, and with a built-in 25 fps crystal. Crown PRO-700 three-motor tape
li p-sync material to one track of a four- An illustrated, 28-page Super8 Continued on Page 1318
channel quarter-inch tape. A pilotone The Super8 Sound Recorder synchronizes automatically with the selected sync reference by
sync signal from the Super8 Sound means of its unique electronic speed servo-control capability. Diagram shows the operation
Recorder is also recorded as a control of its flip-flop circuit, which ensures that the Recorder's speed matches the reference frame-
for-frame.
track. Now the same Super8 Sound
Recorder can transfer a second full-
coat strand, with additional sync
material, to a third track of the four-
channel machine. The Super8 Sound
Recorder will maintain sync against the
control track. The fourth track can be
used for music, narration, etc. All three
tracks can then be mixed down to
make a composite master fullcoat
track, again on the same Super8 Sound
Recorder synced to the control track.
(ABOVE LEFT) The authors with their first crystal-sync Super-8 rig. The crystal camera control is mounted in the box on the improvised battery belt
worn by Jon Rosenfeld. The crystal-sync tone generator is in a box on the modified Sony TC 124 cassette recorder. The box also contains a bloop
light and beep-tone generator, being activated by Al Mecklenburg. (BELOW LEFT) Beaulieu 4008ZM2 with Super8 Sound Crystal Camera Control.
(RIGHT) Nizo S560 camera with Super8 Sound Crystal Camera Control.
Recorder. This same sync cable con-
nects to a 5 pin DIN jack on the crystal
camera control. The Beaulieu cameras
require no modification whatever.
When the variable speed of the
Beaulieu camera is set above 24fps, the
crystal control holds it back to a true
24fps. Any setting below about 33fps is
easily controlled, but a setting just
above works best. A light-emitting-
diode indicates proper sync operation.
Accuracy is one frame in thirteen
minutes over a temperature range from
-10'C (15°F) to 40°C (108°F).
The control should be unplugged
The Cine-Slave Universal Resolver was invented by Inner Space Systems' Technical Director,
when not in use, even though the op- Bob White, in 1969 and marketed in 1970. In late 1971, ISS became the first firm to crystal-con-
erating current is only 1 mA, and the trol Super-8 cameras on a full production basis. A Cine-Slave CS-5, with optional plug-in crystal
Beaulieu batteries can supply this two board, can crystal-control any Super-8 camera custom-modified by Inner Space Systems.
weeks before discharging.
The Beaulieu control is available in a PSX is a crystal-controlled Cine-Slave sette recorder batteries. Accuracy is
25fps version for European use. suitable for controlling modified one frame in thirteen minutes from —
cameras, and their new model PX is a 10°C to 40°C. 25fps versions are avail-
Crystal Camera Controls for Nizo crystal oscillator suitable for recording able.
cameras. a 60Hz pilotone sync signal on one
Braun will supply any new Nizo track of any two-channel recorder. XSD (Crystal-Sync-Dolby) Recorder
camera with a remote speed control This latest crystal sync product was
jack that accepts the Super8 Sound Crystal Sync Generator for Cassette designed for use by 16mm and 35mm
Crystal Camera Control. Cameras with- Recorders. fil mmakers as well as Super-8.
out such a speed control capability may For filmmakers who prefer to record The XSD Recorder is a SONY
be returned to Braun North America, 55 with a lightweight cassette recorder in TC153SD stereo cassette recorder with
Cambridge Parkway, Cambridge, the field, rather than directly onto full- Dolby Noise Reduction (Trade Mark,
Mass. 02140, and the control jack will coat mag stock with the crystal sync Dolby Labs), modified to include a
be installed for $29.95. This jack serves Super8 Sound Recorder, Super8 built-in 60Hz pilotone quartz crystal
the double function of supplying power Sound has produced lightweight cry- oscillator. It can record sound in sync
to the Crystal Camera Control, and stal sync (1/F) pulse generators for with any Super-8, 16mm, or 35mm
allowing the control to regulate the three cassette recorders — the Scipio, camera that is crystal-controlled or has
speed of the camera. The PC elec- the Philips 2209, and the stereo (plus a standard pilotone sync output. The
tronic flash contact on all Nizo cameras sync) Uher CR134. XSD Recorder uses high-density
provides the necessary 1/F sync signal The Crystal Sync Generator XG24 is chromium-dioxide cassettes or stand-
to the control unit. 1" x 2" x 2" and weighs about five ard cassettes. In sync use, it is mono-
The Super8 Sound Crystal Camera ounces. It mounts directly to the strap phonic with sync on cassette track 1. It
Control for the Nizo cameras is the of the recorder's carrying case, and de- reverts to a stereo cassette recorder in
same size and weight as the Beaulieu rives its operating power from the cas- Continued on Page 1320
control described above. It also has the
same speed accuracy, but a signifi- The Beaulieu 4008ZM2 camera with Super8 Sound Crystal Camera Control and the Uher CR134
cantly higher power draw (35mA). Un- Stereo Cassette Recorder with Super8 Sound Crystal Sync Generator. Early on it was realized
li ke the Beaulieu, the Nizo crystal con- that crystal-sync was essential to optimizing the extreme portability of Super-8 cameras and tape
recorders.
trol regulates the camera to 24fps
whenever the camera is running on its
24fps position, and it is turned off when
the camera run switch is off, so it can
be left plugged into the camera indefin-
itely.
Crystal camera controls are also
available for cameras other than the
Beaulieu and Nizo from other manu-
facturers, notably from Inner Space
Systems of Deerfield, Wisconsin. Inner
Space Systems have for many years
offered the CineSlave, a synchronizer
that can control the speed of many
types of film equipment. A Cine-Slave
CS-5 with an optional plug-in crystal
board can crystal-control any Super-8
camera custom-modified by Inner
Space Systems. Recently, Inner Space
Systems have offered more economi-
cal pocket-sized versions of their basic
Cine-Slave control circuit. Their model
SUPER-8 LAB SERVICES AND STOCKS
The lack of professional film stocks and laboratory services presents
serious problems for Super-8 which, it is hoped, will soon be solved.
By RICHARD LERMAN
Perhaps the most serious draw- processed in a modified ME-4 process. tact print in two steps from the Super-8
backs to Super-8 original production The shortage of lab services is original, and is studying the possibility
are the lack of professional quality film probably because labs have not yet of a 7247 blow-up internegative on this
stocks and professional-level been convinced that there is a newest 16mm color negative stock.
laboratory services for Super-8 original significant volume of business in The lowest-quality and most
fil m stocks. Super-8 original production to merit common procedure is a straight
The most widely available Super-8 gearing up the expensive liquid-gate reversal contact print onto Eastman
fil m stocks — Kodachrome 40 and Super-8 printers. Most labs have been Ektachrome R 7389. Many 16mm labs
High-Speed Ektachrome 160 — are committed to Super-8 as a release print use 7389 as a reversal master, and this
projection contrast emulsions intended medium for years, with the principal will no doubt occur also in Super-8,
for use by amateur filmmakers who original stock being 16mm Ektachrome with prints then made also on 7389.
screen the original camera stock. Commercial — a low-contrast color Some Super-8 labs are offering single-
These stocks cannot be processed by reversal original. This stock was strand contact prints onto 7389, so they
most local laboratories, and their generally reduction-printed two-up can sell just one print at a time, as does
saturated colors duplicate poorly, with onto Eastman 7387 or 7390 16mm Kodak's Consumer Print and Process-
color shifts and loss of detail in perforated 1-4. For large quantity re- ing services. Newsfilm Labs in Los
shadows and highlights. Careful lease an Eastman 7271 internegative Angeles has a large quantity of pre-
li ghting can control the losses was usually prepared, either two-rank striped 7389 single-strand like that
somewhat if ratios are kept well below on 16mm stock or four-rank on 35mm used by Kodak.
4:1, preferably 2:1, but there is no stock with five rows of Super-8 Most of the labs active in Super-8
controlling the inherent contrast range perforations. Quantities of color- original production have built heir own
of much subject material. Low-contrast release prints were made on Eastman printers, by custom modifying 16mm
Ektachrome Commercial (7252) is 7381 or 7383, either two-rank or four- equipment. An example is the Super-8
available in the Double Super-8 format rank. Division of Bellevue Pathe in Toronto,
(DS8), but a limited number of Super-8 The problem is that few Super-8 whose entry into Super-8 is chronicled
fil mmakers are using DS8 cameras. producers require the volume of by Murray Fallen in another article. But
Ektachrome EF 7242 is available in printing that could merit the now equipment manufacturers are
Super-8 cartridges but it, too, is of pro- preparation of four-rank beginning to respond to the new
jection contrast, has relatively soft internegatives, and 7271 is intended for demands.
i mages, and a large noticeable grain use with low contrast original in any One notable new product is the
structure. case. Kodak has recommended an Acme Mini-Printer Model 5800 from
When all these options are con- interpositive two-rank reversal master Producers Service Corporation,
sidered, many labs prefer the high on 7252, and this could then be printed Glendale, California. This is a lab-
resolution of Kodachrome 40 as the onto 7387 or 7390 reversal color print quality low-cost ($13,500) optical
best original stock in the Super-8 fil m. George W. Colburn in Chicago is printer with four basic modes of
cartridge, despite its contrast prob- offering these services and with a operation: 1) single-strand Super-8
lem. Most labs report a small volume Super-8 liquid gate. The cost of all original to a Double Super-8 print; 2)
(less than 5) of prints as the most com- these steps is, of course, as great as, or single-strand Super-8 original blow-up
mon Super-8 original order, and these greater than, comparable steps starting to a 16mm print; 3) 16mm reduction to
were struck directly from the original in with 16mm original. Colburn also has a Double Super-8 print; and 4) 16mm
most cases by continuous contact the capability of producing a 7271 two- original to a 16mm print. The projector
printing onto Eastman 7389 and rank internegative by a low-cost con- section accepts 1000 feet of original
fil m and the camera section accepts a
Type of Filter/ASA 464 594 580 604 1200-foot magazine loaded with 16mm
Color Photo Flood Tungsten 50' 50' 200' 200' 100' 400'
Type of Film Balance
° fil m or 16mm film perforated Super-8
Daylight 3400 K 3200°K Silent Sound Silent Sound DS8 DS8
(1-4). Camera and Projector sections
KMA Kodachrome 40 A 85/25 none/40 82A/32 X X X both run in forward or reverse, and
°
3400 K have freeze frame/stop motion. The
EMA Ektachrome 40 A
°
85/25 none/40 not rec. X lens system includes filter holders for
3400 K
color and density correction, and a
ELA Ektachrome 160 A
°
85/100 none/160 82A/125 X X variable shutter allows fades and
3400 K
dissolves. The Mini-Printer has a
EG Ektachrome Type G none/60 none/160
G (Indoor/Outdoor) any light
none/160 X 103mm Eastman Ektar lens for 1-1
printing and an 89mm Eastman Ektar
EFB Ektachrome EF 8513/80 81A/100 none/125 X X X X X
(7242) 3200°K
lens for reduction and blow-ups, and is
built for daylight operation.
ECO Ektachrome 8513/16 81A/100 none/25 X X
°
Commercial (7252) 3200 K For laboratories requiring additive
color correction, scene-to-scene
SM Ektachrome SM B 85/100 81A/125 none/160 X X
°
3200 K automatic timing, liquid gate, double-
PXR
i mage, lenses for single-pass multiple
Plus X
Reversal 7276 — /60 — /40 x printing, etc., Cinecraft, International of
TXR Tri X Continued on Page 1315
Reversal 7278 — /200 — /160 X
4XR 4X
Reversal 7277 — /400 — 120 X X
PROFESSIONAL SUPER-8 EDITING EQUIPMENT
Quiet but rapid progress in the development of Super-8 editing hardware
has resulted in a stunning array of such equipment currently available
By GUNTHER HOOS
During the 1974 Photokina, an Eclair sync with the picture. This head can be tains markers superimposed over the
spokesman explained that one of the moved 12 frames in either direction of frame indicator disk of the
reasons why Eclair was not rushing center to help establish sync without synchronizer. By the fact that the view-
their Super-8 camera to market was the necessitating removal of the entire er gate is exactly 50 frames from the
lack of professional film handling and fullcoat strand from the synchronizer. center mark of the synchronizer, the
editing equipment. "After all," he said As nice as this feature is, I wish that the displacement markers on the out-
somewhat airily, "what's the good of a head assembly would truly slide rather riggers allow quick alignment of both
superior film image, if you can't edit it than jerk. Perhaps the addition of a sound and picture frame at the frame
after you've shot it?" roller would help. Oil or graphite help a pointer of the synchronizer. Here the
In 1972, he might have had a point. bit. cuts are easily marked and the edits
But he said this in 1974 while at least The sound quality is adequate for made.
eight firms, including KEM and Steen- editing purposes. To get the thing to The new benches also come with a
beck, demonstrated their Super-8 sound its best really takes a little prac- little crank mounted on the synchron-
editing hardware in the same building. tice in coordination. It's mainly a izer shaft. This crank introduces some
He was not being arrogant. Like problem of applying the proper tension semblance of speed control when
many others, deeply involved in the (drag) to the supply reels, and in not hand-winding. It also permits quick
traditional film business, he had simply yanking too hard on the takeup while location of cut and sync marks.
been unaware of the quiet but rapid the motor pulls the fullcoat past the A device most useful when working
progress in the development of Super- sound heads. with two strands, is the differential
8 editing equipment. Where in 1972 The synchronizers have been modi- rewind adaptor. (Standard equipment
even Super-8 synchronizers were hard fied by the addition of "outriggers". on the two gang bench). This Super-8
to find, by 1975 it had become possi- These handy gadgets pull the film free Sound Original has a number of
ble to cut a Super-8 film on a very ele- from the sprocket teeth when the functions. First, it adapts the Super-8
gant ten-plate horizontal table. synchronizer roller arms are released, reels for use with standard 16mm
What's more, rather than rushing off but continue to hold the film on the professional rewinds. Second, because
to a $100.00/hr sound mixing studio, rollers during fast rewind/forward of of the differential action between the
the filmmaker would simply convert his single or multiple strands. These two reels, either strand can be moved
editing table to the mixing configur- outriggers help to save you from independently of the other without the
ation. He would then mix multiple sync yourself by preventing the disengaged usual tedious clamp and spacer adjust-
track to a master and finally, still on the fil m from dragging over the synchro- ments. Third, the differentials allow
same table, transfer the mixed track in nizer sprockets. When reengagement reels of unequal diameters and full-
sync to his edge-striped film. of the film is desired, the outriggers ness to take up evenly. Since fullcoat is
This article presents a summary of make the process very quick. much thinner than film, this feature is
presently available and soon-to-be The outriggers also serve another very important in maintaining the
available editing hardware. Most of the function. The Minnette viewer has a editor's sanity.
equipment is in full production and into closed gate, and unless you want to Before we received our differentials,
second and third generation models. punch out the edge of the film frame in a disproportionate amount of energy
The quantity and diversity of the equip- the gate, there is no way to mark the and frustration went into the effort of
ment is astounding. frame at the gate. The outrigger con- keeping the film and fullcoat from spill-
Super8 Sound, Inc.
Super8 Sound's contribution to In the editing room at Super 8 Film Group, author Gunther Hoos works with the MKM Model
824 tabletop horizontal editing console. Whereas in 1972 even Super-8 synchronizers were
double system editing is represented
hard to find, at present it is possible to cut a Super-8 film on a very elegant 10-plate hori-
by three elegantly conceived motorized zontal table. The quantity and diversity of Super-8 cutting equipment now available is as-
vertical editing benches. Three models tounding.
are currently available, the original
bench with one picture and one full-
coat track ($795.00), as well as two new
models built around a four gang
Moviola synchronizer. The main dif-
ference between the two new models is
that one has two sound heads and the
other three. ($1025.00 and $1090.00
respectively)
All three benches include a 24 fps
motorized synchronizer activated via a
foot-pedal and engaged with a very
quick-acting electric clutch. Starts and
stops are on the frame without coast-
ing. Changeover to manual for-
ward/rewind is quick. Fullcoat sound is
read with a clever sliding magnetic
head assembly mounted in editorial
editing deck evolved from a personal
need. Murgas found the available
Super-8 editing systems to be
unworkable, so he designed his own.
