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Contents.History The format, initially known as Cine Kodak Eight, was developed by Kodak to provide a cheaper and more portable alternative to the format introduced a decade earlier.Standard 8 mm film stock consists of 16 mm film reperforated to have twice the usual number of perforations along its edges, though using the same size sprocket holes. This film is run through the camera, exposing one edge of the film only (the frame size of standard 8 mm film is 4.8 mm x 3.5 mm). The spool is then reversed and the film run through again, exposing the other edge. After processing the film is cut down the centre and spliced together to give one roll of 8mm wide film.
The standard spool size for amateur use contains 25 ft of film, giving a total of 50 ft available for projection; at the usual filming speed of 16 frames per second this gives about four minutes of footage.The format was an immediate success, but retains a number of inherent problems and quirks, mostly connected with the fact that the spool needs to be removed and reversed halfway through filming. This procedure is tricky for the inexperienced user and needs to be carried out in subdued light to avoid fogging of the edges of the film. In addition, the central six feet of the finished film includes a characteristic burst of light corresponding to the reversal point (unless the film is again edited and spliced).In the early 1960s, a new filming and projection standard of 18 frames per second was introduced, although many cameras and projectors included a multi-speed facility.The standard 8 mm format was quickly displaced, for the most part, by the format - which offers cartridge loading, a 50% larger frame size and electric-powered cameras - from the mid-1960s onwards. Super 8 was criticized that the in some cheaper Super 8 cameras were plastic, as was the pressure plate built into the cartridge; while the standard 8 cameras had a permanent metal film gate that was regarded as more reliable in keeping the film flat and the image in focus. In reality, this was not the case, since the plastic pressure plate could be moulded to far smaller tolerances than their metal counterparts could be machined. Another criticism of Super 8 was that more sophisticated standard 8 mm cameras permit backwind of the film - difficult but not impossible with a Super 8 cartridge - enabling simple double-exposure and dissolve effects to be made in-camera. Finally, Super 8's smaller sprocket holes, while allowing a larger frame size, were also inherently more liable to tear.Manufacturers The first camera produced was Kodak's own Cine Kodak Eight Model 20.
Like many subsequent cameras, it was extremely simple and powered by clockwork. The company Paillard- SA introduced its first 8 mm camera in 1938 and its first 'pocket' 8 mm camera aimed squarely at the amateur market, the L-8, in 1942. Bolex cameras and projectors continued to occupy the high end of the market. In the, introduced an 8 mm in 1934, and in 1935, the Filmo Straight Eight camera, using pre-prepared 8 mm wide film.
Standard 8 mm equipment was also manufactured by, the firm, (as ), and, amongst others.Eastman Kodak officially discontinued manufacture of the film in 1992. However, private marketed film by a 'major U.S. Manufacturer' (of which only one company could possibly qualify) has continued until at least late 2011. As of November 2011, John Schwind, of International Film, is the only supplier for this 'major US company' in the entire world. There are many cameras still in use by film students, hobbyists, and other amateurs worldwide. In the Summer of 2003, John Schwind and Karl Borowski had the distinction of convincing Karen K.
Dumont, an employee of this 'major manufacturer' to produce the last new variant of ever coated, dubbed 'Cine Chrome 40A.' This was the first new introduction of a type K-14 stock since 1988, a 40-speed, tungsten-balanced film to offset the discontinuation of 'Cine Chrome 25,' another K-14 product.
This film was kept in production until 2006, coinciding with the discontinuation of in that same year.Foma R-100 film also continues to be produced by the European manufacturer Foma. Due to aging punch dies, this film does not have an advantage over Super 8 film in terms of image steadiness.Film stocks The most commonly used film stocks were produced by Kodak. In particular, the 10 colour stock, with its distinctive colour rendition and fine, was closely associated with the format.
Kodachrome II, rated at 25 ASA, was introduced in the early 1960s. Kodak continued to produce standard 8 mm film directly up until 1992, although its 16mm stocks are still re-perforated and respooled by other companies. Other film stocks from different manufacturers, such as 's Agfachrome, were also available.Kodachrome's excellent archival qualities mean that old 8mm film can still appear remarkably fresh if stored in the correct conditions.Standard 8mm variants Various attempts were made to simplify use of standard 8mm film over the years, but none was especially successful. The Straight Eight format, using pre-prepared 8mm wide film, had some popularity in Europe, where manufactured their own stock.
