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  1. #1

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    New super-8 camera

    Since these days it is really unusual for new still film cameras to be manufactured, let alone cine cameras, I think this ought to be in this part of the forum. After all, a new super-8 camera about to be brought to market somewhat soon.

    Here are the specs for this super-8 camera of the 2010s:
    A newly designed Super-8 camera with widened gate made in aluminum that records sound in license free Ogg vorbis format 48 KHz @ 16bit stereo (CD quality) on a removable SD-CARD, film frame count information is also stored on the SD-CARD as a log file along with the audio to help aid cutting.
    Featuring oscillating mirror shutter for the best optical path through the lens towards the film (no glass or filters in between lens and film) when the shutter is closed the image is projected towards an integrated CMOS camera which acts as a digital viewfinder.
    The camera uses standard Kodak film cassettes, however the film is brought out of the cassette and into the widened gate with integrated pressure plate and pin registration, which completely freezes the film during exposure to make sure the bouncing never occurs which is a typical trademark of older super-8 cameras.
    It features a build in light meter for easy operation.
    The frame rate is programmable from 16fps to 54fps frames pr. second with crystal phase-locked-loop synchronization (Lip sync is fully achieved throughout an entire film).
    Remote controllable via WiFi (the camera creates its own hotspot) and is compatible with Android, Iphone and Windows Phone.
    Exchangeable lenses via C-Mount.
    Viewfinder through the lens (while shutter is closed) via internal camera for use with standard external monitor such as Lilliput etc. (standard NTSC / PAL vide out format)
    Phase Advance feature to increment the phase if you want to interlock the camera with a TV or florescent light for example to remove shutter bars typically seen.
    The external monitor acts as both viewfinder and camera status display – it shows the following information:

    • Remaining/Elapsed: feet, frame, meter
    • Exposure control
    • Audio VU monitor
    • System parameters


    The camera is firmware upgradable via USB.
    It has a mono XLR microphone input with true 48V phantom power and a normal stereo jack 3.5mm line-in and also 3.5mm jack mono microphone-input, there’s also headphone output (3.5mm jack) for monitoring the sound.
    Microphone gain and headphone volume is adjustable.
    http://www.cinematography.com/index.php?showtopic=60409

    Today the first sneak peak photos of the prototype were made public. See them here:
    http://www.cinematography.com/index....=3#entry393435

    Click image for larger version. 

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  2. #2
    Bill Burk's Avatar
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    This is truly amazing. If only I were a cinematographer I'd really want one. I enjoy a DVD of a movie "Sleep Always" which was shot using Super-8 with a widened gate. The concept is simple. Super-8 has sprockets on one side, the other side was reserved for sound stripe. But there is film there - and the widened gate takes advantage of that film that the standard Super-8 wastes.

  3. #3
    Roger Cole's Avatar
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    It's very cool that it's happening. The digital features are kind of weird in a Super 8 camera, like having a USB port on an ax handle or something, and it looks even weirder, but I like things that are cool but weird. This qualifies to me.

  4. #4

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    Quote Originally Posted by Roger Cole View Post
    It's very cool that it's happening. The digital features are kind of weird in a Super 8 camera, like having a USB port on an ax handle or something, and it looks even weirder, but I like things that are cool but weird. This qualifies to me.
    Agreed. In a sense my first reaction to SD-card was "wait.. what?" but ... why not?

    Reminds me a little of the last super16 film camera built, Arriflex 416 with its wireless control antenna:

  5. #5
    AgX
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    On the one hand it is amazing that someone actually started working on such project.

    On the other hand concerning handling it is rather a 16mm camera loaded with a Super 8 cassette so to say.
    I have no problem mounting and handling one of my S-8 cameras in a very elaborated way so that in the end only the economics of film format would make a difference.

    However a great part of the charme of S-8 lies in the compactness and handling of the camera. That does not take away that I often wanted other or more features on my S-8 cameras and thought of modifications.

  6. #6
    AgX
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    What I am most missing are lenses for Super 8 including the wide-angle range.

  7. #7
    MDR
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    Do you mean you're missing new lenses or Super8 lenses in General ? The Kinoptik Super-Tégea F1,9mm is still in production and covers Std. 16mm, the Tégea 5mm and 5.7mm even cover Super16 all these lenses are available in C-mount and are certainly very expensive. Kinoptik is one of the most underrated Cine lens manufacturers, these days everyone wants German lenses but the Kinoptiks are just as good imo.
    The camera is equipped with a C-Mount and looks more like a Gordon G.S.A.P than an Arri 416
    http://www.alangordon.com/sales/film...mm/minicam.php

  8. #8
    AgX
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    S-8 cameras with C-mount are the exception. And I am less seeking a wide-angle lens to substitute a given lens, but rather miss a wide-angle feature on those fixed FL and zoom-lenses built into the majority of S-8 cameras.

  9. #9
    Ken Nadvornick's Avatar
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    "If this is an actual could happen product and not a pipe dream, I may pee myself." —Matt Stevens, here



    Ken
    "They are the proof that something was there and no longer is. Like a stain. And the stillness of them is boggling. You can turn away but when you come back they’ll still be there looking at you."

    — Diane Arbus, March 15, 1971, in response to a request for a brief statement about photographs

  10. #10
    AgX
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    Modifying a 16mm camera to Double Super-8 might be the better way.

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