The table was introduced in 1973 for
$1200.00. This summer, the first
models of the second generation
machines will be delivered. Current
price for a complete machine is
The Super8 Sound 4-gang editing bench provides the economies of vertical editing, com- $2000.00.
bined with the design innovations that make vertical editing in Super-8 a vast improvement
over conventional 16mm vertical set-ups. Unique "Third Hand" devices on the rewind arms The present model features a very
prevent film spillage and automatically hold back on the supply and take-up reels; no film bright ground glass projected image
bins or bench top holes are necessary. The synchronous motor drive is activated by means of (3.75x5"), 750 ft. reel capacity (almost
a convenient foot clutch. 40 min at 24f ps), 24f ps sync speed with
pushbutton/in/out, a variable speed
ing all over the editing table. Designed from scratch, this compact motor drive from 1-65fps for-
All models of the bench come unit incorporates a powered four-gang ward/reverse, instant on-frame
equipped with the Minnette S-5 viewer. synchronizer operable either manually, stop/start switch that stops the film
This viewer has a long history of or, via a foot switch and magnetic from any speed, an inching knob, a
durability, brightness, and gentle film clutch. It is driven by a synchronous solid state amplifier and built in
handling ability. Order several replace- motor at 24fps and includes a foot- speaker, a flywheel stabilized sound
ment lamps. For some reason, these age/frame counter. head for Super-8 fullcoat, indepen-
lamps are hard to find. On a recent The unit is designed to work with the dent torque motors with cutoff switches
desperate search in New York, it took Minette S-5 viewer on one gang and for each supply and take-up plate,
five hours to locate two lamps. three magnetic heads on the other common AC start in sync for interlock
The editing benches also come three gangs. A three-channel solid with other AC sync fullcoat machines,
equipped with 16mm professional re- state mixer-amplifier with individual modular component assembly for fast
winds, friction drags, and long shafts. A and master volume control is built in. A repair by the filmmaker or the factory
pre-drilled Formica mounting board speaker is also built in. Sound quality is (only the defective module is sent out,
completes the setup. adequate for editing and pre-mix not the 100 pound table), and of course
Other than the extra two gangs, the cuing. A fluorescent light well, very a declutching mechanism to allow inde-
four-gang model differs only in that dif- useful in A&B roll preparation, is built in pendent transport of tracks.
ferentials are not used. To accomplish directly in front of the viewer and
Options include a two channel ampli-
essentially the same results, Super8 adjacent to the synchronizer. The basic
fier ($125.00), a flywheel stabilized
Sound modified the rewinds with "third price (without rewinds and viewer) is
single system sound stripe reader
hand" rewind clutches that auto- $595.00.
($145.00), and an extension speaker
matically hold back on the feed reel. By In practice, the editor would sit on a
($45.00). For video use, a TV safety
locking the synchronizer and releasing table between a set of rewinds. The
mask will be available soon. U.S.
the desired outrigger, the third hand, in viewer would be positioned so that the
distributor is Cinecraft International.
conjunction with smooth-acting spac- fil m path is directly in line with the rear
European distribution is handled
ers and hub adaptors, allows a single synchronizer gang. Picture and sound
through Kem Electronic Mechanisms
strand of film or fullcoat to be moved would not be in editorial sync since
Ltd., London, England.
independently of all the others. sound is read at the synchronizer, while
the appropriate picture appears some Apart from the technical improve-
In addition to all the hardware, these
benches come equipped with very de- distance to the left. ments, the new model has new human
tail ed operation and assembly To edit with this machine, the engineering. The controls-have been
manuals. The only item not included is fil mmaker must first locate the viewer more logically grouped and allow the
a squawk box. at some definite point left of the syn- activating hand to rest on the edge of
To my mind, the four-gang model is chronizer frame pointer. Let's say 60 the deck during operation, rather than
really the most useful. Not only can frames. This location should then be having to remain suspended in space.
three sound tracks be simultaneously marked so that the viewer can always The threading path has also been
cut, but later, the film can be con- be put in this position during editing. redesign'ed so that proper film tension
formed into A & B printing rolls. A set of Then, assuming that picture and is easily achieved.
differentials is included for use in the sound are in sync and that a cut will be Unquestionably, the MKM is a fine
two-gang mode. made, the frame-counter disk is zeroed piece of engineering and is built to
What with differentials, third hands, on the desired sound frame. By moving withstand considerable abuse by
outriggers, sync tuning, and displace- the synchronizer 60 frames forward, novice editors. Chances are that it will
ment markers, these benches may at the picture frame corresponding to the work troublefree for many hundreds of
first appear a little strange. Take sound frame will be opposite the frame hours. The model in our studio, used at
courage. Read the operations manual pointer. The frame is marked and the least 50 hours per week, needed ser-
carefully and sit down to edit. In a few cut is made. It is not as simple as in line vice only after about 1200 hours.
hours you will be cutting as efficiently sync, but it's adequate. Nevertheless, a couple of items should
as if you had a horizontal table costing be considered.
from two to five times as much. MKM Industries, Inc. There is no real advantage to the
Karl Murgas, president and princ- deck format. All it does is shrink
Specialties Design & Manufacturing ipal engineer at MKM Industries of working space, limit the placement of
Co. Skokie, Ill., stands as a pioneer in the controls, and necessitate the building
The Specialties editor is a very field of Super-8 horizontal table design. of a special height table to
economical and versatile editing tool The model 824 Super-8 four-plate accommodate the machine. Lack of
The projector plays a much more on the Super-8 Sound Recorder, for "common start", and works with
i mportant role in Super-8 filmmaking matching up picture and sound on an projectors such as the Bolex SM8
than it does in 16mm. The reason is exact frame-for-frame basis. All pro- which don't have the "inching knob"
that the Super-8 projector is often used jectors supplied by Super-8 Sound are required to get the sync start picture
as part of the sound transfer system for sync projectors, and Elmo is now frame exactly at the gate.
getting sound from fullcoat to mag- supplying all its ST1200 projectors with If you want to be able to stop and
netic edge stripe (and from stripe to the standard 1/F sync signal. restart the projector, and even rewind.
fullcoat in the case of single-system To start sound and picture in sync, in sync, then you need the capabilities
original films). Filmmakers doing their both projector and recorder can be of a double-band (picture film and
own sound transfers may find it plugged into the same switched outlet magnetic film) interlock projector. A
necessary to own more than one ma- box. When power is turned on, both machine with such rock-and-roll cap-
chine — with one primarily for screen- machines make a "common start". If abilities is available from Super8
ing or presentation and another dedi- start frames of picture and sound are Sound and is described below.
cated to sound transfer work. Active precisely at the gate of the projector at The installation of a 1/F sync signal is
Super-8 producers will eventually use a calibrated point near the nagnetic a simple task that can be accom-
still other types of Super-8 projectors head of the recorder respectively, the plished by any camera repair tech-
such as continuous-loop repeating pro- two will start in sync and then remain in nician. Super8 Sound provides a kit of
jectors for exhibits, telecine projectors sync because of the Super-8 Sound materials — magnetic reed switches,
for video film chain work, Xenon-arc or Recorder's speed servo-control. A sync magnets, mounting strips, adhesives,
metal-arc lamp projectors for theater start method superior to common start cable with wired DIN plug — and a set
use, and interlock projectors for is a photoflash start, in which a of basic instructions that cover install-
screening a workprint with double- punched frame in opaque leader fires ation of a 1/F sync contact switch in
system sound just before final editorial an electronic switch to start the full- most popular Super-8 projectors. They
decisions are made. Most of these coat recorder. Super8 Sound's Photo- also do installations.
types of projectors are available now in Start device plugs into the remote
Super-8, and are described below. control jack of the Super8 Sound ELMO ST1200 SYNC PROJECTOR
Any Super-8 sound-recording pro- Recorder, and prevents the Recorder The Elmo ST1200 stands out as the
jector can be adapted for sync work from running until activated by a bright best general purpose Super-8 projec-
with the installation of an inexpensive flash of light, e.g. a scraped frame of an tor currently available. It has the largest
sync signal generator, e.g., a one- opaque leader, or a 1000Hz burst of reel capacity (1200 feet, 365mm), one
pulse-per-frame (1/F) magnetic reed bloop tone. This device insures a of the brightest lamps, the fastest pro-
switch device. This sync signal is used repeatable double-system sync start jection lens available in a Super-8 pro-
to control the speed of fullcoat mag film without the frame calibration required jector (f/1.1, as an optional extra), and
an automatic threading system that can
be monitored by opening the projector
Super-8 projectors equipped with a once-per-frame sync switch may be used to transfer
side and (with difficulty) be unthreaded
sync sound directly from Super-8 fullcoat magnetic film to the magnetic edge-stripe of a
Super-8 print. A flash frame on the opaque leader of the picture film fires an electronic in the middle of a film. It handles full-
switch to start the fullcoat recorder. coat well, and it is almost impossible to
damage film with the Elmo. The major
drawback is the Elmo ST1200's poor
sound fidelity on film spliced with tape.
This is no problem for transfers to
prints, or with a well-cemented spliced
original, but every time a tape splice
passes the loop former there is a
significant wow, and occasionally a lost
loop. It is easy to regain the loop with
the loop former.
The Elmo ST1200 is the first Super-8
sound projector supplied directly by
the manufacturer with a standard 1/F
sync contact switch.
EUMIG PROJECTORS
The Eumig Super-8 sound
projectors are the most widely used in
the United States, primarily because
they have been the lowest-priced ade-
quate sound-recording and reproduc-
ing Super-8 projectors. The latest
generation of Eumig machines have
"High Quality Sound". a 10-watt IC
Bolex SM8 8W 60-8500Hz MANUAL (VU) NO NO 800' EATS FILM 1 2V/100W EFP 50 f /1.3, 15-25mm
W/TAPE SPLICES (P6834)
Bolex SP8 3W 75-10,000Hz AUTO/MANUAL YES PREHEAT 600' GOOD 1 2V/100W EFP 50 f /1.3, 15-30mm
(LED's) ONLY
Bolex SM80 1 0W 75-10,000Hz AUTO/MANUAL YES PREHEAT 600' GOOD 1 5V/150W EFR 50 5/1.2 1 2.5-25mm
(LED's) ONLY
Bolex SP80 Special l OW 75-10,000Hz AUTO/MANUAL YES PREHEAT 600' GOOD 1 2V/100W EFP 50 1/1.3, 15-25mm
(LED's) ONLY
Elmo ST1200 10W 50-9500Hz AUTO/MANUAL YES YES 1200' SOUND WOWS 1 5V/150W EFR 50 f/1.3, 15-25mm,
( VU) W/TAPE SPLICES 5/1.1, 12.5-25mm,
5/1.4, 25-50mm
Eumig 5807 3W 75-10,000Hz AUTO YES PREHEAT 600' FAIR 12V/75W (P68531 NA 1/1.6, 17-30mm
ONLY
Eumig 810 HOS 1 0W 75-10,000Hz AUTO YES PREHEAT 600' FAIR 1 2V/100W EFP 50 f/1.3, 15-30mm
ONLY
Kodak Ektasound 245 NA YES 400' EXCELLENT 30V/80W DFE 50 5/1.3, 15-30mm
Kodak Supermatic 70 4W 1 00-5000Hz AUTO/MANUAL NO YES 400' EXCELLENT 30V/80W ELB 15 5/1.3, 15-30mm
(VU)
Kodak TVM100A 4W 1 00-5000Hz MANUAL (VU) YES NO 1 200' EXCELLENT 21V;150W DNF 25 5/1.6, 5/2.0, f/2.5
Si!ma Bivox D-Lux 4W 1 00-7000Hz MANUAL NO PREHEAT 600' 12V/100W EFP 50 1/1.3, 16.5-30mm
ONLY
amplifier with excellent frequency and matic gain control. Bolex too have an inching knob, but no still frame. It
signal/noise ratio. They have an inch- added superior integrated circuit elec- has automatic threading through the
ing knob and a dimly visible still frame tronics to their latest machines. gate. The lamp is a 21V/150W ANSI
illu minated by the lamp preheat posi- code DNF, with a 3-level lamp switch. A
tion. They have automatic threading, KODAK SUPERMATIC 70 neutral density or color correction filter
automatic gain control only. There is no PROJECTOR holder is provided. It has manual gain
VU meter. They have a significant 60Hz The Supermatic 70 is Kodak's com- control with a VU meter.
hum on playback (you must learn to promise between a conventional pro-
jector and a continuous-loop cartridge ELMO TC1200 TELECINE
adjust the hum-bucking coil) and it is
projector. It accepts film in Kodak PROJECTOR
essential to have an equalizer with a
60Hz cut for transfers from strip to full- Supermatic cassettes, and projects Elmo makes a telecine version of
coat. They handle fullcoat well, but are them onto either a built-in Ektalite their fine ST1200 projector. 60Hz (U.S.)
unforgiving if improperly loaded and screen or a standard wall screen using and 50Hz (Europe) versions are avail-
occasionally chew up polyester-base just one lens. It has high speed auto- able. The 1200-foot reel capacity
fil ms. matic rewind through the gate, and is (360m) holds one hour of film, with
ready to restart moments after show- magnetic or optical sound tracks. The
BOLEX PROJECTORS ing the film. It has still frame, auto- Elmo TC1200 has a special telecine
The Bolex SM8 is a very sturdily built matic or manual gain control, and a VU lens (25-50mm), and a 15V/150W
projector. It is reliable with well- meter. The same Supermatic cassette lamp. The automatic threading is
cemented acetate base splices. It has a fits the Kodak Videoplayer VP-1 or VP- removable in the middle of a film. The
VU recording meter and manual gain X. 60Hz version produces 120 images per
control. However, it is autothreading, second; the 50Hz produces 50 images
and cannot handle fullcoat or poly- EASTMAN SUPER 8 VIDEOFILM per second. It has remote control of
ester-base Single 8 films. It often PROJECTOR TVM100A forward projection only.
buckles at a tape splice and chews up The TVM100A is a conversion of the
the film in the top sprocket. There is no rugged Kodak Pageant chassis and is CONTINUOUS-LOOP SUPER-8
inching knob and no still frame. probably the heaviest-duty Super-8 PROJECTORS
The Bolex SP8, SP80, and SM80 are projector on the market today. An open These cartridges projectors are
built for Bolex by Eumig and are port on a multiplexer is all that is highly portable rear-screen projectors
mechanically similar to the Eumig pro- required to give a TV station full Super- (some with optional front screen),
jectors — inching knob, dim still frame, 8 capability. The TVM100A is AC-syn- usually packaged in an attache case.
60Hz hum. and no VU meter (LED's are chronous at 24 fps. It's 5-bladed shutter Console versions are also available.
used for record level). They have produces 120 images per second. It They allow Super-8 sound films to be
manual gain control as well as auto- has remote control of all functions, and Continued on Page 1281
"3 Climbers Fall Into Crevasse" amateur cameras ... long zoom lenses, auto and manual
"Avalanche Buries Mountaineers" exposure, fast and slow motion, self-contained batteries,
"Rescue Helicopter Crashes Into Mountain" li ghtweight, portable ..."
"Frostbite Claims Toes, Fingers of 'Lost' Climbers" Three days later (artistic license) in the parking lot at the
Even though Jim Mitchell assured me the weather fore- 5,500-foot level of Mt. Rainier I was desperately attempting
cast was excellent, recent newspaper headlines like these to shove one more Super-8 50-foot cartridge in between a
spoke with a little more authority. I knew Jim had just spent peanut butter and jelly sandwich and a first aid kit.
four days bivouacked in a snow cave in some "excellent" At some point the lightweight and portable concept
weather. Jim is an internationally famous mountain guide became: the Hamton Engineering modified Nizo S56 and
who would be leading a group of climbing students up Sony TC124 cassette recorder for sync shooting; Kodak
14,410-foot Mt. Rainier in Washington State. I had been Ektasound 130 for research and development purposes
working on a series of survival education films with Jim, and (also to separate Ding Dongs from extra socks); Bauer C5XL
he felt an instructional film on mountain climbing would fit in modified with a once-per-frame contact switch; Minolta D-6
very nicely. with Intervalometer; Super8 Sound Recorder to shoot sync
Jim couldn't understand why I wasn't enthusiastic about with Bauer; Sony TC55 cassette recorder for wild sound;
shooting sync sound while going over, under, around, and Bolex tripod with small Miller fluid head; Mountain Safety
through glaciers, crevasses, avalanches — especially above Research rock helmet modified by me for POV shots; Bolex
10,000 feet. 233 camera for mounting on helmet; Instamatic X15 for still
I was starting to run out of excuses. photo documentation; and 50 cartridges of the amateur
"The rental shop won't let me have another thing unless I stuff.
leave my car for deposit." My brother, Peter, usually acts as sound operator/gaf-
"Leave the driving to me." fer/grip/gofer. He had conveniently chosen this weekend to
"How can I load an Arri in blowing snow at 3:00 a.m. with shoot a documentary about water skiing on Lake Wash-
freezing hands?" ington. Thus, Jeff Tobolski, a local pilot/fisherman/tape-
Jim, not knowing a Panavision conversion from an Insta- gap expert, was recruited as sound operator/tape-gap ex-
matic (1'd at least seen a picture of the Panavision): "Use pert/Sherpa (a Sherpa is one who carries your equipment,
that cartridge film that you can buy in all the drug stores." gets paid very little, and calls you Sahib). We dispensed with
"Don't be ridiculous, that's Super-8 film for those amateur the Sahib routine and shot a couple of quick interviews in
cameras .. . the parking lot as the sun went down Friday night.
Zap! I found myself repeating, "... Super-8 film for those Thinking out loud, I mumbled, "If I leave my first aid kit in
the car I'll have room for five more film cartridges and a
pack of M & M's."
Setting up to shoot at "Base Camp" on Mt. Rainier. A variety of Jim emerged from the Ranger Station where we had all
Super-8 cameras were used, shooting both double-system and
single-system sound. The footage was shot for ultimate transfer to
registered. "Looks like another group fell into a crevasse up
2-inch video tape, with digital time code readout to aid in editing. on top ..." Then, without a pause, "... Make sure you all
have your 12 essentials — extra wool clothing, emergency
food and shelter, water, waterproof matches, candles, fire-
starter, flashlight with extra bulb and batteries, map and
compass, a signalling device, knife, extra sunglasses, and a
first aid kit. We're leaving in five minutes."
Although I had planned more extensive coverage of the
parking lot departure, it was now 9:00 p.m., Friday, and Jim
planned to climb for an hour or so before camping at the
base of the Nisqually glacier. Jeff and I filmed a bear going
through garbage cans with the Super8 Sound Recorder and
the Bauer C5XL and then decided to leave them in the car.
