Kodak super 8 camera is still on

[Alan Edward Klein]

I just got an email that the Kodak super 8 camera that wowed everyone a few years ago is actually going to be released. They say in the email and linked web page that it will be released in the US first via B&H for $5,495.00.

I singed up way back for details when they first announced it. Now they want anyone who singed up to sign up again to keep their spot in line. Things have changed and I am not going to pursue the camera, but was surprised when I got the message in my inbox. Looks like Kodak is really going to try and pull it off at some level. I think it's a pretty cool approach to shooting small gauge stock and looking forward to see what comes out of it. For now I will stick with my old Nikon super8.

Now, everyone who wants too, can pile on and bash Kodak, praise Kodak, read there silver halide crystal ball for what they are "really" up to.

Discuss....

Do old Super 8 cameras handle the new super 8 film? Why would anyone spend $5495 on a new super 8 camera?

 

[Agulliver]

Honestly, despite being someone who projects film, I know I am in a tiny minority. Super 8 hasn't been aimed at the likes of me for at least 20 years, and probably longer.

Yes, old super 8 cameras handle the new films. I sometimes shoot Vision 3 and Tri-X on early 70s cameras. No troubles at all.

Bear in mind that adjusted for inflation, this camera is about twice the cost of a mid-range super 8 camera in the 1970s. What it offers current film students is the sync sound feature and the LCD viewfinder as well as the enlarged gate for widescreen shooting (though at least three of my vintage cameras also offer this, the viewfinders do not). This camera will have a warranty and spare parts available. And it's cheaper than 16mm.....though it's definitely one of those "niche within a niche" products.

This camera is NOT plastic. Read the specs. And I would assume that Kodak will be able to service it, or arrange for it to be serviced. In most parts of the world that's a legal obligation they take on when offering it for sale.

 

[Agulliver]

I've got 43 reels of 8mm film of my wife's family that I still haven't digitized. That project's been on the back burner for over ten years. I also have a Revere triple turret lens 8mm camera that still works if I could find the film for it.

Film is quite easily available for double 8mm cameras. Foma do 100ISO B&W reversal and Film Photography Project offer all sorts of negative and reversal films. It's not cheap, but it's out there. I still shoot double 8 and super 8 purely for fun. Not as much as I would if it were cheaper, but I still do.

 

[cmacd123]

I also have a Revere triple turret lens 8mm camera that still works if I could find the film for it.

That Camera is likely a REGULAR 8 unit. (25 ft rolls run through the camera twice to make 50 ft of Movies)

be sure to be sitting down before you look at what FFP wants for a roll of that.

Double 8 Film - Cine8 Color Reversal 100d - (25 ft - 100 ISO)

FPP Double8 (a.k.a. Regular 8) color positive film (Ektachrome 100D) / 25 ft roll x 2 (Shoot side 1, flip reel, shoot side 2) / 100 iso / Daylight Balanced Film only (does not include developing or scanning). The Film Photography Project offers Develop/Scan services. Please only order these...

filmphotographystore.com

 

[davela]

I think this new camera looks very interesting. This camera does not appear to be targeted at all to the amateur film maker, but seems to be aiming for the professional market. The inherent sound capabilities and modern adaptation of automation generally look very good. To achieve crystal sync (or other methods) of sync sound with legacy film cameras requires rehabilitating one of a handful of suitable, now often hard-to-find old high-end Super 8 cameras that were designed for sound recording on long-gone magnetic film-striped stock. One needs also to engage specialized technicians and such to service and upgrade these 50 years old (or so) cameras. That is hardly a very practical or economic task for anyone except perhaps the very determined with deep pockets and lots of will.

One question that I have about the new Kodak camera is: How quiet is it? The most effective smaller production cine cameras in the modern era were the quiet ones, the Elcair 16mm and the Arriflex 16BL for example. They were damned expensive too, but worth it, and they made an impact in film (the Arriflex probably still does). The new Kodak camera, if inherently well-blimped could be quite interesting as a tool for multi-camera location sound work.

 

[Kino]

The biggest problem with Super 8mm is that gawd awful 50 ft plastic cartridge.

If they were truly serious about it be a professional camera, they would have made it compatible with the 200 foot cartridge as well and had a usable camera load.

 

[Alan Edward Klein]

Film is quite easily available for double 8mm cameras. Foma do 100ISO B&W reversal and Film Photography Project offer all sorts of negative and reversal films. It's not cheap, but it's out there. I still shoot double 8 and super 8 purely for fun. Not as much as I would if it were cheaper, but I still do.

I'd be insane to keep shooting when I still have 43 reels not digitized or even viewed by me.

 

[Alan Edward Klein]

That Camera is likely a REGULAR 8 unit. (25 ft rolls run through the camera twice to make 50 ft of Movies)

be sure to be sitting down before you look at what FFP wants for a roll of that.

Double 8 Film - Cine8 Color Reversal 100d - (25 ft - 100 ISO)

FPP Double8 (a.k.a. Regular 8) color positive film (Ektachrome 100D) / 25 ft roll x 2 (Shoot side 1, flip reel, shoot side 2) / 100 iso / Daylight Balanced Film only (does not include developing or scanning). The Film Photography Project offers Develop/Scan services. Please only order these...

filmphotographystore.com

Yikes! And processing is extra.

 

[Alan Edward Klein]

I think this new camera looks very interesting. This camera does not appear to be targeted at all to the amateur film maker, but seems to be aiming for the professional market. The inherent sound capabilities and modern adaptation of automation generally look very good. To achieve crystal sync (or other methods) of sync sound with legacy film cameras requires rehabilitating one of a handful of suitable, now often hard-to-find old high-end Super 8 cameras that were designed for sound recording on long-gone magnetic film-striped stock. One needs also to engage specialized technicians and such to service and upgrade these 50 years old (or so) cameras. That is hardly a very practical or economic task for anyone except perhaps the very determined with deep pockets and lots of will.

One question that I have about the new Kodak camera is: How quiet is it? The most effective smaller production cine cameras in the modern era were the quiet ones, the Elcair 16mm and the Arriflex 16BL for example. They were damned expensive too, but worth it, and they made an impact in film (the Arriflex probably still does). The new Kodak camera, if inherently well-blimped could be quite interesting as a tool for multi-camera location sound work.

Listening to film winding through the sprockets was one of the best features of old film movies. Especially the leader when projecting, There was something similar to Pavlov's dog working as you anticipate the actual start of the movie and whether you really captured anything.

Then the film's smell.