Kodak eventually introduced a magazine-loading system, but it was never as popular as spooled 8mm film and was discontinued by the early 1980s. Some manufacturers (e.g. In ) made cameras with special magazines that could be pre-loaded with 8 mm spools. They were simply pulled out and flipped in mid-roll, avoiding re-threading the film.Sound Although few cameras were made that could record the sound directly onto the film (Fairchild Cinephonic Eight cameras, Fairchild Professional 900 cameras, and Pictorial cameras), there were many projectors that could record and replay sound on a magnetic stripe.
For cameras, this stripe had to be added to the film before it had been exposed. For projectors, the stripe had to be added to the film after it had been processed. The stripe was added between the perforations and the edge of the film (see illustration at head of article). Sometimes a balance stripe was added on the opposite edge. This had no purpose other than to allow the film to be completely flat in front of the projection window. For synchronised sound, the sound was specified as 56 frames in advance of the picture.
On the Cinephonic Eight cameras, the picture/sound separation was 52 frames. Fifty six frames was the same physical distance as magnetic sound was specified for the 16mm film format (or 28 frames in that format). Optical sound was never specified as the format had insufficient space for an optical track.Packaged movies Although standard 8 mm was originally intended as a format for creating amateur films, condensed versions of popular cinema releases were available on the format up until the 1970s, for projection at home. These were generally edited to fit onto a 200 ft reel.
Many films, and other silent movies were available. The Studio released excerpts from many of their animated feature films, as well as some shorts, in both Standard and Super 8, some even with magnetic sound. New releases of material were not stopped until the late 1970s in the US.See also.References.
Super 8 camera from ca. 1966Super 8mm film is a released in 1965 by as an improvement over the older format.The film is 8mm wide, the same as older formatted 8mm film, but the dimensions of the rectangular perforations along one edge are smaller, which allows for a greater exposed area. The Super 8 standard also allocates the border opposite the perforations for an stripe upon which sound can be.Unlike (which is generally compatible with standard 35mm equipment), the film stock used for Super 8 is not compatible with cameras.There are several varieties of the film system used for shooting, but the final film in each case has the same dimensions. The most popular system by far was the Kodak system. Nizo film-cameraLaunched in 1965 by Eastman Kodak at the 1964-65 Worlds Fair, Super 8 film comes in plastic light-proof cartridges containing coaxial supply and take up spools loaded with 50 feet (15 m) of film, with 72 frames per foot, for a total of approximately 3,600 frames per film cartridge.
This is enough film for 2.5 minutes at the professional motion picture standard of 24 frames per second, and for 3 minutes and 20 seconds of continuous filming at 18 frames per second (upgraded from 16 frame/s) for amateur use. In 1973 the system was upgraded with a larger cartridge, which includes film with magnetic sound. In 1975 an even larger 200-foot (61 m) cartridge became available which could be used in specifically designed cameras. The sound and the 200 foot cartridge system are no longer available, but the 50 foot silent cartridge system is still manufactured. Historically, Super 8 film was a for home projection used primarily for the creation of home movies.
It became an extremely popular consumer product in the late 1960s through the 1970s, but was largely replaced in the 1980s by the use of video tape. During the mid-to-late 1980s Super 8 began to re-emerge as an alternative method for movie production, beginning with its use in music videos in 1981. In 1993 the company's Super8 Sound, now called Pro8mm, pioneered the use of the color negative in Super 8 by custom perforating and loading a variety of 35mm film stocks into the Super 8 film cartridge. This included emulsions from Kodak,.
Today Super 8 color negative film is the main color stock used. There are also Super 8 reversal films available including 100D Kodak Ektachrome and 200D Agfa color as well as (B&W) from, and and Kodak. A Super 8 film cartridge (Eastman Ektachrome) beside a for scaleThe Super 8 plastic cartridge is probably the fastest loading film system ever developed, as it can be loaded into the Super 8 camera in less than two seconds without the need to directly thread or touch the film. In addition, coded notches cut into the Super 8 film cartridge exterior allow the camera to recognize the film speed automatically. Not all cameras can read all the notches correctly, however, and there is some debate about which notches actually deliver the best results. Canon keeps an exhaustive list of their Super 8 cameras with detailed specifications on what film speeds can be used with their cameras. Usually, testing one cartridge of film can help handle any uncertainty a filmmaker may have about how well their Super 8 camera reads different film stocks.