The Super8 Sound Recorder has proven to be an excellent
resolving, dubbing, transferring machine in the studio — but
it's a bit heavy to haul up mountains. The C5XL is a fine
4 existing light camera with a 5-to-1 zoom that runs at 24 fps.
With a 230-degree shutter, f/1.2 lens, and Ektachrome ELA
160, it's damn near possible to shoot by moonlight. The
Bauer was modified by Willie at Professional Camera Repair
in New York City, who added a once-per-frame contact
switch — this contact switch is necessary for many of the
sync systems now on the market. Some Bauer people tell
me their repair facilities are capable of making this con-
version quicker and cheaper, but I haven't checked. The
C5XL works especially well at rock concerts where the noise
of its 60 H.P., two-cycle engine is easily mistaken for a drum
roll.
Continued overleaf
(ABOVE LEFT) The author, with one of the four cameras he hauled to the summit. (CENTER) The magnificence of 14,410-foot Mt. Rainier, as
seen from 50 miles away. (RIGHT) Array of Super-8 equipment carried to the summits of Mt. Rainier and Mt. Adams. (BELOW LEFT) Filming
with helmet-mounted Bolex 233, while crossing crevasse In which two climbers had just spent 56 hours awaiting rescue. (RIGHT) Jim and
Nancy Mitchell during early summer filming of survival education series.
Crisis #1 struck when Jeff attempted to pull on his back- hadn't been tested with 3 cameras, 2 boots, 2 quarts of
pack. With the help of two innocent bystanders he got water, $30 worth of batteries, and 1 body. As mountaineers
strapped in and began calling me many different names, affectionately put it, "I slept cold." I dream of helicopters,
none of which was Sahib. Crisis #2 struck when a third by- five-figure budgets, the parking lot — and woke up with the
stander had to be called over to help the other two lower the i mprint of a Minolta D-6 in my left side.
pack on my back. I began yelling about six-figure budgets Our gourmet breakfast of Ding Dongs and Kool-Aid
and National Geographic Specials where camera operators hardly digested, we decided to get up ahead of the party for
only have to carry a light meter. Then Jim gave his inspiring, a potentially beautiful sunrise shot. We spent the next hour
"Because it's there!" presentation. Twenty yards from the trying to differentiate a Singapore Slip Knot from a Bowline.
parking lot, still deeply inspired and only slightly ex- Finally roped up with prusiks in place (a prusik enables a
hausted, Jeff turned to me — conscious climber to ascend from a crevasse), we crossed
"You forgot something." the Nisqually glacier and set up a telephoto shot with the
Thinking I had enough film, batteries and equipment for a Nizo on the tripod. The problem with the Nizo is that its
twenty-six week series, I cautiously asked, "What?" Schneider lens is too "cold" — if that's a problem. It's hard
"You forgot to put the Budweiser in the cooler." to cut some of its crisp footage with that shot by the warmer
A serious error, quickly corrected — as I say, these Minoltas, Bauers, and Kodaks. The early Nizos had trouble
Sherpas work for cheap wages. pushing through some of the thicker emulsions, such as Tri-
The local lab seems to hate Super-8, and they take it out X. The "multiple imaging" on single frames that resulted was
by processing my EFB 7242 in warm bath water and a nice effect, but, unfortunately, there was no way of predict-
cleaning it with wire brushes. If nothing else, they are ing or controlling it. This apparently can be completely
consistent. I've tried several different labs with the Ekta- corrected with a take-up torque adjustment. The blimped
chrome EMA 40, and it always comes back soft, grainy, crystal-controlled Nizo modified by Hamton Engineering
washed-out, etc. — must be the film. As with larger formats, was the first and perhaps the best of the professional
some emulsion batches just seem to be bad — perhaps a Super-8 sound cameras ever manufactured. Unfortunately,
function of Kodak "stock" on Wall Street. The "2 stops more production was stopped several months ago — but many
fun film," Ektachrome ELA 160, is a good original for prints other manufacturers have jumped in with continuously up-
on Ektachrome 7389, and it's only one stop more expen- graded lines of cameras and camera controls for both single
sive. I had thirty cartridges on my back. Jeff carried twenty and double-system filming.
cartridges of Kodachrome II so we could qualify as Now the work began. Our objective for the day was Camp
amateurs and thus avoid getting releases from the climbing Hazard at 11,500 feet. This meant about five miles and 6,000
party. I also planned to go directly to 2-inch videotape with vertical feet, and that's a lot of Kool-Aid. In spite of the
the finished film, so I wanted different stocks to play with. frequent need of cardiopulmonary resuscitation (air), Jeff
Secure in the knowledge that the Buds were now getting was doing as fine a job as any high-priced Sherpa. From a
cold, we shifted into high to catch up with the pack. Soon we precarious perch on a cliff, we shot some nice instructional
were 50, 60, then 70 yards from the car. I wanted to get sequences of Jim pulling people up the mountain.
some silhouette shots against the full moon overhead. "Pat Pat on the back #2 goes to Jeff for constantly reminding
on the Back" #1 goes to me for rigging a camera harness me to disregard automatic exposure readings when there's
which allowed one hand to get warm in a pocket and the snow around. The automatic setting will make snow look
other to get cold on the ice axe. At all times in the climb I had li ke an 18% gray card and the brightness range is too great
a camera in position ready to film avalanches, falling for the film to record. Depending on light conditions, it's
climbers, Yeti (Abominable Snowpeople — locally called necessary to overexpose anywhere between 1/2 and 2
"Sasquatch") and occasionally I got the lens cap off in time stops to get the proper exposure for subjects on the snow.
to get something. This tends to wash out the snow, but take your pick — two-
Spectacular shot #1 was accomplished with the Ekta- dimensional silhouettes or washed-out snow.
sound 130 (Yup!) and 160 film. The Bauer stayed in the car When the sun got pretty high I threw an ND 0.50 filter on
because I couldn't see hauling two XL cameras — the 130 the front of the Nizo to bring the light down 1-1/2 stops to
went for political/financial reasons (a product report for the acceptable exposure levels for the diaphragm to handle.
National Enquirer). Moonlight reflecting off the snow gave a Spectacular shot #2 was a time-lapse sequence filmed
sacred existential glow to the climbers. with a Minolta D-6. I got the climbers running up a 2,000 foot
Although the Ektasound 130 only cranks at 18 fps, the slope in six seconds. The Minolta Intervalometer P which I
silent footage could easily be cut with the 24 fps footage had can be adjusted to expose a single frame once every
( most uphill climbing takes place at a snail's pace — it's the half-second or with other settings up to once every hour.
head-over-heels downhill footage that's a little jerky). This time-lapse stuff usually gets a laugh because it relieves
We had a slight 40-degree slope to go down to reach the boredom of the rest of the film, so it was probably worth
"Base Camp". I remembered to yell "Falling!" just as I the extra ten pounds. I brought the D-6 along because from
reached terminal velocity — then remembered it only past experience I knew it would function even if everything
helped to yell "Falling!" if you are on a rope team and the else quit — even if I didn't sleep with it to keep the batteries
other team members can help you stop. I got my ice axe in happy.
the full stop position in time to see Jeff go by head-first. We We arrived at what was supposed to be Camp Hazard at
both laughed this off 300 yards below until I realized my 5:00 p.m. All Jeff and I could see was a hairy rock slide area
camera insurance policy covered floods, nuclear blasts, with a seventy-foot glacial wall hanging overhead — a nice
earthquakes, exorcisms — but nothing about crevasses. place to camp. Jim Mitchell began clearing a two-foot by
Fortunately, Jeff had turned on the Sony TC55 before he eight-foot bedding area and stacked up stone slabs on the
fell, so we already had some nice documentary sound of a perimeter to form a grotto — like a little temple. Maybe he
Sony ECM16 mike flailing down a snow field. This tech- knew something we didn't, so we built our little grotto and
nique of anticipating exciting events proved to be very put up a prayer wheel just to be safe.
valuable in the course of the next few days. Then we had some fun shooting dinner preparations. By
Although my down sleeping bag had been advertised adding a little water to what looked like an air-sickness bag
"good to 30 below" and priced accordingly, it apparently Continued on Page 1326
SUPER-8 SYNC ELMO SC-8T REAR SCREEN
SOUND PROJECTORS PROJECTOR
Continued from Page 1277 Although this is not a continuous-
shown in a normally-lit office, plant, or loop projector, it has many of the same
exhibit. They are widely used by applications. The Elmo SC-8T has
salesmen to make a specific point that basically the same mechanical and
is best made by a short single-concept electrical components as the Elmo
fil m. They are much less expensive and ST1200, but squeezed into a portable
more portable than color videotape case with a large rear screen. It accepts
recorders/monitors that are also widely fil m on reels (400 ft.), and can project
used to accomplish the same thing. them both rear-screen, and front-
A large fraction of all Super-8 screen, with an auxiliary lens.
release prints made are presented in
the continuous-loop format. In the past XENON ARC AND METAL ARC
such films were produced in 16mm and SUPER 8 PROJECTORS
reduction-printed for Super-8 release. A Xenon-arc conversion of the
Today many Super-8 cartridge-loaded Heurtier ST42 is being offered by Valley
fil ms are produced on Super-8 original Projection of Burbank, CA. The lamp is
stock, with a cost saving of between 50 an ozone-free 500-watt Osram Xenon.
to 70% on the stock cost, and a saving 1500-hour lamp life. Another firm doing
of 80% on the production and post- Xenon arc conversions of Super-8 pro-
production equipment costs, when jectors is the Optical Radiation Corpor-
compared to 16mm production. ation.
The three most popular types of We expect that General Electric or
continuous loop projector are the Sylvania will soon offer a version of the
Technicolor, Fairchild, and Video- Marc (GE) or Colorarc (Sylvania) metal- The Super8 Sound DoubleBand Projector,
tronic. All three now use magnetic arc lamps and power supplies suitable based on the Eumig S807, makes possible
sound tracks. Because there is no for replacing the standard Super-8 in Super-8 the interlocked double-system
interchangeability of cartridges quartz-halogen lamp. Most Super-8 screenings so necessary for many applica-
tions. The two projectors may also be
between different brand projectors, projectors now use the common EFP separated for individual use when needed.
producers whose clients already have lamp, and the blower system can ade-
such equipment must be supplied with quately cool the lowest-power metal-
the Technicolor and Fairchild car- arc projector lamps.
tridge projectors, but we recommend This is especially true of the Elmo
that a new installation be equipped with ST1200, which already uses the 150W DoubleBand Projector and two Super-
the remarkable MPO Videotronic EFR bulb. Elmo has introduced a 8 Sound Recorders, a two-track sync
Compact Super-8 projector. metal-arc projector in Japan, and we sound mix can be made while simul-
hope it will be available soon in the U.S. taneously viewing the picture work-
We have found the Videotronic to be
print. Of course, wild sounds may be
quieter, with better sound and a
SUPERS SOUND DOUBLEBAND mixed in at the same time. If Super-8
brighter, larger picture (the 21V/150W
PROJECTOR fullcoat is run in both projectors, a
bulb is the strongest used in any
three-track blind mixdown can be
Super-8 projector), and in a lighter and The Super8 Sound DoubleBand Pro-
accomplished.
smaller package than the Technicolor jector is a versatile tool for the Super-8
The DoubleBand Projector can be
and Fairchild units. With an auxiliary fil mmaker's sound studio, dubbing
lens, the Videotronic can also be used used to dub new sounds on fullcoat in
theatre and screening room. It consists
for front-screen projections. sync with the picture. Its sync rollback
of two identical Super-8 sound movie
capability allows concentration on just
projectors which are mechanically
one short segment at a time. A short
interlocked to permit stopping, restart-
loop of picture, or original sound, can
ing, and even rewinding in perfect sync.
be run in one projector for the repeated
The Bolex SM80 is one of a fine line of Its primary use is to permit a double-
Super-8 sound recording projectors incor- playings needed to achieve a precise
system screening of an edited work-
porating an inching knob, still-frame, replacement of the original material.
print and fine-cut sync sound on
sound-on-sound recording, manual and For further details on Super-8
automatic gain control. Super-8 fullcoat magnetic film.
projectors, including the cables
The two projectors can be instantly needed to do double system screen-
uncoupled and run separately. This ings and strip/fullcoat transfers, send
permits easy threading of picture film for a copy of the SuperB Sound Catalog
and sound film. Each projector has an ($1) and SuperB Sound Recorder
inching knob to facilitate setting of start User's Manual ($1) to SuperB Sound,
marks in the gate. Once running in Inc., Dept. P, 95 Harvey Street,
sync, either projector can be in the Cambridge, Mass. 02140. ■
playback or the record mode, permit-
ting sound transfers from fullcoat mag- (ABOUT THE AUTHOR: Robin Ogden is a
netic film to magnetic edge stripe, or video and film producer at Video Vision, an
from stripe to fullcoat. experimental video production company in
Each projector is equipped with a Cambridge, Mass. He has experimented
with the Kodak Videoplayer and is a
once-per-frame (1/F) sync contact
consultant at Super8 Sound, where he is
switch, permitting sync operation with setting up an inexpensive film/video transfer
the Super8 Sound Recorder. With the service using the Videoplayer.)
By RODGER J. ROSS
Fifty years ago a new generation of Angeles in April 1964, Eastman Kodak stores would sell as many Super-8 films
fil mmakers was learning how to make proposed that the perforations should as record albums, and our local
use of 16mm film for what was then be reduced in size and placed nearer li braries would circulate vast numbers
termed non-theatrical production. That the edge of the film, giving fifty percent of "paperback films", but disregard of
format was introduced in 1923, when more space for the picture frames, and the user's needs choked the full
the Eastman Kodak Company began to allowing placement of the sound track development of Super-8 as a com-
manufacture 16mm film on a safety on the edge of the film opposite the munications medium.
acetate base that could be processed perforations. In contrast to the cartridge
with a reversal method to give positive The proposed format was enthusias- projector situation, a consensus was
picture images on the original film ex- tically received. Within 12 months, reached quickly on the main features of
posed in the camera. Intended from the equipment to handle the new 8mm Super-8 camera design.
first to meet the needs of amateur fil m was being marketed and by the The daylight-loading camera
movie makers, it was soon found that end of 1965 SMPTE engineering cartridge was accepted as the most
16mm offered many new — and highly committees had under consideration convenient method for handling film.
profitable — opportunities for utilizing no less than 16 standard proposals. The camera should have an automatic
fil m as an audio-visual medium in sit- The term "Super-8" was adopted to exposure control system, eliminating
uations where 35mm was either too distinguish the new format from the laborious calculations with an expos-
cumbersome or too expensive. The older "regular-8." Within two years, ure meter. The drop-in film cartridge
professional 35mm sector of the almost every camera manufacturer in should have notches in the leading
motion picture industry put the stamp the world had discontinued the build- edge to automatically set the ex-
"sub-standard" on 16mm, but this only ing of regular-8 cameras. posure-control mechanism for the
served to spur enthusiasts to demon- It was anticipated that an enormous speed of the film in the cartridge. A
strate the advantages of the new for- mass market would open up for low large, bright, upright viewfinder dis-
mat, and as manufacturers improved cost Super-8 prints, mainly for edu- play should be provided with an easily
fil m materials and equipment, and bet- cational and home use. However, a visible indicating needle showing f/stop
ter film handling methods were significant limiting factor in the at which the control system sets the
adopted, 16mm soon acquired profes- universal acceptance of films for com- lens. The camera should be fitted with a
sional status in its own right. mercial and educational purposes was motor-driven zoom lens. Dry cell bat-
Today there is a new contender for the inconvenience of traditional teries in an internal compartment
professional status: Super-8. A film projection equipment. To remedy this should be utilized to supply power for
8mm in width had been introduced in situation many new designs for Super- the camera motor and zoom lens. The
1932, to still further reduce the cost of 8 projectors were developed, featuring camera should be designed for hand-
amateur movie-making. That new for- automatic threading and cartridge holding, and it should be as light, small,
mat was made available simply by slit- loading. Manufacturers here and and fool-proof as possible.
ting 16mm film in half. By the early abroad rushed into the design and Many variations on these basic
1960's demands for improvements in production of competing incompatible design features, in a price range from
8mm picture and sound quality gave cartridge projection systems. This lack about $200 to $1200, have emerged in
rise to numerous proposals for a modi- of concern for interchangeability no the market place, as amateur movie-
fication of the format. At the technical doubt bewildered many prospective makers, and later on, professional film
conference of the Society of Motion Super-8 film users. Visionaries of the producers began to explore the possi-
Picture and Television Engineers in Los 1960's predicted that department bilities that Super-8 offers. Some
The photograph below shows various Super-8 picture and sound stocks, as compared to their 16mm counterparts. Shown from left to right
are: Super-8 picture film; Super-8 leader, with magnetic edge stripe area; Super-8 "fullcoat" magnetic film; 16mm double-perforated picture
fil m, used in silent or double-system filming; and 16mm fullcoat magnetic film, used to record the sound in double-system filming.
cameras can be run backwards, ena-
bling effects such as4ap dissolves to be
incorporated while the original film is
being exposed. Many offer a choice of
fil ming speeds, from 80 frames/sec.
down to still-frame exposures. One sig-
nificant improvement over regular-8 is
what might be termed "in-camera edit-
ing." Super-8 cameras have an instant
stop-start action of the shutter, so that
no frames are overexposed at the
beginning or end of a shot. The join-up
between one scene and the next looks
li ke a physical splice.
At first, Super-8 cameras did not
have sound recording capability, main-
ly because sound was not a major con-
sideration for amateur movie-makers.
Those who insisted on the need for
sound with the pictures could have a
magnetic strip applied to the edge of
A comparison of the old "regular-8" format and the present Super-8 format, introduced by
the processed camera films, and then a Eastman Kodak in 1964. Note that the Super-8 format has a much larger picture area,
voice-over recording could be made smaller sprocket holes, placement of the magnetic edge stripe opposite the sprocket holes,
using a recording projector. In 1969, and a "balance stripe" to equalize the film plane in both the filming and projection to insure
equal focus across the width of the film. Overall film widths of both formats are exactly the
Bell & Howell introduced a double-sys-
same: 8 millimeters.
tem sync camera to the market, a
separate tape recorder being used for netic film recorder compatible with the some losses in picture quality cannot
the sound. With this arrangement, Bell & Howell double-system and the be avoided in the printing process.
pulses generated in the camera were MIT/Leacock system, including crystal Filmmakers associated with television
carried by a cable to the tape recorder sync. Doyle's new firm, Super8 Sound broadcasting have discovered thatthere
and laid down as a separate track on of Cambridge, Mass., also announced are many advantages in transferring
the tape. These pulses were then inexpensive double-system editing the original Super-8 films to video-
utilized in projection to synchronize the equipment based on conventional tape. From that point on, various prom-
playback of the tape with the picture mechanical synchronizers, rewinds, ising avenues of exploitation open
projector. There was no capability for viewer, and magnetic head. Double- up. For example, the film sequences for
editing; even simple rearrangement of system screenings were achieved by a program can be edited into A & B
sync shots was essentially impossible. installing a one-contact-per-frame sync rolls and, during the transfer to video-
In 1972, the documentary filmmaker switch in the projector. tape, access can be gained to the full
Richard Leacock announced the Single-system sound came to Super- range of electronic special effects that
development of the first complete pro- 8 with the announcement in the fall of a television studio control room offers.
fessional Super-8 system. With the 1973 by Eastman Kodak that camera This method of program assembly
assistance of a $300,000 grant from the fil ms with a magnetic stripe would be has the advantage that once the trans-
Massachusetts Institute of Tech- made available in 50-ft. cartridges at a fers to videotape have been made, the
nology, Professor Leacock and his cost between $5 and $6. Soon a num- Super-8 originals can be retained in
associates modified consumer market ber of single-system Super-8 cameras safe storage, while distribution of the
cameras, recorders, and projectors to appeared on the market, the most program can be effected with any of the
provide professional capabilities. The notable of which were the Kodak popular videotape formats.
camera was blimped to reduce operat- Supermatic 200 with 24 fps operation At the SMPTE technical conference
ing noise and crystal-controlled, and 10 minute, 200-foot film loads, and in Toronto in November, 1974, the
eliminating the cable connection to the the Beaulieu 5008S, which has a 6- chairman of the Super-8 study group of
cassette tape recorder, which re- 80mm zoom lens, an f/1.2 (T/1.4) aper- the Canadian Broadcasting Corpor-
corded sync pulses from a built-in ture, and high-fidelity sound per- ation, Karl Kruger, described his
crystal generator. A fullcoat magnetic formance. group's research with Super-8 as an
fil m recorder was built with a capability The scope of Super-8 utilizations has original medium for television produc-
for transferring (resolving) sync sound been extended still further with the tion. Equipment studied included the
from the location cassette. A 4-plate introduction by Eastman Kodak of their MIT/Leacock system, the Super8
motorized horizontal editing table was fil m video player, VP-1. This small, Sound Recorder, a custom-engi-
constructed for editing of picture film compact, automatic device, at a cost neered fullcoat recorder that was
and magnetic film. A projector was less than $1400, gives a video output selsyn-interlocked with a Kodak
modified to incorporate a 5-bladed from Super-8 film that can be dis- TVM100A, and a rear-projection
shutter and AC synchronism, which played on television picture monitors system that gave excellent television
permitted synchronous transfers of and receivers. The quality of the tele- pictures from Super-8 film. This was
Super-8 film to a color video camera. vision pictures from the videoplayer accomplished by setting up a studio
Eastman Kodak announced an AC compares favorably with those ob- camera facing a small translucent
synchronous telecine version of their tained through the use of much more screen in a light box. The light beam
M100A projector the same year, and in complicated and costly equipment. from the Super-8 projector was
the spring of 1973, Robert a Doyle, a Original filming with Super-8 directed by an arrangement of mirrors
research fellow at Harvard University. cameras has the disadvantage that it is inside the box to the rear side of the
developed a portable fullcoat mag- somewhat difficult to make prints, and Continued on Page 1321
The Massachusetts Institute of Tech- grammar of filmmaking. Our limited By the summer of 1971, we had
nology began a limited film production facilities meant virtually no modified two prototype Nizo S-56
course in 1969 under the supervision of synchronous sound filming. cameras for cableless crystal sync. One
Ed Pincus. Richard Leacock became But the importance of sync cannot was blimped and one was un-blimped.
the director in 1970, and I joined the be overstressed. Significant work can In the prototype blimped camera all
program shortly thereafter. From the be done non-synchronously, but a the crystal control electronics were
beginning the basic philosophy of film student must have the possibility of fitted inside the camera body. Extend-
teaching at MIT has been to approach sync sound if he is to be given access to ing through the blimp were the auto-
each student as a potential filmmaker the full range of possibilities of film. matic light meter control (which also
rather than a potential technician. Film- Gradually, we developed a modest allowed for manual setting), as well as
making was approached not solely 16mm sync production facility. Intro- the control which positioned an 85
from a technical point of view, but from ductory students continued to work (type A) filter in front of the film plane.
one that encouraged the student to with 16mm double-system non-sync, MIT's first sync prototype cassette
consider his filmmaking experience on and advanced students were "free" to recorder was a modified Sony TC 124.
many levels — personal, political, use the 16mm sync equipment. The The crystal synctone electronics were
sociological, etc. The relationship li mitations were largely of an economic mounted in a "black box" attached to
between ideas and their execution in nature. Often neither MIT nor the stu- the side of the recorder. Since the TC
fil m form has been our main point of dents could afford the budget for a 124 was a stereo recorder, a 48 cps
discussion with students. The primary serious sync film. Because of the high sync tone was fed into the line input of
intent of the film curriculum is to intro- cost of 16mm sync cameras, we could one channel and the microphone signal
duce students from many disciplines to own only a few of them; student de- went directly to the microphone input of
the techniques of making film, in the mand was great and consequently the other channel. A slating device
expectation that they will use this skill students could spend only a limited (visible light, and a "beep" tone on the
as a tool for research and exploration amount of time in the field with the audio track) was considered to be a
within their own fields. The way in which equipment. We thought that the exis- design requirement and was
we have attempted to implement this tence of a Super-8 sync system might incorporated in even the earliest proto-
philosophy in the past six years has solve some of these problems. types. Very quickly in our research it
been dependent on the level of tech- Over the years, we have found that became apparent that high-quality
nology with which we have been able to students who filmed on-going realities cassette sound could only be achieved
equip ourselves and the problems and have had more expeditious learning by using better microphones thar
successes we encountered. experiences than those who have those supplied with the recorders. We
We began production courses with fil med directed performances. We have chose the Sony ECM 21 electret
16mm non-sync Bolex and Scoopic observed much less wasted time and condenser microphone.
cameras and Sony 1/4" reel-to-reel effort by introductory and intermediate By incorporating a pre-amp around
tape recorders. Students learned students filming an on-going inter- the microphone itself, one was able to
double-system editing on Moviolas and action, event, or performance than by control volume with the fingers of the
synchronizer/viewer/squawk box those who have also been responsible hand holding the microphone. We alsc
combinations. From the beginning we for the arrival, direction, and per- included in the black pre-amp box a
felt the necessity for teaching double- formance of actors and crews. Thus, switchable low frequency cut-off filter
system techniques as the primary the further reduction of the baggage of which was very useful in eliminatinc
fil mmaking by the development of a wind noise and in improving the clarity
Al Mecklenburg and Charles Meyer thread li ghtweight, highly portable and of speech.
double-system interlock projector for final technologically simple Super-8 sync For editing, we had two jury-riggec
screening of student films at U.F.S.C. Sum- system seemed a most desirable goal. motorized double-gang synchronizers
mer Institute. Also pictured are John Terry
and Richard Leacock.
In early 1971 MIT granted Richard with viewers. Thus equipped, we wen:
Leacock $300,000 to develop a off to Hampshire College to teach
complete Super-8 production system, Super-8 sync-sound filmmaking for the
modeled closely on existing 16mm first time. The occasion was the firs:
crystal-sync systems. U.F.S.C. Summer Institute, a three-
The design philosophy we sought to week intensive gathering of students
utilize was the modification of appro- with teachers, filmmakers, photog-
priate existing Super-8 products, raphers, film critics and historians of al
whenever possible, rather than to persuasions.
design totally new equipment. Also, we Out of this somewhat primitive
attempted to find electronic solutions equipment came some remarkable filr -
designs would have many advantages intensive course. Since the summer o'
for teaching film over existing tech- 1971, we have gradually equipped our-
niques. selves at MIT with more and more
Super-8 production equipment so that
during the past year at MIT, both intro-
ductory and advanced production
courses were conducted in Super-8
sync, and 16mm was used only for
"special projects" (those projects with
outside funding when the client clearly
wanted 16mm production). We have
also taught four more summer work-
shops, and from this experience a very
interesting observation has emerged.
There seems to be very little difference
between student progress in the three-
week intensive workshop and a regular
one-semester course of work at MIT.
Students seem to learn as much in
three weeks (with classes every day,
often editing all night) and emerge with
about the same "level" of finished film
as they do in a course meeting once or
twice a week over four months of the
academic semester. Though we have
never performed similar comparisons In the MIT prototype blimped camera all the crystal-control electronics are fitted Inside the
in 16mm production (and we never camera body. Extending through the blimp are the automatic light control meter (which also
allows for manual setting), as well as the control which positions an 85 (type A) filter In
could, due to the high cost of 16mm
position in front of the film plane. The Sony TC 124 cassette recorder, unlike the final Ham-
production), this would be an ton production model, has not yet had the crystal-sync generator electronics moved Inside
interesting experiment. the recorder body. This lack of internal wiring resulted In some degree of unreliability, due to
plugs coming unplugged and the loss of sync or radio signal.
Teaching with both 16mm and
Super-8 for five years has also raised
several other interesting issues.
Recently, another film teacher asked
the most important difference between equipment is the possibility of giving
me directly, "Is teaching Super-8 really
16mm and Super-8, many questions more students access to the equip-
different from teaching 16mm sync, or
arise. While the debate rages as to ment. Having more students neces-
is it pretty much the same?" The best
exactly how much cheaper Super-8 is sarily means we will see a greater
answer I could come up with is, "Yes."
than 16mm, let us accept, for the variety of interests in the people who
There are several facts about the purpose of discussion, an estimate of are coming to learn. If an appropriate
nature of Super-8 sync that make fil m stock, mag film, and other editing atmosphere for the exchange of ideas
intensive teaching situations a viable supplies as being about one-half of the and viewpoints can be maintained, an
educational possibility. In our summer 16mm price per minute. Let us also opportunity for a superb educational
workshop courses, there are some accept the cost of Super-8 cameras experience will exist. Having increasing
students who have no comprehension and recorders, editing equipment, etc. numbers of students in film is also a
of ASA, exposure, focal lengths, etc. as being about one-fifth that of 16mm fact of the times. It is important to
After explaining a few switches, dials, equipment. Stock and equipment are remember Laslo Moholy-Nagy's state-
and an initial discussion of automatic separate issues, and we should discuss ment that "the illiterates of the future
li ght meters (concentrating on the separately the implications of the will be ignorant of both the pen and the
necessity of using them only to get a cheapness of each. camera."
proper manual setting), students go out Because of the lower capital value of Cheaper raw stock and mag film are
in pairs and shoot a test roll of sync! the equipment, one can simply own also a plus, but not as clear a benefit as
The next day, they resolve-transfer more of it. At MIT we have seven they might at first appear to be. One's
their sound and the problems of Super-8 camera-recorder pairs and i mmediate instinct is to believe that the
attaining good sound are discussed. three 16mm camera-recorder pairs. more one can shoot, the greater the
The third day film is back from the This means we handle more students, learning experience, and the better
laboratory; rushes are screened silent- who can film in the field for longer cameraperson one becomes.
ly and camera work is critiqued. Stu- projects, can tackle projects further Generally, this seems to be true. How-
dents then proceed to the editing away from the equipment checkout ever, in our summer workshop
tables, where they sync up the test room, and can be involved in higher experiences I have often found that the
rolls. This seeming assembly-line-like "risk" situations. Students can film in students who shoot the most often do
procedure allows the students to areas of the city where it would not be so because they have the least clear
experience the entire process of wise for inexperienced filmmakers to ideas of what it is they're after and
double-system filmmaking before appear with a 16mm sync rig that looks therefore they go for a kind of
actually beginning their film projects. as if it's worth $10,000 (and indeed is). "buckshot" approach and try to shoot
This confronts directly the problems we Because of the "lower profile," everything. The same students often
encounter with students who arrive with innocuous appearance of some of our have trouble editing their films because
ideas for cinematic projects that are not Super-8 rigs, we never have had any of they find that in shooting everything,
feasible because of the time span of the them stolen from students in the act of they concentrated on nothing.
course and their level of technical fil ming, which has sometimes oc- The most important aspect of
expertise. curred with 16mm equipment. camera technique that filmmaking
From the standpoint of cost, perhaps But the greatest virtue of cheaper Continued on Page 1299
All Super-8 sound projectors can rate was lowered to 16 fps.) audience response and music.
operate at either 18 or 24 fps. So can While Edison was exclusively inter- With the coming of sound, all that
many Super-8 cameras. What does this ested in peep show or nickelodeon disappeared. (I was going to say
really mean to you as a filmmaker? display of his movies, the French forever, but the description reminds me
What are the reasons for the choice? Lumière Brothers, Louis and Auguste, of the great light shows that flourished
People coming to Super-8 from the had other ideas. They adapted early in the rock houses of the psychedelic
larger 16mm or 35mm formats will Edison apparatus and produced the late '60s.) Sound forced the decision to
probably advise you that the only first theatrically projected motion raise the fps rate to 24 to get the most
speed to use is 24 fps. That's the way picture images. The Lumières, who out of the unperfected optical tracks of
it's done in the larger formats. Although were photographic plate those days. For the technology of the
most 16mm projectors in service will manufacturers, decided that the Edison '20s, running 35mm at a higher speed
operate at either 16 or 24 fps, few, if rate of 48 fps was too high to be meant less flutter, that gargling sound
any, are suited for sound projection at economical, so they experimented with or poorly reproduced recordings; and it
18 fps: the amplifier is usually turned lower rates, and in 1895 settled on 16 also meant better high-frequency
off at the slow speed. And 16mm fps. Twenty years later the Gestalt response for clearer speech and more
projectors designed for theatrical psychologists exhaustively deter- treble for music.
projection usually don't operate at the mined this very same value for the As I look at it, 16mm optical sound
slower speed. Thirty-five mm phenomenon in their laboratories in really didn't click until the '40s and the
projectors also rarely operate at what is Germany. wartime need for sound entertainment
considered to be the silent speed by The Lumières were trying to produce and training films for the armed forces.
professionals. an acceptable illusion of motion while Naturally enough, 24 fps was needed
All in all, it's fair to say that a sound using the least amount of film. So in the for good quality 16mm optical sound;
fil m at 18 fps for the 16mm or 35mm silent days of theatrical motion as an important feature, it also
formats is totally incompatible with pictures, the standard was a nominal provided compatibility with 35mm films
projection facilities. 16 fps. This was an era of hand- optically reduced to 16mm.
How we inherited the two fps stan- cranked cameras — and hand-cranked In the early '50s, magnetic sound
dards is an interesting story: Edison projectors as well. With an active aud- tracks for 35mm prints were
and his research associate William ience in the theater, and a musical developed, notably with four-track
Dickson chose 48 fps for their battery- ensemble in the pit, the projectionist stereophonic sound for CinemaScope:
operated camera in 1889. (It's interest- was creatively tied and profoundly alive but many theaters balked at having to
ing to note that the very first movie to the dynamics of the moment, crank- install new sound equipment as well as
camera was battery-operated. People ing the projector faster or slower to suit screens and lenses, so Fox retreated
didn't hand-crank cameras until the the dramatic circuit of images, from their original standards and
added an optical track to their release
prints. That's why you're more likely to
hear optical than magnetic sound at
Comparison of cassette and striped film frequency response. Eastman scientists engi-
your local theater.
neered a special tape deck that could accept either cassette tape or prestriped Super-8 film Despite the fact that it's really a hell
in order to eliminate the deck as a factor. Note superior stripe response, attributable to its of a lot better sound than optical, 16mm
higher lined rate (3 or 4 ips), compared with tape (1 7/8 ips). magnetic sound never caught on in a
big way in this country. It had two
strikes against it from the beginning:
magnetic sound prints are more costly
than optical prints, and magnetic
recordings can't be played back with
the optical soundheads installed in
hundreds of thousands of 16mm
projectors in service.