Color were originally available only in, and almost all Super 8 cameras come with a switchable built in, allowing for both indoor and outdoor shooting.The original Super 8 film release was a silent system only, but in 1973 a sound on film version was released. The film with sound had a magnetic soundtrack and came in larger cartridges than the original cartridge in order to accommodate the sound recording head in the film path. Sound film requires a longer film path (for smoothing the film movement before it reaches the recording head), and a second aperture for the recording head. Sound cameras are compatible with silent cartridges, but not vice versa.
Sound film is typically filmed at a speed of 18 or 24 frames per second. Kodak discontinued the production of Super 8 sound film in 1997 citing environmental regulations as the reason. The adhesive used to bond the magnetic track to the film is environmentally hazardous.
A Super 8 film cartridge with a close-up of the filmIn 2005 Kodak announced the discontinuation of their most popular stock due to the decline of facilities equipped with. Kodachrome was 'replaced' by a new 64, which uses the simpler. The last roll of Kodachrome was processed on January 18, 2011, (although announced last date of processing was December 30, 2010) in Parsons, Kansas, by the sole remaining lab capable of processing it.
In December 2012, Kodak discontinued color reversal stock in all formats including 35mm and Super 8. However, in Spring of 2019, Kodak introduced Ektachrome 100D in super 8 and 16mm formats, citing surges in demand.Today there is still a variety of Super 8 film stocks. Kodak sells one Super 8 color reversal stock, Ektachrome 100D, and three Super 8 color negative stocks cut from their Vision 3 film series, ISO 50, ISO 200 and ISO 500 which can be used in very low light. Kodak reformulated the emulsions for the B&W reversal stocks and made Tri-X (ISO 200) in order to give it more sharpness.
Film cut to Super 8 from other manufactured raw stock such as Fuji, Orwo, Adox, Agfa and Foma are also available. Offers 7 color negative stocks made from Kodak and Fuji film. Color Reversal film for Super 8 is still available from several Super 8 specialty companies. Wittner Kinotechnik offers Super 8 made from a batch of Agfa Aviphot 200D which is perforated and slit for Super 8, 8mm and 16mm formats.
This film is loaded into Super 8 and Single cartridges by several of the specialty companies. Other stocks, such as the new Fuji reversal film, and existing supplies of Kodak 35mm 100D are often made available in Super 8 by these specialty companies.
Here is a sample of New Provia in Super 8. Kodak does not offer processing for any Super-8 films. There are other labs that offer processing including: Pro8mm in Los Angeles, US and Andec in Berlin, Germany. Regional labs that do Super 8 processing services include: Cinelab in Massachusetts, US, Movie & Sound in Florence, Italy; Retro 8 in Japan; Spectra Film & Video in Los Angeles; Reversal Lab in the Netherlands; Dwayne photo in the US; and Film Rescue in Canada just to name a few.The growing popularity and availability of has allowed film-makers and any user of film to shoot Super 8 film but edit in digital. This avoids much of the tedium of handling film and the damage to the film which can occur when editing the actual film. Super 8 films may be transferred (scanned) to digital through a variety of processes, and then imported into computer-based editing and correction systems for post production.
Today's systems can even scan super 8 to 4K digital in a variety of formats. Here is a sample of Super 8 Data Scanned to 4K.
Fujifilm Single-8 system. Main article:of developed an alternative format called Single-8, which was released in 1965 as a different option to the Kodak Super 8 format.Single-8 cartridges, without a press plate, are of a different design from a Super 8 cartridge, resembling a cassette-style design (supply and take-up reels side by side) as opposed to Super 8's coaxial cartridge design (one reel on top of the other).
Therefore, Single-8 film cartridges can only be used in Single-8 cameras. However, the film loaded in a Single-8 cartridge has exactly the same dimensions as Super 8 (though it is made of a thinner and stronger base, rather than the base of Super 8 film), and can be viewed in any Super 8 projector after processing. However, Fuji recommended that only tape splices be used when combining Single-8 footage with Super-8, as cement would cause damage to the Single-8 footage. Also, when jammed, Single-8 footage has a tendency to stretch in the projector, unlike the acetate-based Super-8 film, which simply breaks.Although never as popular as Super 8, the format existed in parallel.
On June 2, 2009, Fuji announced the end of Single-8 motion picture film. Tungsten balanced 200 ASA Fuji RT200N ceased to be manufactured by May 2010. Daylight balanced 25 ASA Fujichrome R25N remained available until March 2012. Fuji's in-house processing service was available until September 2013.Polaroid Polavision. Main article:An instant 8mm film released in 1977 by Polaroid, Polavision uses the same perforations as Super 8mm film.