But now we have Super-8. It's a
whole new ballgame, a new era, and an
opportunity to develop standards that
are not locked into the technology of
the past. Films made in Super-8 with
magnetic sound meant for Super-8
projection or TV display ought to be
shot at 18 fps. In terms of sound qualit\
there is no reason not to. Why stick to
standards based on an obsolete med -
um for original scund recordinc
developed in an era that used tubes
instead of printed circuit chips?
The need for standards, especially should have been for years. The loss to ing Super-8 cartridge in the hopes of
compatible sync signals and one consumer may be only a few dol- cornering the market. The thought was
interchangeable equipment, should be lars or cents but the societal loss is in that the more convenient Super-8
obvious to anyone who wants to make the millions of dollars. The multiplicity projectors would replace harder-to-use
Super-8 a professional medium. But of videotape widths and formats was 1 6mm equipment — a $4-million
despite the obvious, inventive people reduced somewhat with the well-known annual market. Unfortunately, potential
seek to do things slightly differently, EIAJ-1 standard for 1/2 inch videotape, users found it difficult or impossible to
and almost always for what they per- but then complicated by Sony's decide between projection cartridges
ceive to be a good engineering reason. introduction of a 3/4 inch videotape from Kodak, Bell and Howell, Techni-
This urge to do one's own thing is also and the option of reel-to-reel or color, Fairchild, Bohn-Benton, and sev-
motivated by the thought of financial cassette versions of 1/2-inch tape eral others. As a result, most film users
gain as the inventor's company reaps offered by Philips and Sony. The stayed with 16mm which, while some-
the benefits of a market place it hopes standard compact audio cassette is what harder to use, was at least an
will become wedded to its proprietary considered a classic of industry internationally standardized format.
(usually incompatible) approach. cooperation, initiated by Philips' Although the Super-8 projection
Few strong voices tend to be raised unusual offer of royalty-free licenses to cartridges were incompatible, one
in support of doing things in just one any company observing the technical would naively think that at least the
way, simply in order to get on with the specifications of Philips' compact Super-8 sound film inside the cart-
business of doing things. Moreover, cassette design. This led to the ridge was standard. This was actually
these isolated voices rarely have the withdrawal from the market of not so, thanks to the imaginative design
media clout of a large company widely competing cassette designs by efforts of engineers in the different
advertising its patented process in an 3M/Wollensak, RCA, and others who companies on how to record sound
attempt to corner the market. are now benefiting from the resulting tracks. Some chose optical sound.
The failure to agree on standards enormous audio cassette market. A others magnetic. Some recorded
has led to production inefficiencies similar competition is in process to sound at 18 frames displacement from
and, in some cases, virtually complete establish a preferred design for the the picture, some 28 frames and some
market collapse as giant companies new Videodisc, with many of the same 125 frames. The result drove labor-
refused to compromise on any one companies in the running. atories crazy and kept lab charges high
design. Examples close to the motion Standardization problems within the as each Super-8 order had to be a
picture industry include 33 1/3 vs. 45 Super-8 industry are considered custom order.
rpm record speeds, the videotape responsible for the failure of Super-8 Today Super-8 sound tracks are
format controversy, and the choice of fil m to become much more widely used almost invariably magnetic, and with
audio cassette design. RCA's 45 rpm as an audio-visual medium. In the late sound displaced 18 frames from the
disc with the large hole and second 1960's almost every projector manu- picture. This has been the result o'
speed have kept record-handling facturer rushed to design his own users expressing their preferences
equipment more expensive than it automatic-threading, automatic-load- through their buying decisions in the
marketplace, and not because o'
Diagram showing comparison between the new "1/F" (once-per-frame) sync pulse signal, industry agreement or compromise
and the conventional pilotone signal (60Hz sine wave, 50Hz in Europe), which is a perfectly
Basically the only option that remains
acceptable alternate sync signal for Super-8 use. Most new sync cameras and projectors
have a built-in 1/F switch. besides magnetic or optical sound is
the frame rate- 24 fps or 18 fps.
In their original design rec-
ommendations for the Super-8 format.
Kodak designated 18 fps as the nev.
silent film speed, with 24 fps as the
sound speed. Subsequently, Kodak's
Consumer Markets division intro-
duced single-system sound-on-stripe
Super-8 cameras (Ektasound), with just
one running speed — 18 fps — which
they now refer to as the "amateu-
sound speed", 24 fps being called the
"professional sound speed'•
Equipment manufacturers are nov.
asking SMPTE for sound test films a•
the 18 fps speed. Since the and
fidelity at 18 fps is more than ade-
quate, enthusiastic proponents of the
speed like Lenny Lipton wa -
cult to see. A Muray viewer on a this cue noiselessly puts the master
by most manufacturers in the Super-8
$3000.00 machine with ESTEC's track into record, and on the stop cue
editing field, that all equipment must
sophistication seems a little bizarre. All takes it out of record. It does it exactly
have multiple uses, provide complete
developmental efforts seem to have on the desired frame. There is no noise
in-house capabilities, and be adap-
gone into the electronics and sound between the butted segments. The cue
table for improvement over the years.
functions; with the optical aspects kind marks are recorded while the trans-
Optasound Corporation: of thrown on. As a result, syncing ports are stationary.
rushes without slates is an impossi- If the ESTEC ever gets into full
Mercifully, the manufacturers of
bility. production, it will be a powerful tool for
Super-8 editing equipment have been
Where sound is concerned, the Super-8 filmmakers. Just to be able to
relatively subdued in their advertising
ESTEC is superb. The electronics are mix multiple sync tracks to picture and
claims. They have generally stayed with
so good that several generations of to transfer at double speed without pro-
the facts and left the users to judge for
mixdowns are possible without signifi- jection, make it worth the price.
themselves.
Not so with Optasound! Though still cant degradation of the tracks. The
right fulicoat movement is capable of The Heavies: Steenbeck, KEM, and
not delivering any units at the time of
recording two separate sound tracks Moviola.
this writing (early June), the company
makes claims such as "Now the ESTEC on one strand of fullcoat. These two A sure sign that professional Super-
gives Super-8 its Voice" and "In edit- tracks can then either be mixed to the 8 is a reality comes from the intro-
ing alone, and sound editing in parti- edge stripe or to fullcoat. (Either to the duction of Super-8 editing equipment
cular, Super-8 has fallen short of its left fullcoat movement or to an ex- by the "heavies" in the field. Both KEM
promise. Until now. Now, in a single ternal recorder) More than two tracks and Steenbeck have an established
step, the ESTEC closes the gap". (From would require mix-downs. li ne of equipment, and Moviola, it is
their latest promotional piece.) Again considering the sophis- rumored, may introduce a four-plate
Hype is hype, but the Leacock tication of this machine, it is strange later this year.
system was introduced in 1972 and that four-track capability was not built
since then there has been a steady in. Super-8 Fullcoat is capable of four- Steenbeck
stream of excellent equipment de- track recording and quad heads are The current model Steenbeck
signed for editing Super-8 picture and readily available. If not as standard machines are designed for Super-8
(LEFT) Specialties Design Co. has produced a Super-8 "Moviola Junior", an inexpensive motorized 4-gang sync block built into a light table,
to which the film-maker adds a viewer and rewinds. (RIGHT) The first completely Super-8 horizontal editing table to go into full-scale pro-
duction, the M KM Model 824, is still the most widely used. A 6-plate version will soon be available.
(LEFT) Super-8 Research Associates provides the greatest versatility in Super-8 horizontal editing tables. Their basic 4-plate may be ex-
panded as economics and editing needs dictate, with the ultimate being the 10-plate version shown here. (RIGHT) A prototype version of
Optasound's ESTEC, which is designed as an ambitious interlock dubbing and mixing console, with two Super-8 fulicoat tracks and one
Super-8 picture. Sound editing is accomplished through "spliceless" electronic cueing of tracks.
picture and 16mm fullcoat track. Future the KEM Rapid-S six-plate table with Part of their approach must have to
models will have the option of Super-8 Super-8/16mm interchangeable pic- do with their own vision of Super-8's
fullcoat. One machine allows the inter- ture heads. future directions. Their view seems to
changing of Super-8 and 16mm picture The Rapid-S (costs about $8000.00 be cast in the mold of established
heads. Both machines are equipped plus $1500.00 for the Super-8 picture 16mm and 35mm production tech-
with optical/magnetic single-system head) is a very basic editing machine. niques, even though Super-8 is clearly
sound readers. One lever controls the running speed of carving out a totally different niche. A
The ST 1068S is a non-interchange- 0-100fps forward/reverse. The 24fps niche that is essentially based on the
able four-plate model ($5800). The sync speed position is notched. Inter- premise "do it yourself".
viewer is bright and the image is a fairly lock in any combination is done via
sharp 6"x8". Functions parallel those of three light indicator buttons. The Schmid:
standard Steenbeck tables. 24 fps sync screen is a very bright 8.5"x11.5" (the Two editing tables from Europe, the
speed plus a variable speed from 1-200 largest around). Each track has its own Schmid and the Atema, do follow the
fps forward/reverse. The drive system separate frame counter and large inch- in-house post-production systems to
employs an electronically governed DC ing knob. The film transport is fairly their logical ends. The Schmid
motor and is operated via a switch gentle. Film capacity is 1000 feet on a Diplomat II is given as an example.
lever. The picture transport is very easy core. The Schmid Diplomat II at
on film and enables the viewing and The sound is of very high quality. $12,500.00 is fully equipped for both
editing of original footage. Again, it would have been nice if both Super-8 and 16mm editing and mix-
Unlike most Super-8 tables, the edge stripe and fullcoat recording ing. Though available with Super-8 full-
Steenbeck accepts up to 1000-ft. capability had been designed in. At coat tracks, the most logical con-
cores. If reels are used, the capacity is present, the Super-8 picture modules figuration would be 16mm mag heads
600 feet. There is a footage counter, or do not have single-system sound and Super-8/16mm interchangeable
a minute/second counter. readers. KEMs are not available with picture modules.
The sound reproduction is very Super-8 fullcoat tracks. As a cutting table, the unit is set up
good. It is unfortunate that recording for rapid and simple threading of all
heads and amplifiers are not part (or an Moviola/Magnasync heads. The picture, rather than dis-
option) of the machine. Recording At the moment there is nothing played on ground glass, is actually pro-
capability would have made this a definite. The company did not respond jected on a small screen and gives a
much better bargain and a much more to inquiries about forthcoming Super-8 much brighter and sharper image than
useful machine. editing equipment, but well-placed conventional tables. By moving a tilt-
A Super-8 picture module is avail- sources do indicate that a very fine able mirror, the image can be pro-
able for use with the six-plate ST 6000 four-plate flatbed, similar to the 16mm jected onto a larger supplementary
machine. The basic 16mm machine version, is under development. The screen for group viewing.
costs about $8000.00 and the Super-8 ability to record on edge stripe and on In addition to the 24fps sync speed,
picture module about $1500.00. This the fullcoat track will be part of the de- movement is variable from 1-110 fps.
module is also equipped with a sign. It will also be the first "heavy" Like all horizontal tables, the various
mag/optical stripe reader for single- machine to shun 16mm fullcoat in favor tracks can be disengaged and run
system film. Despite high quality of a straight Super-8 picture/Super-8 independently. Editing sound quality is
sound, there are no mixing or record- mag fullcoat arrangement. very good, with little wow and flutter.
ing provisions on this table either. It is interesting that these firms The picture transport is designed to be
( Moviola possibly excepted) who harmless to film; enabling editing of
KEM pioneered the flatbed concept of edit- original film. The picture head is
KEM offers two possibilities for edit- ing, are not willing to carry their de- equipped with edge stripe playback
ing Super-8 film. The first is in the form signs to the logical conclusion. Namely, and recording heads.
of a picture module (S2400.00) that will complete in-house postproduction for If sound is to be recorded on the
fit the KEM Universal. The second is Super-8. Continued on Page 1340
Since the inception of Super-8 in that we'd be millionaires if we put in the preferably using Polaroid filters to
1965, there has been talk of filming service. I couldn't take it too seriously, obtain the optimum contrast, since the
professional Super-8 original since these potential clients wanted black had to hold back the light of the
productions. One of the largest prob- only a couple of hundred feet duped printer.
lems, in Canada at least, was the lack of and even I know that a few more feet Now that we were offering a
Super-8 lab services. There were the was needed to make the first million. complete laboratory service for Super-
odd services available, such as mag- However, since we wanted to become a 8 original production we claimed that
striping and the odd cartridge loading full-service lab, we would have to offer anyone could do professional
centre capable of loading only one type a complete line of services for Super-8. production at a much lower cost than
of cartridge, as weli as one or two We had an old Depue black-and- 16mm. We recommended the use of a
photofinishing labs processing Super-8 white printer that was set up for print- double Super-8 camera for a number
cassettes. However, it wasn't until ing double Super-8 black-and-white. of reasons. The film is more
Bellevue Pathe started its Super-8 Since we were not doing this type of economical than cassettes, since each
Division in 1969 that any hope for work and there was no demand, it was roll contains 200 feet of Super-8. One
original production in Super-8 was the obvious choice to modify for Super- can shoot for five minutes (at sound
even feasible. 8 duplicating. The modifications were speed) without having to reload the
Our initial goals were to provide relatively minor and, in no time, we camera. Since the camera has its own
reduction printing from 16 to Super-8, were in the Super-8 duplicating busi- aperture plate, higher resolution and
sound and silent, as well as cartridging ness, providing an excellent product. steadier pictures can be obtained. Dis-
and lubrication. We built a homemade At first we were using 7389 color solves of any length are possible. Ekta-
printer consisting of a 16mm pro- reversal print stock and processing chrome Commercial is available for
jector, Ektar lens, and a double Super- normal. We found that there was quite shooting and this stock gives the best
8 Pathe camera modified to accept an increase in contrast with some reproduction, especially when going
2,000 foot loads. The projector and originals so we tried a few experiments through an internegative. Both Ekta-
camera were electronically syn- to help reduce the contrast. We ended chrome Commercial and High Speed
chronized and the end results were up printing on 7389 and processing as Ektachrome can be developed by most
high-quality Super-8 release prints. 7242. This apparently gives us a better professional labs with or without force
The resolution was extremely good (as overall reproduction. processing.
a matter of fact, I haven't seen better Now that we had Super-8 dupes We tried to stay away from ali types
since). The main problem with this set- under control we felt that we were of hardware, such as synchronizers.
up was the fact that the Pathe camera offering a complete service. We could rewinds, editing benches, etc. How-
was not designed for large volumes, make internegs from dupes and go into ever, we did get caught up with editing
even with our modifications. The result release printing either from Super-8 or benches. We started building small
was that we had to take the camera 16mm, both sound and silent. We could editing tables with Super-8 acces-
apart every hundred thousand feet or lubricate and load a variety of Super-8 sories. Since that was all that was avail-
so to make minor repairs. cartridges, as weli as striping Super-8 able at the time it served its purpose
To provide sound on Super-8 we original and duplicates. What more is even though we weren't really craz■
took a Kodak M100 projector and there for a lab to do? about the end result.
modified it to run in sync with the Am- Weli it wasn't two weeks after we Thank goodness other
pex equipment in our Sound Dept. We started duplicating that a client asked manufacturers shared our optimism on
were fortunate in that the Super-8 us about A and B rolls and title supers Super-8 and decided to build profes-
Division was part of the overall 16/35 for Super-8 original. After I stopped sional high-quality equipment. We
lab and were able to take advantage of laughing at the absurdity of this could now get back to the business of
existing equipment, such as sound and question, I thought to myself, "Why being a Super-8 lab and reap all the
processing equipment. The sound not." I'm used to doing the impossible, rewards (?) that go with it.
quality was reasonably acceptable but so what's one more task? The first More and more people were
we did have a problem with the sync. problem is what to use for black leader beginning to involve themselves with
Some cartridge projectors did not have since none was readily available. After Super-8 productions, but there was stili
the normal 18-frame sound advance. numerous tests it was decided to fog an important service missing. We could
Therefore, we had to set up special 7381, process and slit it. This film un- not do optical effects such as fades.
syncs for nearly each different li ke 7389 was black enough to hold dissolves, freeze frames, reverse
projector. At the beginning we didn't back the light in the printer and we action, etc. Here we go again — trying
even have some of the projectors to could produce it economically. Once to develop a piece of equipment to
properly check out our sync and had to we ironed out the problems of syncing produce the desired effect. Since we
ship out the prints, cross our fingers, up the A&B rolls it was just a matter of had to start from scratch, we wanted to
and hope that the client wouldn't come doing the job. We found that we could be able to incorporate ali the effects
back screaming. It worked most of the successfully print A&B rolls and super- presently available on 16mm (short of
ti me. i mposed titles over live action. The mattes) as well as reduce slides directly
We kept receiving inquiries about titles are shot on Kodachrome II, white onto Super-8. Being a former ani-
duping Super-8 original with promises lettering over a black background, Continued on Page 1336
(LEFT) In operation at Bellevue-Pathe Lab, a HFC Super-8 panel printer makes high-speed Super-8 reduction
prints at the rate of 200 feet per minute. (RIGHT) The Filmline processor is a positive processor for developing
prints at 150 feet per minute. Laboratory services for Super-8, stili in the formative stages, are continually chang-
ing. It is definitely a specialized service thus far, as compared to standard 16mm-35mm operations.
"Super-8 Video" is a new concept in video production, using conventional film chain techniques, since AC-syr-
utilizing inexpensive Super-8 film cameras as the original chronous telecine Super-8 projectors are now available
medium, and Super-8 editing, studio, and transfer equip- This allows the use of image enhancers, electronic colo-
ment in post-production. Four factors combine to make correction, and other sophisticated video processinc
Super-8 Video the lowest cost video production method: Laboratories that specialize in film-video transfers are nov,
• Super-8 cameras, with built-in single-system or offering these services, notably the National Video Center ;r
external double-system sound recording facilities, are the New York City who have a Kodak TVM100A Super-E
least expensive means of original program production for projector as a permanent installation in their telecine chain .
video release or television broadcast. While there is a Alternatively, transfers can be made with the Kodak
noticeable loss of picture quality, especially in the areas of Videoplayer, an inexpensive flying-spot scanner that
picture resolution and image stability, the difference is converts Super-8 film to a standard NTSC color signal —
easily detectable only on broadcast monitors. 525 lines fully-interlaced composite video, with separate
• Super-8 editing equipment, with its capabilities for audio derived from the magnetic edge stripe or a fullcoat
multiple sound tracks, and straightforward physical editing magnetic film recorder running in double-system sync. The
(cutting) at an exact frame, is the least expensive and most Kodak Videoplayer is so inexpensive that most videc
versatile means of editing an original production for video or production houses will acquire one just to keep open the
television. option of accepting Super-8 color sound film as a source a'
• Super-8 sound studio equipment, with up to three material.
sound tracks and a sync control track on an inexpensive but
high-fidelity four-channel tape recorder, is the least VIDEO EDITING OF SUPER-8 ORIGINAL
expensive means of sophisticated post-production sound Although the double-system Super-8 sync editing
for video or television. equipment available today is by far the least expensive way
• Super-8 television film chains, especially the to edit a Super-8 Video production, a video editor with
extraordinary Kodak Videoplayer flying-spot scanner, are access to sophisticated 2" quad editing equipment may
the least expensive means of transfer to video, or direct prefer to transfer the Super-8 original film and sound
broadcast of film. The $1350 Videoplayer replaces between directly to 2" quad tape for video editing. This practice is
$10,000 and $20,000 of conventional 16mm film/video recommended by the Canadian Broadcasting Corporation
transfer equipment, and a new external sync version will study group that endorsed Super-8 as acceptable for
soon allow A & B roll transfers to video, with video special broadcast on Canadian television (SMPTE Journal, April
effects and live video camera inserts where desired. 1974).
Super-8 Video thus offers the video producer the lowest An alternative to 2" quad equipment is SONY's new VO-
cost production and post-production techniques available, 2850 U-matic 3/4 inch Videocassette editing system. This
including color, sync sound, sound and picture editing, and relatively inexpensive video editing system and a Kodak
multiple sound track capability. Super-8 Video offers all Videoplayer (for inexpensive video transfers without tying
this, plus the extreme portability of three-pound cameras up a color camera) are an attractive low-cost combination
and lightweight cassette sync-sound recorders, or the new that many smaller television stations and cable companies
single-system Super-8 cameras that combine sound and will find fits well today's tight budgets.
picture recording in a single unit. Super-8 cameras go any- However, video editing techniques are limited and would
where, operate on penlight or rechargeable batteries, and cramp the cinematographic style of most film editors, who
fil m in extreme low light situations (approximately 10 foot- might prefer to cut Super-8 film despite its small size, and
candles) in full color. then transfer to video.
The extreme color blow-up below shows a split-screen comparison between unenhanced 16mm film (LEFT) next to an enhanced Super-8
print. Both photos were shot from a TV screen. Enhancement makes the Super-8 appear sharper, though somewhat coarser and grapier. The
appearance of grain is normally increased with enhancement, but much of the high-frequency noise is lost in the home receiver. Electronic
i mage enhancement has been the single most important factor in bringing the Super-8 image up to broadcast standards.
struggle between the traditional 16mm
fil m cameras and the new ENG video
cameras, virtually eclipsing the profes-
sional capability that Super-8 has
finally attained. It's no exaggeration to
state that the future of the entire film
industry in television is at stake in the
ENG movement; to measure the
potential of Super-8 in television today
requires a very careful examination of
what's at the heart of the ENG-16mm
debate.
ENG porta-pak costs are very close to
16mm SOF camera costs,
operating costs (raw stock) are incom-
parably lower than 16mm, even when
some of the video tapes are archived.
Additional ENG bonuses are the
elimination of processing with the
instant replay, and the capability of live
transmissions from the scene. One
popular ENG unit has been the Akai
VTS-150; it's priced under $7,000 and less microphones. But still, the scales li ght filter that is built into all Super-8
uses relatively inexpensive /4-inch
1
are tipping heavily in favor of ENG, and cameras. The cartridge label provides
video tape which can be reused many it seems quite certain now that 16mm a convenient means for identifying
ti mes. The hand-held camera weighs fil m and equipment sales to TV stations news stories shot in the field, and the
about 6 pounds and is umbilically tied have reached their final peak. cartridges can be handled roughly with
to the 16-pound video recorder which Indeed, the future of film in tele- no fear of loose film ends unraveling
is carried by a shoulder strap. The vision is at stake here, and the only and fogging the day's work. Kodak is
recorder is highly automated and format capable of competing with the currently supplying four types of film in
trigger-operated from the camera. innovations of ENG on a long-term the 50-foot sound cartridge: Koda-
After every "video shot" the recorder basis is professional Super-8. A land- chrome 40, Ektachrome 160, Ekta-
automatically rolls back a few seconds slide of new professional products has chrome EF 7242, and Ektachrome SM
and goes to a standby mode to wait for just begun to hit the market, making 7244; the new multi-illuminant Type-G
the next shot. This allows the reporter Super-8 a match for ENG that should Ektachrome and Ektachrome 7240
to make automatic add-on edits right in not be overlooked. video-film are under consideration.
the field, much like the "editing in the The key that finally unlocked the Available in the silent cartridge at the
camera" technique used with film. An development programs was the Ekta- present are all of the above, plus Ekta-
electronic iris selects the proper f/stop sound cartridge. The new 50-foot cart- chrome 40 and Ektachrome Type G.
in the 6x zoom lens, and the small ridge closely resembles the silent The real significance of the Ekta-
electronic viewfinder with its bright version, with the main difference sound cartridge lies in the new
television image doubles as a monitor occurring in the extended lower portion generation of compact sound-cameras
for instantly checking the recording. where there is a second aperture for it has fostered. Kodak operated a dis-
Not surprisingly, the ENG movement the record head and capstan/pinch Continued on Page 1324
is sweeping through the broadcast roller assembly. Complete compa-
industry with unprecedented interest tibility in the upper portion of the cart-
and acceptance. Broadcasters attend- ridge allows conventional silent cart- The Kodak Supermatic 200 sound camera
ing the 1975 NAB show (National Asso- ridges to be used in the new sound accepts the new 200-foot cartridge of pre-
striped Super-8 film, as shown here. The
ciation of Broadcasters) voted ENG cameras.
camera also uses the 50-foot sound cart-
equipment their number one priority on Both silent and sound versions of the ridge now widely in use.
shopping lists, and stations like WCBD cartridge possess a host of features
of Charleston, South Carolina, and attractive to news reporters. The most
KMOX of St. Louis, Missouri, gave basic and obvious advantage can be
glowing reports boasting of their total found right in the black plastic cart-
elimination of film. As one network ridge: it's a handy light-tight, fog-proof
news executive told affiliate managers, container for the film that allows instant
The question is not whether you will loading under all conditions. The inert
get into ENG, but when." The goat was plastic also avoids a problem that has
obviously 16mm. plagued the lightweight 16mm
In response to the challenge, Kodak cameras: blue spots on the film caused
recently introduced their long-awaited by magnesium particles (Cinema Prod-
"Video-film", designed to reduce both ucts recently sought to solve this
processing time and chemistry costs. problem by introducing plastic maga-
Cinema Products, the leading US zines for the CP-16).
16mm camera manufacturer, has been In addition, both silent and sound
outpacing Super-8 manufacturers with cartridges contain speed notches
such camera innovations as multiple which automatically program the
LED exposure indicators, bright fiber camera for the proper ASA, and filter
optic viewing screens, and built-in wire- notches which control the Type 85 day-
TRANSFERRING SUPER-8 TO VIDEO
One of the areas in which Super-8 would seem to have a great future
is in the recording of events to be transferred later to videotape
By ALAN ROGERS
One of the areas where Super-8 has manently into their film chain. Conse- unit, and has a high-quality video
a tremendous future is in recording quently, the transfer of Super-8 to camera dedicated to the telecine chain
events in color, silent or sound, which videotape is usually a makeshift work.
will then be transferred to videotape. arrangement and very often the quality National Video recommends trans-
Today, for an investment of a few of the final transfer suffers greatly. ferring camera original Super-8 film to
hundred dollars, even a non-profes- However it so happens that the three 2-inch Quad Videotape, and then to do
sional can take excellent motion executive officers of National Video ali the editing electronically, with
pictures with the highly automated Center, Robert Weisgerber, the Presi- scene-to-scene density correction and
Super-8 equipment that is readily dent; Alan Rogers, V.P. of Marketing, color correction.
available, and the state-of-the-art of and Philip Mancino, V.P. of Engi- Kodachrome 40 is the best film to
transferring film to videotape makes it neering, all have an extensive back- shoot for maximum sharpness in
very easy to release the production in ground in motion pictures as well as in Super-8, even though it has inherently
videotape, either for broadcast tele- videotape, which is unique for a video high contrast and is not a good film to
casting over the airwaves, or for use on service company. shoot with if you want film prints to be
cable television or other closed-circuit made. The density can easily be con-
Because of their interest, experi-
viewing. trolled electronically.
ence, and faith in the future of Super-8
Super-8 film as an originating A problem in using Kodachrome is
fil m and videotape, they have installed
medium for final release on videotape that it is still considered an amateur film
a Kodak TVM 100 Super-8 telecine
has been facing the same "chicken- by Kodak, and they develop it with less
projector permanently in their
and-egg" problem as it faced in the film controls than they develop their 16mm
broadcast-quality filmchain island.
print areas. Here it was difficult to get Ektachrome films. The result is that
They can transfer Super-8 film to any
labs and other post-production format of videotape, 1/2-inch, 3/4-inch once in a while you get a critically
services to invest in the equipment and i mportant roll back with developing
videocassette, 1-inch or 2-inch Quad
related services to make prints of streaks, water marks, dirt, or other
videotape. They can transfer the sound
professional quality and at competitive problems which are not noticeable to
either from the magnetic stripe on the
prices until there was a high volume of most amateurs, but which are ruinous
side of the Super-8 film, from a Super-8
work, and there could not be a high to a person trying to use this format of
fullcoat recorder (Super8 Sound
volume of work until the services fil m for professional purposes.
Recorder) or from a 16mm mag track in
existed! interlock. Kodak does make a low-contrast
The same situation pertains in the Ektachrome 7252 available in 100-foot
video end of Super-8 filmmaking today Many television broadcasters and rolls of Double Super-8, and this film
... most videotape houses with CATV operators have installed Super-8 does get developed in the same bath as
broadcast-quality equipment able to projectors in their telecine chains, often their 16mm Ektachrome 7252. While it
transfer Super-8 film to 2-inch broad- as a temporary lashup for occasional does not give as sharp an image as the
cast-quality videotape do not have use. Others, avoiding the need for dye-structured Kodachrome, it is still
enough of this business to warrant modifying existing telecine equipment, quite sharp and gives very good results
mounting a Super-8 projector per- project the Super-8 films onto a small when transferred to videotape, where it
white or gray screen to pick up the will only be shown on a 26-inch TV
optical images with a live television screen at most.
camera that can be mounted into A note of caution here to Super-8
This color correction console at National position on a dolly in their studio. If care fil mmakers ... film shot at 18 fps CAN
Video Center allows an infinite range of is taken, you can obtain television be transferred to videotape, BUT
color corrections in either 35mm, 16mm or
transfers in this manner, but the quality ONLY with a flying-spot scanner video-
Super-8. The unit can make frame-by-frame
color and density correction of film going will be quite low. player such as the Kodak VP-1 or VP-X.
into and coming out of dissolves, where two The next step up in obtaining better The problem is that, as yet, not too
pieces of film require correction of each
quality Super-8 film-to-tape transfers is many video houses have this unit, and
frame.
to use a small Multiplexer unit where- if you have film shot at 18 fps and want
by you can project Super-8 film directly to transfer it to 2-inch Quad videotape
to a color television tube. With a unit for broadcast use, it cannot be done
li ke this you can put your television with any of the conventional high-
camera into position when you want to qualify broadcast telecine chains! If in
transfer film to tape, and it can be taken doubt, shoot at 24 fps ... for then you
out and used for other purposes the can have it transferred by both the VP-
rest of the time. This way you do not tie 1 or the conventional telecine cameras
up a color TV camera the way you ... the slight amount of film you save is
would have to do if it had to be perma- not worth the price you may have to pay
nently fixed to the Multiplexer. later when you find you have a great
The telecine chain at National Video production, and a television station is
Center is a most complete and complex willing to pay good money for it, but it
unit for transferring film to videotape. It cannot be transferred!
has several film projectors and a 35mm If possible the Super-8 film should
still photo projector feeding into the be ultrasonically cleaned after all
(LEFT) Alan Rogers, V.P. of Marketing for National Video Center, operates the video switcher, as the final editing and special effects are done
on the hour-long production of the International Ballet Competition in Bulgaria. It was shot on Super-8 Ektachrome with a Nikon R-10 camera
and transferred to 2-inch quad tape by NVC. (CENTER) Rogers operates the new Kodak Supermatic 200 Super-8 single-system sound
camera. The film shot was transferred to 2-inch quad tape, given electronic editing and color correction, plus a multiple sound mix, and ended
up as a highly professional TV spot. (RIGHT) Bob Weisgerber, President of NVC, explains Super-8/videotape transfer to producer Zeida
Cecelia-Mendez.
editing is finished, and as close as production companies). They also 8/video job that was done at National
possible before the time of the telecine synced up the sound track shot in Video Center was a 60-second com-
transfer. The startmarks for picture and Bulgaria, mixed in new voiceover mercial for the State Capital Savings
Super-8 mag tracks should be the narration, and also put in a new music Bank. It was shot the day before Christ-
same as in 16mm and should be in track. The final sound was four-track, mas of 1974 on high-speed Super-8
editorial sync. Splices should be of the two music tracks to achieve cross Ektachrome 160 by Gunther Hoos and
mylar type, like the HPI Quik Splices, dissolves, a sound effects track and a Mark Mikolas of the Super 8 Film
as they are extremely thin and less narration track. Group of New York City. It was shot on
li able to cause the projector to jump They then took the edited Super-8 Super-8 film because the client only
while being projected. This is particu- fil m and mixed audio track (the latter came to them the day before Xmas with
larly important because a video house being on fullcoat Super-8 mag stock) to the final concepts for the commercial,
charges by the clock, and if the film National Video Center, and it was all and it had to be on the air 3 days later!
projector jumps because of one of your transferred to two-inch Quad video- Because of union holidays all the
splices, and the film has to be run back tape. She finished with a 60-minute 35mm and 16mm labs were closed,
to the beginning, YOU PAY FOR THAT quad tape of the highest television and the only way to have film
TIME! broadcast-quality which was aired on processed was to shoot in Super-8, and
Many people run up unexpected ex- the National Educational Network in have it processed by a smali non-union
penses because they do not have their New York in August. lab that was open over the holiday
Super-8 film and sound material There was a wide variation in the season.
properly prepared for the videotape color and densities of the Super-8 film, There was no time to even try to get a
transfer. It is extremely important to but this was easily adjusted when being workprint made, and so they had to edit
always check with the video house that transferred to quad tape with the use of their sound-track against the original
is going to do the transfer and find out the automatic density unit on the Super-8 film. They edited in A & B roli
all their requirements and recom- National filmchain, and with the use of and did a three-machine video mix at
mendations for the preparation of your the computer-controlled Color Cor- National Video Center in order to
material. This could save you hundreds rector designed by National earlier this obtain dissolves in the final tape
of dollars and could also save you from year. transfer.
missing an all-important deadline. Another very interesting Super- Continued on Page 1350
One of the leading Super-8 produc-
ers in New York City is Zeida Cecelia-
Mendez. She is an ex-dancer who is Phil Mancino shows Zeida Cecelia-Mendez how the National Video Center Color Corrector
now producing television commercials works. Her Super-8 footage of the International Dance Festival in Bulgaria, after transfer to
and documentaries for the Spanish- 2-inch quad tape with automatic density control, image enhancement and color correction,
resulted in a final quad tape of high broadcast quality.
speaking markets in the United States.
This year she shot sixty Super-8 rolls
of High Speed Ektachrome 160 with a
Nikon R-10 camera at the International
Ballet Competition in Carna, Bulgaria.
Professional photographers using
35mm and 16mm movie cameras were
not allowed to film this festival, but the
festival did allow it to be shot in "ama-
teur" Super-8!
Zeida shot the whole festival with the
hand-held Nikon and recorded sound
wild with a small portable Sony tape
recorder a one-person production
team!
She had the film developed by
Kodak in Fairlawn, N.J. It was then
edited by the Super-8 Film Group of
New York City (one of the country's
leading production and post-
SUPER-8 LABORATORY
SERVICES AND STOCKS
Continued from Page 1270
iitit ii ',___,
(17.