It can be projected through a Super 8mm projector if the film is transferred from the original cartridge to an 8mm reel. However, because of the additive process, the picture will be much darker.Double Super 8 Double Super 8 film (commonly abbreviated as DS8) is a 16 mm wide film but has Super 8 size sprockets. It is used in the same way as standard in that the film is run through the camera twice, exposing one side on each pass. During processing, the film is split down the middle and the two pieces spliced together to produce a single strip for projection in a Super 8 projector. Because it has sprockets on both sides of the film, the pin-registration is superior to Super 8 film and so picture stability is better.Widescreen Super8 and Max8 As Super 8 progressed to be used in HD and theatrical applications, a need arose for widescreen compatibility without having to use expensive optical adapters or excessive cropping. Since magnetic sound-striped film was no longer available, that area of the film could be used to expand the picture aspect ratio in a process similar to the creation of Super 16 from standard 16mm film.
The creators of Sleep Always experimented with widening the camera gate to expose into the sound track region to achieve this.In March 2005, Pro8mm introduced its own version of the widened gate, achieving aspect ratio of 1.58 and calling it Max8. Because top and bottom of the frame are meant to be cropped to achieve final 16:9 aspect ratio, the viewfinder is modified to show 16:9 frame markings. Pro8mm claims that shooting with Max8 and then cropping it to achieve 16:9 provides 20% increase in the size of the negative compared to regular Super8 cropped to 16:9.In 2015, Logmar of Denmark made a one-off batch of 50 'digicanical' pro-level Super 8 cameras to celebrate the 50th anniversary of Super 8. These cameras use a widened gate as well, providing an 11% increase in imaging area over the standard Super8 frame and achieving aspect ratio of 1.5.In 2016, Eastman Kodak showed a concept for a new Super 8 camera, its first such camera in over 30 years. Although Kodak has neither confirmed nor denied it, Logmar is said to have assisted in the design of the transport and the camera's firmware.
A working prototype was displayed at the 2017 Consumer Electronics Show, with Kodak hoping to begin production in spring 2017.Equipment and film. A spool of developed Super 8 Film, with a protective white leader.
Equipment Although Kodak launched Super 8 and had its own cameras, hundreds of other companies produced Super 8 camera, projection, editing, and sound equipment. Some of the more notable companies that made Super 8 equipment include: Canon, Bauer, Nizo, Super8 Sound (Pro8mm), Beaulieu, Leicina, Logmar, Ciro, Bolex, Goko, Hahnel, Wurker, Minolta, Minnette, Nikon. Most of these companies had long histories in the production of motion picture equipment, dating back to the 1930s with 8mm.
In 1980, the consumer market for Super 8 collapsed. Most of the independent companies were forced into bankruptcy or merged, as the demand for Super 8 evaporated overnight. Some companies remained in business until 1985 when many gave up completely on movie film equipment. A few later re-emerged including Beaulieu, who, in 1985, introduced a new 7008 camera and Super 8 Sound that introduced a new version of its full-coat recorder, the Mag IV. The companies in which Super 8 was only a division simply closed. Kodak continued support for Super 8.
A few products re-emerged with new features such as crystal sync and Max8. Several Canon models have also started to reappear as restoration efforts like the RhondaCam. Recently, new companies have started producing new Super 8 cameras. In 2015, Logmar introduced a limited edition completely new Super 8 Camera, and in 2016, Kodak showed a concept of a new Super 8 camera at the 2016 CES expo. There are literally millions of Super 8 cameras that are still available and viable because of manufacturing methods back in the 1960s and 1970s. These cameras can be found at specialized retailers and distributors and at auction sites such as.
MagIV Super 8 Fullcoat RecorderIn the beginning of 1965, Super 8 was introduced as a silent format. Over time, several companies began to offer sync sound options for Super 8 filmmaking. Two companies introduced comprehensive sound systems for Super 8. These were Super8 Sound Inc. Led by Harvard Film Professor Bob Doyle and Optasound led by Richard Leacock at MIT.
With double system, as it was called, sound and picture are recorded separately. This was fine for more professional applications and for education about film production, but for consumers it was simply too complex and expensive.In 1973 Kodak introduced Ektasound—magnetic recording on the actual Super 8 film. The sound track was added on the edge of the film opposite to the perforations. Standard 8mm had the stripe between the perforations and the edge of the film which made good contact with a magnetic head problematic. A balance stripe was added on the opposite edge to facilitate spooling of the film. The Ektasound cartridge was deeper than the silent cartridge to allow access of the camera's recording head.
Thus, silent cameras could not accept Ektasound cartridges, but Ektasound cameras and projectors accepted silent cartridges. Projectors, that could record and play sound, appeared before sound cameras. The sound was recorded 18 frames in advance of the picture (as opposed to 56 frames for standard 8mm). This short distance of just 3 inches facilitated the relatively compact size of the later sound cartridges. Some projectors used the balance stripe to provide a second channel for sound.Super 8mm was also specified with an optical sound track.
This occupied the same location as the magnetic track. Picture to sound separation in this format was 22 frames. Projectors and cameras obviously could not record sound in this system, but optical sound package movies became briefly popular, particularly in Europe (mainly because they were cheaper to produce - though the projectors cost more). Although the optical sound should have been inferior in quality to magnetic sound (running at 3.6 inches per second for 24 frames per second), in practice it was often much better, largely because packaged movie magnetic sound was often poorly recorded.Packaged movies Although the 8 mm format was originally intended for creating amateur films, condensed versions of popular cinema releases were available up until the mid-1980s, for projection at home.
These were generally edited to fit onto a 200 ft (61 m) or 400 ft (120 m) reel. Many films, and other silent movies were available from companies specializing in re-releasing such films onSuper8 such as. The released excerpts from many of their animated feature films, as well as some shorts, in both Standard and Super 8, some even with magnetic sound.In-flight movies Starting in 1971 (previously ) were shown in Super 8 format until video distribution became the norm.
The films were printed with an optical sound track (amateur films use magnetic sound), and spooled into proprietary cassettes that often held a whole 2-hour movie.Popularity. A frame from So tell me again by Jesse RichardsSuper 8 was most widely used for filming home movies. Some lower-budget television stations used Super 8 to. Today amateur usage of Super 8 has been replaced by, but the format is still regularly used by artists and students. Some seek to imitate the look of old home movies, or create a stylishly grainy look.
Others want to create alternative looks for flashback sequences and altered states of consciousness. Some just like the idea of creating images in the classic style of using actual film. Super 8 is a relatively inexpensive film, making it popular among filmmakers working on a low budget who still want to achieve the classic look of real film.Super 8 has become quite common in theatrical features., for example, has used it in films such as, where his employed it to evoke a period or to give a different look to scenes. The series uses approximately five minutes of Super 8 footage per episode. In the UK, broadcasters such as the still occasionally make use of Super 8 in both drama and documentary contexts, usually for creative effect.
A recent example of particular note is the 2005 documentary series Define Normal, which was shot largely on Super 8, with only interviews and special timelapse photography utilising more conventional digital formats.Thanks to over a dozen film stocks, the ease of function and finding a camera, and the ability to do high quality digital scanning to standard motion picture digital formats like 2K and 4K, or, Super 8 remains a popular format for creating a variety of interesting scenes. Super 8 provides an ideal, inexpensive medium for traditional stop-motion and cel and other types of filming speed effects not common to video cameras. Here is an example from filmmaker John Cannizzaro's 50 Feet That Shook The World. Film festivals To give further support to filmmakers dedicated to shooting on Super 8 mm film, many film festivals and screenings—such as the, and —exist to give filmmakers a place to screen their Super 8 mm films. Many of these screenings shun video and are only open to films shot on film. Some require film to be turned in undeveloped and thus not permitting any editing, providing an additional challenge to the filmmaker. These include the and, which runs screenings at the and many other festivals and events worldwide, where a sound track is required to be supplied with a completed but unprocessed cartridge.
In the 2005, a Super 8 short film ( The Man Who Met Himself) by British filmmaker Ben Crowe, shot on the now discontinued Kodachrome 40 format, was the first Super 8 film to be nominated for the Short Film in the Official Selection.In the UK, the Cambridge International Super 8 Film Festival, with the support of the film industry, runs a competition program of more than 60 films every year. Lenny, Lipton (1975). The Super 8 Book.
San Francisco: Straight Arrow Books. In May 1965, super 8 in its stubby, coaxial plastic cartridge arrived loaded with Type A indoor balanced Kodachrome II, billed as a universal film. Lipton, Lenny (1973).
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