'
is a former physicist who joined the staff of
the MIT/Leacock Super-8 project at its
inception. He holds the U.S. patent for the
-0 ,....„
VOIAMIE
SPEAMFN
TONE Super8 Sound
MIT Super-8 System. Mecklenburg was an
engineering undergraduate at MIT when the
XSD Recorder ,
Leacock project began, and worked with
Rosenfeld on the design of the system. He
has made several films and worked as
soundman on segments of "An American
Family", some of which was shot on Super-8
using the MIT equipment. Filmmakers them-
selves, they bring a practical combination of
All T NUAL
engineering and film production experience
to the design of Super-8 gear.)
Super8 Sound
Resolver
Super8 Sound, Inc.
DEVELOPMENT OF SUPER-8 trated mainly on meeting the needs of most important feature. Super-8 is a
Continued from Page 1283 the anticipated mass market for low new medium, and we have yet to learn
cost prints with magnetic sound tracks how to exploit this new medium most
screen. A facility of this kind has a num- and projectors to handle these effectively. The concept of low-cost
ber of attractive features — it can be set materials in the simplest and most con- mass-production for home and school
up in the studio where the program venient manner. It was expected that use is a most alluring prospect, but it
producer or director has direct control these prints would be made by optical depends for its success on the accept-
of Super-8 film inserts in the same way reduction from 16mm or 35mm ance by the public of the Super-8 film
as all the other studio facilities; per- originals, and that there would be little format as a communications and enter-
haps even more important, the rear demand for printing from Super-8 tainment medium. Until there is a
screen projection concept can be ex- originals. Many motion picture labora- demonstrated large-scale demand for
tended easily to provide multiple pro- tories have facilities for printing from Super-8 prints by home and educa-
jection facilities and optical mixing of Super-8 originals, including the in- tional users, the mass production and
the projector light beams. With such an sertion of simple optical effects, and distribution concept cannot be fully
arrangement optical effects such as lap where prints are needed for dis- realized.
dissolves and superimposed titles tribution, this is the obvious route to The cartridge projector incompati-
could be produced with only a single take. Within the past few years signifi- bility referred to earlier has no doubt
television camera. cant improvements have been made in been a major factor in limiting the
To simplify and speed up the the films needed for the print process, growth of the Super-8 release print
processing of Super-8 camera film, and the equipment being used to make market. Significant technical strides
especially for television news pur- the prints. One factor limiting progress were taken by Eastman Kodak and
poses, Eastman Kodak has introduced in this direction is the pressure to keep various film laboratories to lower the
the Kodak Supermatic 8 processor, de- costs for prints as low as possible, cost of Super-8 prints, including
signed for operation in an office while unfortunately the amount of time methods for mass producing Super-8
environment. Features of this highly needed to make one or two prints from prints, complete with magnetic sound
automated, compact processor in- a half-hour Super-8 film is likely to ex- tracks, at 40 times sound projection
clude cartridge loading of the film, easy ceed that for a comparable 16mm speed. This was accomplished by
operation, simplified handling of liquid operation. optical reduction of a 16mm color
concentrate chemicals, and a dry-to- Some film users look to Super-8 as a original to produce four rows of Super-
dry time of 131/2 mins. This machine is means for reducing production costs. 8 frames on a 35mm internegative, and
designed to process the new Kodak In fact this is a short-sighted attitude to then making the prints on a special
Ektachrome SM film 7244. take. While it is true that, minute-for- 35mm material with four rows of Super-
In the early stages of Super-8 minute, Super-8 is far less expensive 8 perforations and four pre-striped
development, attention was concen- than 16mm, this is by no means its Continued on Page 1334
(LEFT) Film chain at KDUB shows the Kodak TVM100A Super-8 TV projector used with an RCA color TV camera. The projector's automatic
threading has proved to be very reliable. (RIGHT) Editing Super-8 at KDUB, using the Wilcam sound editor and Bolex hot-splicer. Note the
"seconds" counter on the left side of the editor. In 1972, KDUB-TV in Dubuque was the first station to announce a.total commitment to Super-
8 for both news and commercial production.
SUPER-8 TO THE SUMMIT niques referred to in this article were "developed" by Al.
Continued from Page 1280 A couple of years ago Al had the foresight to purchase
one of the original Hamton/MIT/Leacock Super-8 system s.
everybody came up with his own little treat — a real Howard He felt the cost savings in raw stock and processing would
Johnson's menu — chicken tetrazzini, beef almondine, tuna pay for the system in one year. Al has put together a very
a la neptune, turkey supreme, prunes. Of course, regard- substantial film and sound studio for student use at the col-
less of the label, everything tasted the same, but this was lege and is very generous with his time and expertise, and
somehow reassuring. the school's equipment. Occasionally he will be a Sherpa if
you throw in a little extra Budweiser.
Before the sun went down I jammed the Bolex tripod
Back to Rainier. Our summit attempt began promptly at
between two rocks and set up a time-lapse shot toward
3:00 A.M., and, luckily, we didn't have a footcandle of light
12,326-ft. Mt. Adams, fifty miles to the south. The sun set as
until about 6:00. Every hour Jim would rest and talk about
directed, and the shot was superb.
the importance of pacing, water intake, sunburn protection .
Our climbing schedule called for a 2:00 A.M. wake-up on
and the symptoms of altitute sickness. Fortunately, Jeff and
Sunday, with a 3:00 A.M. departure. That meant "getting or-
I are normally lightheaded, pale, lethargic — so we just kept
ganized" at 10:00 P.M. Saturday night. Since we planned to
cranking with the Nizo and Sony.
return via the same route the next day, we were able to stash
We got to see a real live rescue just below the summit. A
ali the unnecessary equipment — which amounted to fif-
teen exposed cartridges. helicopter landed at 14,000 ft., adjacent to a crevasse where
The periodic roar of avalanches somehow kept us awake. two injured climbers had just spent 56 hours. I was waiting
To pass the time I pulled out my little black book (lighter and to see local news crews jump out so I could throw their CP-
more portable than the American Cinematographer 16's, Angenieux's, power packs, body pods, and light
Manual) and showed Jeff some facts and figures. He was meters down into oblivion. Instead it was a few of the super-
asleep instantly. professional mountain rescue people who make "impos-
Super 8 16mm
sible" saves time after time.
* 100 minutes raw stock with processing $ 240 $ 720 The pilot's walkie-talkie did strange things to our Ham-
* One-light workprint with edgenumbering $ 300 $ 360 ton/Sony sync recorder. Here we are filming a life and death
* 20-minute timed A & B answer print with sound $ 130 $ 240
TOTAL: $ 670 $1320 drama on the top of the world and all the recorder can do is
pick up Wolfman Jack down the coast.
A cursory glance at these figures reveals the real cost This apparently excited Jeff. We ran to the summit to get
advantage of Super-8 is in the raw stock and processing the arrival of the climbers and shot twelve minutes of
stage. This means with selective workprinting I can take the ecstatic, exhausted people slapping and taking pictures of
shooting ratio up to immodest levels without spending lots each other. Jeff chose this time to get the final twelve-
more money. (Though not to the obscene eighty-to-one minute gap on the tape. With the earlier six minutes of blank
35mm shooting ratio of JONATHAN LIVINGSTON tape, his contract was fulfilled, and he was now asking f r ,
SEAGULL.) residuals.
Another money-saving possibility is to transfer the This seemed like a good time to move to single-system
original footage directly to videotape and use that as a work- shooting. I was tired of focusing anyway, so I pulled out the
print. One method of accomplishing this is the following: Ektasound 130. Given their limitations, the 130 and 140
View the original footage once and record on a shot log the really do a good job. I'm waiting anxiously to get my hands
exact content and length of all takes. Sync up all the sound on the new Supermatic 200 with its 24 fps professional
footage very carefully in one pass through an editing table sound speed, auto-exposure override, and 200-foot load
with a seconds or footage counter. The sound footage is (10 minute sound, 13 minute silent).
then played back double-system for videotaping. Add a Jim Mitchell was pointing out all the landmarks from the
digital clock that reads out in seconds in one of the lower summit —Mt. Hood, Mt. St. Helens, the smog where
corners of the screen and you have a reference between the Tacoma was supposed to be, and the parking lot 9,000 ft.
videotape and the seconds and/or footage counter on the and 10 miles below. Noticing my cameras, a gentlema n
editing table. waving madly at Mt. Adams approached and offered me a
This means handling the original three times, but I've check if I would sign a piece of paper (money talks at that
found that the amateur "projection" stocks, 160 and K11 are altitude in those conditions).
tough to scratch. The real advantage of a videotape work- The next thing I knew it was Wednesday morning and 1
print is the fast forward and reverse capability, and the had signed a contract to film a Mt. Adams climb the coming
ability to make practice edits without cutting anything. I view weekend.
the videotape numerous times to become intimately familiar "Jeff, do you remember that sunset shot we got of Mt .
with every shot, and then edit electronically to a master deck Adams from Mt. Rainier?"
— usually a Sony 3650. Theoretically, the original Super-8 "Beautiful shot!"
can be conformed by someone who has never seen a frame "We've got a chance to get one going the other way."
of footage. For example, the first shot on the edited video- Jeff was up, grabbed his salmon pole, garbled some -
tape is a long shot of Mt. Rainier. The digital clock readout thing about Sherpa fishing rights, and hasn't been seen
on the tape says 01 01 12 and advances to 01 01 25 before since.
the first cut occurs. The editor would then put the 01 roll of Twenty yards from the parking lot Al Fisk turned to me —
fil m on the table, go in until the counter reads 1 minute, 12 "You forgot something."
"You
seconds (or its footage equivalent, 24 ft. 00 frames), and clip Hallucinating about helicopters, Ding Dongs, and four-
out the next 13 seconds (or 4 ft. 24 frames). The second figure budgets, I stumbled to the car and squeezed the extra
scene on the edited tape is Jim Mitchell signing out at the Buds into the cooler. ■
ranger station — readout 03 02 27 to 03 02 42 — you
guessed it. Pull out roll 03 and so on. (ABOUT THE AUTHOR: AMBROSE SALMINI is a filmmaker with
McKinley Productions in Seattle, Washington. He is also the
This editing system works and was primarily developed organizer and current pre p it
by Al Fisk of South Seattle Community College. As a matter organization trying to stimulate the distribution of small-format
of fact, many of the ideas, camera, and recorder tech- [Super-8 and Video] productions in the United States.)
FALL
3. Frequency of issue: 12 Times a Year.
3A. Subscription price .. $9.00 a year. results as sprocket teeth pop in and out
4. Location of known Office of Publication: 1782 North of sprocket holes. A comparison with
Orange Drive, Hollywood, California 90028.
CLEARANCE
5. Location of the Headquarters or General Business 16mm fullcoat magnetic film recorders
Offices of the Publishers: Same as 4. will reveal how much simpler and more
6. Names and addresses of Publisher, Editor, and
Managing Editor, Publisher: A.S.C. Holding Corporation, elegant are the so-called "electronic
SALE
1782 North Orange Drive, Hollywood, California 90028; sprockets" of the Superb Sound
Editor: Herb A. Lightman, Same as above.
Recorder.
11.Owner (if owned by a corporation, its name and
address must be stated and also immediately thereunder Sprocketed Magnetic Film Recorders
the names and addresses of stockholders owning or hold- DEMONSTRATORS
ing 1 percent or more of total amount of stock. If not owned All items like new and carry full new For some purposes it is essential to
by a corporation, the names and addresses of the have mechanically sprocketed drives
individual owners must be given. If owned by a partnership
equipment warranty:
or other unincorporated firm, its name and address, as well Arri 16SB, motor, battery .............. $2995.00 for fullcoat magnetic film dubbers.
as that of each individual must be given). A.S.C. HOLDING Canon Scoopic 16M camera .......... 1295.00
CORPORATION, 1782 North Orange Drive, Hollywood, Angenieux 12/120 zoom lens Multi-Track-Magnetics of Closter, N.J.
California 90028. w/finder ................................ 1895.00 is now offering Super-8 versions of
Frezzolini MC-571 sound camera, their R 1 0 7U Dual-Lock re-
12.Known Bondholders, Mortgagees, and other Security
Holders owning or holding 1 percent or more of total
battery .................................. 2495.00
amount of Bonds, Mortgages or other Securities: None. Frezzolini LW16 sound camera, corder/reproducer. The machine is
battery .................................. 3495.00 available with a half-track fullcoat
13.For optional completion by publishers mailing at the Magetic recording heads for Auricon, CP or
regular rates (Section 132.121, Postal Service Manual). 39 F rezzi ..... 395,00 magnetic head assembly (compatible
U.S.C. 3626 provides in pertinent part: "No person who B & H 400' 16mm magazines ..... 100.00 with the SuperB Sound Recorder)
would have been entitled to mail matter under former Phomar 30V battery belt ..... 349.00 and/or an interchangeable edge stripe
section 4359 of this title shall mail such matter at the rates 17/70 Angenieux lens, Arri mount ..... 395.00
provided under this subsection unless he files annually with
17/85 Pan Cinor zoom, Auricon long magnetic head assembly. The edge
the Postal Service a written request for permission to mail
matter at such rates."
finder ..... 475.00 stripe head assembly is relieved in the
Zeiss 12.5 to 75 zoom lens, Arri
In accordance with the provisions of this statute, I hereby
mount ..... 595.00 picture area, and can be used by labs
request permission to mail the publication named in item 1
at the reduced postage rates presently authorized by 39 Arri-16BL, 12/120 Ang., 400' Mag. 6995.00 to transfer sound to striped film from a
U.S.C. 3626.
fullcoat track on an interlocked repro-
(Signature and title of editor, publisher, business USED EQUIPMENT SPECIALS:
manager, or owner):
Frezzolini MC-571 DC sound camera, ducer.
Herb A. Lightman,
Editor battery .................................. 1995.00 Simple mechanical interlock is
Auricon CV conversion, takes Mitchell available for multiple units in the same
14. For completion by nonprofit organizations magazines ..... 995.00
authorized to mail at special rates (Section 132.122, Postal Auricon 600 Special, 1 magazine ..... 995.00 rack mount. Selsyn electrical interlock
Manual). (Check one): The purpose, function, and nonprofit Auricon 600, 1 magazine ..... 795.00 (single phase or three phase) is
status of this organization and the exempt status for Auricon Super 1200 camera, 1 1200'
Federal income tax purposes: Have not changed during
mag ....................................... 1395.00
available for labs with a selsyn dis-
preceding 12 months; Have changed during preceding 12
months; (if changed, publisher must submit explanation of
Arri 16S, motor battery, 17/70 Pan Cinor tribution system. In this manner Super-
change with this statement.) zoom .................................... 1795.00 8 projectors can be interlocked and run
Arri 16S, motor, battery, 3 lenses, mat
11. Extent and nature of circulation. A. Total No. copies box ....................................... 2195.00 forward and backward in sync with the
printed (Net Press Run): Average No. copies each issue Arri 35mm IICGS, sync gen. 2 ground glasses, Super-8 dubbers. Another projector
during preceding 12 months, 18,500; Actual number of variable motor ....................... 2995.00 interlock method is by flexible shaft
copies of single issue published nearest to filing date, Arri 35mm II, 2 400' mags, 3 lenses, mat box,
18,400. B. Paid circulation: 1. Sales through dealers and
var. mot. ..... 995.00 from the R107U to the main drive shaft
carriers, street vendors and counter sales: Average No.
copies each issue during preceding 12 months 3,922;
Arri 35mm I, 3 lenses, variable motor, mat box, of the projector (24fps - 1440rpm), but
Actual number of copies of single issue published nearest 2/200' mass ..... 695.00
this requires custom modification of the
to filing date, 3,993. Mail subscriptions: Average No. copies Eyemo 35 cameras, all types,
each issue during preceding 12 months, 13,684; Actual lenses ..................... from ... 175.00 projector.
number of copies of single issue published nearest to filing Kodak Cine Special cameras from ... 295.00
date, 13,799. C. Total paid circulation: Average No. copies
each issue during preceding 12 months, 17,606; Actual
12/120 Angenieux lens, Arri mount . 995.00 Cassette Sync Recorders
number of copies of single issue published nearest to filing 17/70 Pan Cinor, Arri mount ..... 295.00
date, 17,792. D. Free distribution by mail, carrier or other Arri & C mount lenses, all sizes - teli us your Cassette tape is the least expensive
means: 1. Samples, complimentary, and other free copies; needs. and most convenient method available
Average No. copies each issue during preceding 12 B&H Filmo and Eyemo motors, battery or
months, 444; Actual number of copies of single issue AC ....... 95.00 of recording location sync sound. Cas-
published nearest to filing date, 500. 2. Copies distributed B&H Filmo 16/400' magazines ....... 75.00
to news agents, but not sold; Average No. copies each
settes are easily labeled with dates,
Auricon MA-11 amplifiers, Filmagnetic,
issue during preceding 12 months, 0; Actual number of
w/charger ..... 349.00 locations, take-numbers, etc. They can
copies of single issue published nearest to filing date, 0. E.
Total distribution (Sum of C and D): Average No. Copies 17/85 Pan Cinor zoom, regular finder 249.00 be permanently protected from acci-
each issue during preceding 12 months, 18,050; Actual 17/68 Angenieux zoom, finder ..... 295.00 dental erasure or reuse by punching
number of copies of single issue published nearest to filing 17/68 Angenieux zoom, no finder, C
date, 18,292. F. Office use, left-over, unaccounted, spoiled mount ..... 195.00 out the record-protection tabs. Two
after printing. Average No. copies each issue during 12/120 Ang. zoom, no finder, C hours of cassette tape are packed into
preceding 12 months, 500; Actual number of copies of mount ..... 895.00
single issue published nearest to filing date, 108. G. Total Frezzi 1000D power packs for the same volume as 2 /2 minutes of
1
I
and it is described in the article on
crystal sync Super-8 equipment by its
designers, Al Mecklenburg and Jon
Rosenfeld. It cannot record sync sound
with 1/F sync pulse cameras.
Back in the laboratory, original sync
cassette sound should be played back
on the same sync recorder as was used
in the field. The sync tape recorder is
connected to the Super8 Sound Full-
coat Recorder by a (SYNC) Resolver
Cable. This cable carries the 1/F (or
pilotone) sync signal recorded in the
field, and feeds it to the servo-control
speed-matching circuitry of the Super8
Sound Recorder. The Super8 Sound
Recorder will change its speed to
match any variations in the original
camera speed, plus any variations in
speed of the sync cassette tape play-
back. It will record one frame of full-
coat magnetic film for each frame of
picture originally taken, and without
letting camera or recorder speed
variations affect the sound fidelity.
We strongly recommend the use of
an audio equalizer during transfers to
Super-8 fullcoat magnetic film,
especially with the Scipio and 2209
recorder which have a relatively high
level of tape hiss. This is also true of
transfers from a magnetic edge stripe
of a single-system original film.
Once sound is on fullcoat magnetic
fil m, any sophisticated post-produc-
tion sound technique can be accom-
plished:
Sync Transfers: Fullcoat magnetic film
to quarter-inch tape; Quarter-inch tape
to fullcoat; Fullcoat to magnetic edge
stripe.
Sync Recording: Voice-overs; Nar-
ation; Sound effects; Music tracks, etc.
can then be edited into sync.
Rerecording: Dubbing dialogue in sync
with original dialogue; Dubbing in sync
with loops of picture.
Multi-Track Recording: Multiple full-
coat recorders in sync (with one full-
coat strand for each track); Multiple
track quarter-inch tape recorders in
sync with one or more fullcoat
recorders.
Mixing: Souna mix with picture; Mix
without picture (blind); Loops of sound
for room tone, wind, traffic effects; Disc
recordings of library effects.
MULTIPLE-TRACK RECORDERS
Multiple-track tape recorders, used
in conjunction with the Super8 Sound
Recorder, allow voice-overs, narration,
sound effects, and music tracks to be
added alongside sync dialogue or on-
location sound effects tracks.
Mixes of up to three sync tracks are
readily achieved on quadraphonic four-
Beaulieu 4008 ZM 8x64 .................... Used $ 519.00 Heurtier ST42 stereo proj ............... Demo $ 800.00
battery-driven hand-held camera, the Beaulieu 4008 ZMII 6x66 .................. New $ 969.00 Heurtier ST42 dual play .................. Demo $ 600.00
Super-8 filmmaker can go anywhere, Beaulieu 4008 ZMII 6x66 ................. Used $ 749.00 Heurtier P-6 24B .............................. Used $ 139.00
Beaulieu 4008 ZM3 8x64 ................... New $ 595.00 Heurtier Sound base for P 6 24 ....... Used
even in potentially hostile situations, $ 189.00
Beaulieu 4008 ZM3 6x66 .... New $ 699.00 Heurtier ST42 w/arc lamp, good for
with assurance that he will be taken for Beaulieu 4008 ZM3 6x66 .................. Used $ 549.00 projection up to 100' (original
just another amateur, filming for fun. Beaulieu 2008 8x64 .......................... Used $ 289.00 cost $5,500) .................................. Used $2900.00
Beaulieu 5008-S w/6x80 Ang ............ New $1669.00 Bolex SM8 sound projector .............. New $ 440.00
With careful pre-planning and as much Beaulieu 5008-S w/6x66 Schneider.. New $1339.00 Bolex 18-5L Super-8 projector
in-camera editing as possible, a Super- Beaulieu 5008-S w/6x80 Ang ........... Used $1400.00 (50 cycle) .................................... Demo $ 119.00
8 film half-an-hour in length can be Beaulieu 5008-S w/6x66 Schneider.. Used $1100.00 Bolex SP80 ....................................... New $ 430.00
Canon 1014 AZ electronic ................. New $ 499.00 Bolex SM8 w/extra speaker ............ Used $ 299.00
made for less than $100 direct costs. Canon 814 AZ electronic ................... New $ 319.00 Silma S-99 dual 8 proj. .................... New $ 99.00
Super-8 is so simple and Bolex 550 XL sound camera ............. New $ 339.00 Silma Bi Vox sound projector ........... New $ 329.00
inexpensive that it is within easy reach Bolex 580 sound camera ................... New $ 339.00 GAF mod. 1488 dual-8 proj ............... New $ 52.50
Canon AZ 512 AL electronic .............. New $ 269.00 GAF 3000 sound projector ................ New $ 199.00
of almost anyone who has the urge to GAF 250SS-XL sound camera ........... New $ 229.00 Bell & Howell 1744 zoom sound proj.. New $ 289.00
communicate visually with others. But GAF 605SS sound camera ................ New $ 249.00 Bell & Howell 1641A double feature. New $ 89.00
learning how to communicate effective- GAF 805SS sound camera ................. New $ 289.00 Elmo ST 1200 mag ............................ New $ 339.00
Kodak Ektasound 130 ....................... New $ 159.00 Elmo ST 1200 mag/opt ..................... New $ 399.00
ly is much more difficult to achieve. Kodak Ektasound 140 ....................... New $ 229.00
Super-8 makes the learning process Kodak Ektasound 160 ....................... New $ 299.00
somewhat easier, since the filmmaker Beli & Howell 1230 A Filmosonic XL.New $ 229.00 TRIPODS
Sanyko XL-40S sound ...................... New $ 309 . 95
can more easily retain personal control Miller Sup. 8 head ....................................... $ 119.00
Minolta XL 400 ................................. New $ 189.00 Miller Model "F" head ................................ $ 250.00
of how the medium is used. Super-8 Miller Model "F" w/slip pan unit ............... $ 310.00
favors this kind of attitude, since noth- Miller Model Pro Head ................................ $ 360.00
ing need stand between the filmmaker Miller Model Pro w/slip pan unit ................ $ 421.00
SUPER 8 EDITING
- Miller Legs model "F" w/ball ..................... $ 222.00
and his audience - what he sees in the Guillotine Super-8 splicer .......................... Miller Legs model Pro w/ball ...................... $ 239.00
$ 16.00
camera viewfinder he can show on a Bolex Super-8 tape splicer ........................ $ 24.00 Bolex Tripod w/Adj. column,
Maier Hancock 8, Super-8, 16 splicer ........ $ 289.80 ball joint, pan head $ 160.00
screen or on a television receiver.
Minette Super-8 tape splicer ..................... $ 6.95 GITZO TRIPODS: Quality European made
The young generation learning film Hervic/Minette S-5 editor ................ New $ 85.00 Write for Brochures and Prices-
today should know that their en- Hervic/Minette sound attachment
thusiasm will be the key to demon- for above ....................................... New $ 28.00
Hervic/Cinekon Dual-8 editor ........... New $ 31.95
strating that Super-8 need not be con- Super-8 editing bench, 3-gang
METERS
sidered "sub-standard". They must motorized synchronizer, foot pedal, Luna Pro light meter w/case ............. new $ 90.00
study the techniques of professional S-5 Minette, speaker box (original Spectra Combi-500 w/case ............... used $ 109.00
cost: $600.00) .............................. NOW $ 300.00 Spectra Professional .......................... new $ 119.00
cinematography, and they must study HFC combination 3-gang/16mm/1 Spectra Professional w/pointer lock .. new $ 129.00
the technical capabilities of Super-8; gang/super-8, synchronizer, Spectra Color Meter .......................... new $ 499.00
then they must go out and show us how speaker box ................................ Demo $ 300.00 Minolta autometer Spot att. kit .................. $ 100.00
Specialties Design editor Super-8 Minolta 1° Spot ........................................... $ 310.00
best to exploit the newest communi- motorized w/3-gang sync ............ Demo $ 400.00 Sekonic L28C w/case .................................. $ 49.00
cations medium - professional Super- Spectra 3-color meter w/case .......... used $ 269.00
8. ■
(ABOUT THE AUTHOR: RODGER J. ROSS RECORDERS
is an internationally recognized author and BEAULIEU
lecturer. He is a film and television consult- Beaulieu 16 News camera Uher 1200 recorder w/Neo-pilot
w/12x120 Ang. w/double sync, ni-cad batteries, charger,
ant to Eastman Kodak Company and the
system module ........................ like new $4000.00 case, microphone .................... like new $ 999.00
Canadian Broadcasting Corporation. With Beaulieu 16 News camera Stellavox SP7 w/Neo-pilot .............. Demo $1899.00
John Lant and Karl Kruger, Ross published w/12x120 Ang. w/single Stellavox AMI 1-5 Channel
in the SMPTE Journal (March, 1971) the system module ........................ like new $5000.00 mono/stereo mixer ...................... Demo $1689.00
be! air
original recommendation for what is now
Kodak's 200 foot single-system sound MAIL & PHONE ORDERS PROMPTLY FILLED
• Payments: We accept Certified Checks or Money Orders.
camera, the Kodak automatic processor 927 WESTWOOD BOULEVARD Personal checks cause delay. To use your Bank Americard
or Mastercharge, send card number and expiration date.
with the rapidly processable new film stock LOS ANGELES, CALIF. 90024 20% deposit required for all C.O.D.'S. • Shipping Charges:
extra. Please send est. chgs. Excess will be refunded. All
7244, and the Kodak Videoplayer. Ross is
COrnea & hi1i
shpg. chgs. not paid will be billed COD. MM . $3.00 shpg.
(213) 477-9569-1213) 879-9616 chg. • Prices are valid when submitted for publication but
the American correspondent for the BKSTS may change without notice. Quentines are limited.
Journal.)
Editor-Viewers:
Out of the fifty or more viewers made
for Super-8 use, only a very few can
really be trusted with original film.
Viewer design seems to follow the per-
verse notion that the ability to see the
picture is unimportant and that no one
cares whether or not the film gets
scratched.
Based on our experience, the
following viewers are acceptable: the
Minette S-5, the Hahnel VB-214, the
Elmo 912, the HKS projecto editor.
They all cost around $100.00.
The Elmo and the HKS can be fitted
with an optional 18 frames offset sound
head/amplifier for single-system edit-
ing. Frame counters and cleaning
attachments are also available. The
HKS actually projects the image on a
small boxed-in screen and gives about
the sharpest picture. The Hahnel with
its V film guide provides a very sharp
picture and is a snap to thread. It is very
gentle on film.
The Minette S-5 has been the real
workhorse of Super-8. Super-8 Sound,
Specialties Design, and Super 8
Research, all have incorporated this
viewer into their editing systems. It is
easy to understand why. The viewer is
well balanced with most of its weight on
the bottom. Coupled with rubber feet.
this makes it rock steady. Unless
grossly misused, the Minette never
damages film. It has a very bright and
very sharp viewing system that is easily
modified to accept the Phillips 10-watt
Splicers:
There are almost as many Super-8
splicers as there are cameras. Only a
very few, however, are worth anything.
The best cement splicers are the
Bolex and Hahnel. Both make low visi-
bility and low noise splices. Each end of
the film is bevelled so that a well-made
splice is not much thicker than the film
itself. This is very important if the film is
to be striped for sound. Splices made
without bevels suffer dropout at every
splice. They also chatter horribly when
they pass through the projector.
Both splicers can be used to splice
A&B rolls, though the Bolex must have
the regular 8mm guide pins removed.
Neither splicer is heated, but the Bolex
can easily be modified with a 10-
watt/1500 ohm resistor. Both splicers
also grind rather than scrape the film.
This causes film dust to scatter all over
the place and creates a cleaning
problem. After about 50 splices, the
Bolex film cutter blade gives out. After
that a razor blade must be used. Bolex
about $57.50. Hahnel about $49.95.
The Maier-Hancock model 816-S is a
formidable splicer with a clean scrap-
ing blade and 100°F heated block. It is
the best, fastest, cleanest, and easiest
splicer to use in preparing Super-8
A&B rolls. Because it does not make
bevelled splices, its use for projection
or sound-striped film is limited. The
splicer converts for 16mm use.
$350.00.
Other professional hot splicers for
Super-8 are made by the Hollywood
Film Co. and by Harwald.
Tape splicers are abundant. The
cheapest and most useful for both
picture and fullcoat is the $20.00 Guillo-
tine. This splicer uses unperforated
mylar tape. It is a wraparound splice
covering two frames and does not
cover the sound stripe. Cost per splice
is less than 'IC. It is most useful for work
print because the splices are easily
unmade. A metal semi-pro model is
Synchronizers:
High-quality Super-8 sync blocks are
manufactured by Ediquip, Inc., Holly-
wood Film Co., Inc., and Magna-
sync/Moviola Corp. The synchronizers
are constructed the same way as their
16mm and 35mm brothers and cost
about the same.
The following options and configur-
ations are available, though not from
each manufacturer. Available are: 1-6
gangs, various gangs may be declutch-
able from the others, front or rear-fac-
ing sprocket placement, sound
readers, front and rear footage
counters, 24fps sync motors, frame
indicater plates, timers, and gearing for
Super-8/16mm combinations.
Miscellaneous:
Although most Super-8 flatbeds are
designed to be used with film reels,
some can also handle film and fullcoat
on cores. To wind the film on the cores
requires a tight wind. Hollywood Film
Co. makes one and Leon Flohl of New
York City custom builds them. Split
reels to handle the cores are also avail-
able from Hollywood Film Co. and from
Comprehensive Service, Inc.
Neumade Products Corp.
manufactures brass shaft adapters to
adapt Super-8 reels for the standard
professional rewinds. They also make a
single hub footage measuring machine
for Super-8 film.
16mm film bins are not suitable for
I I
II I
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i
N
TRANSFERRING SUPER-8
Continued from Page 1313
The sound was transferred in sync
from a fullcoat Super-8 mag track.
Two hours after they walked in the
doors of National Video with their
Super-8 elements they had a two-inch
Quad videotape master of both a 60-
second and a 30-second spot. One
hour after the two spots were ap-
proved by the client, they had all their
tape dubs ready to send to the various
television stations.
Another interesting use of Super-8
fil m in the video field is where a tele-
vision spot has been shot in videotape,
and is so successful that the client or
agency wants to have a Super-8 film
print to show in rear-screen projectors.
Since ali film transfers from videotape
are in 16mm, National first shoots in
that format and then has reduction
Super-8 film prints made. Since the
fil m is only being shown on a small
screen there are no television lines
showing, and it looks as if the TV spot
had been shot originally on film.
National Video Center is offering a
service to its clients of renting the new
Kodak Supermatic 200 Super-8 single-
system sound camera which operates
at 24 frames per second. Both 50-foot
(2 minute) and 200-foot (10 minutes of
shooting time) are available for this
camera.
With the use of this camera, ad
agencies can shoot on location such as
supermarkets and do many test
commercials at very low cost. One such
.0
available with a magnetic sound-reader
attached. Elmo and Bolex are also
marketing Super-8 viewers with a
modular sound head for single-system
sound editing.
There's no denying that the editing
stage of Super-8 requires a lot of care
and patience. Handling is not quite as
easy as 16mm, although one can
become accustomed. The sound
advance is so close to the picture at 24
fps (less than a second) that very clean
single-system edits can be Made if
proper techniques are used in
shooting. Cleanliness is extremely
critical, as dirt, dust, and film shavings
are very noticeable when the film is
blown up on a large TV screen.
Scratches automatically add to a poor
i mpression of the film.
At the point of transfer to video the
broadcaster has a choice of two routes;
the conventional method has been to
use a special TV projector equipped
with a 5-bladed shutter and syn-
chronous motor. Both Eastman Kodak
and Elmo are marketing such
projectors. They are limited to running
at 24 frames per second, and must be
projected into a telecine chain for pick-
up by a color TV camera. Telecine
chains are standard equipment in TV
stations, but oftentimes all of the
normally available "inputs" are used up
by other types of Projectors (16mm
fil m, 35mm slide, etc). Such was the
case at KDUB's installation. However,
the problem was solved by adding a
fifth mirror to the chain. (Note:
Engineers with the CBC used a similar
approach in the Montreal installation).
I mage enhancement is a critical
factor in the conventional film chain
approach. Until recently, most film
chains were not equipped with en-
hancers, so in many cases an external
enhancer is required when Super-8 is
used. This device examines the tele-
vision signal on a line-by-line and dot-
by-dot basis to detect detail and
increase its contrast; the net effect is a
sharper picture. Photos accompany-
ing this article demonstrate how
enhancement can improve the Super-8
i mage. The accompanying cartoon
photo(s) show a comparison of an un-
enhanced 16mm print with an en-
hanced Super-8 print (both photos
were shot from a TV screen). Enhance-
ment makes the Super-8 appear
sharper, though somewhat coarser and
grainier. The appearance of grain is
normally increased with enhancement,
but much of this high-frequency noise
is lost in the home receiver. Electronic
i mage enhancement has been the
single most important factor in bring-
ing the Super-8 image up to broadcast
standards.