F& B/Ceco. Headquartersfor everything Super in Super-8

Professionals are calling upon Super-8 to dojobs that used to be reserved for the larger filmformats. Not only is Super-8 doing those jobs, it'sdoing them as well, for less money and with a lotless bulk.

F&B/Ceco has believed in the future of Super-8for a long time. That's why we carry one of thelargest and most complete lines ofprofessional Super-8 equipment andaccessories available anywhere.

Cameras: crystal sync, singleand double system.

Sound: crystal sync full coat,cassette and displacement recorders.

Editing: motorized editingbenches and flat bed tables.

Projectors: hi-intensity and double bandinterlock projectors.

Plus an incredibly varied line of accessoriesand sundries.

And we're authorized Super 8 Sound'," Inc.dealers.

So if it's professional Super-8equipment, F&B/Ceco has it.

And we'll sell it, rent it or leaseit to you. Call or write for ourfree, comprehensive catalog.

But whatever you do, don't buyor rent a piece of Super-8

gear until you've gottena quote from us.

Are we on your bid list?

SUPER 8 SOUND Sync ProjectorConsists of 2 identical Super 8 soundmovie projectors mechanically inter-locked to permit stopping, re-startingand transferring sound in perfect sync.

SUPER 8 SOUND Crystal Controlmatches the speed of a Super 8 camerato a quartz crystal clock at precisely24 frames per second, allowing cable-less sync sound filmmaking with theSuper 8 Sound Recorder and othercrystal sync sound recorders.The Control is 1" x 2" x 2" mounted ona 2"x4" bracket and weighs six ounces.It attaches directly to the camera, whichis its power source. No battery, cablesor belt attachments encumber the cine-matographer. A light-emitting diode in-dicates proper sync operation.

We want you to come back.

F&B CECOTHE RENTAL SPECIALISTS

SALES — SOS DIVISION

315 West 43 St., New York, N.Y. 10036 / (212) 586-1420

7051 Santa Monica Blvd., Hollywood, Calif. 90038 / (213) 466-9361

Phone Toll Free (800) 223-5829. In New York State Phone Collect (212) 586-1420

SUPER 8 SOUND RecorderRecords on Super 8 full-coat mag filmand combines the functions of locationrecorder, lab resolver, studio dubber,transfer recorder. Fully compatible withall other sync sound systems, pro-fessional or amateur. Pilotone or newdigital 1/F sync pulse.

SERA Super-8 Mini-Editor ME-8Completely portable, 4 plate Editingconsole. • 3.5" x 5" Fresnel Screen •Inching Knobs • Accepts 1200 ft. reels• Magnetic Sound Head • Forward-Stop-Reverse-Control • Picture &SoundInterlock Switch • Sound Output Jack• Torque Motor on/off with adjustcontrol. $1295.00 Send for special bro-chure and price list of accessories.

The American Society of Cinematographers is not a labor union nor a guild, but is an educational, cultural and professional organization.Membership is by invitation to those who are actively engaged as Directors of Photography and have demonstrated outstanding ability. Not allcinematographers can place the initial A.S.C. after their names. A.S.C. membership has become one of the highest honors that can be bestowed upona professional cinematographer, a mark of prestige and distinction.

NOVEMBER, 1975

Herb A. Lightmaneditor

Three Tylereditorial assistant

Barry Dayproduction control

Pat Blackadvertising

Barbara Prevedelaccounting

Gabrielle de Gangeslayout assembly

Lisa Friedmanresearch

Contributing EditorsDavid SamuelsonSidney P. SolowAnton Wilson

Editorial Advisory BoardLee Garmes, ChairmanCharles ClarkeStanley CortezGeorge FolseySol HalprinWinton HochErnest LaszloWilliam FrakerConrad HallWilliam MarguliesJoseph RuttenbergTed VoigtlanderVilmos Zsigmond

Editorial—Advertising-Business Offices1782 North Orange DriveHollywood, Calif. 90028(213) 876-5080

VOL. 56, NO. 11

• FEATURE ARTICLES1252 Professional Super-8: The State of the Art1253 A Decade of Progress Has Culminated in Super-8 Sound1255 The Case Against Professional Super-81258 Double-System and Single-System Super-8 Sync Sound Cameras1264 Super-8 Sync Sound Recorders1266 Crystal-Sync Super-81270 Super-8 Laboratory Services and Stocks1271 Professional Super-8 Editing Equipment1276 Super-8 Sync Sound Projectors1278 Super-8 to the Summit1282 The Development of Professional Super-81286 Teaching Filmmaking with Super-8 at M.I.T.1290 Is the 18fps "Amateur" Speed Acceptable for Professional Use?1292 The Need for Sync Sound Standards for Super-81306 Canada's Largest Film Lab Goes Into Super-81308 Super-8 Video — A New Production Concept1310 Super-8 in Television1312 Transferring Super-8 to Video

• DEPARTMENTS1236 Cinema Workshop1240 Questions & Answers1248 The Bookshelf1297 Industry Activities

ON THE COVER: Multicolored strips of film combine in calling attention to the theme of thisspecial issue of American Cinematographer: Professional Super-8, recognizing the fact thatthe once-amateur narrow-gauge format has come a long way from its humble beginnings.Cover design by DAN PERRI. Illustration by DEBORAH ROSS.

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-AmericanUnion. $10.00 a year (remit International Money Order or other exchange payable in U.S.). ADVERTISING: rate card on request to Hollywoodoffice. CHANGE OF ADDRESS: notify Hollywood office promptly. Copyright 1975 ASC Holding Corp. Second-class postage paid at LosAngeles. California.

AMERICAN CINEMATOGRAPHER. NOVEMBER 1975 1111

Ten years ago predicting a professional future for the patently "amateur"Super-8 format drew scornful laughter. but now it is an accomplished factBy HERB A. LIGHTMAN

As far back as 1966, AmericanCinematographer stuck its editorialneck out by predicting that the then-quite-new Super-8 format would notonly enjoy a boom of popularity amongamateur film-makers, but that it wouldultimately come to be accepted as aprofessional medium, for certainspecific applications.

This prediction was greeted withamusement, if not disdain, in mostknowledgeable circles — and under-standably so, if one were to consideronly the obvious facts. Detractors, oftenreferring to the narrow-gauge film as"sensitized string", scoffed at the ideathat it could ever offer anything morethan an idiot-proof format for the homemovies market. It is also quite possible— although we have no way ofknowing for sure — that even EastmanKodak never envisioned it as anythingmore than a vastly improved format forthe highly lucrative mass amateurmarket.

By the time the special "SUPER-8:THE STATE OF THE ART" issue ofAmerican Cinematographer appearedin December, 1969, it was already be-coming obvious that the spunky littleSuper-8 format was refusing to "stay inits place" as a strictly amateur play-toy.Despite the wait-and-see inertia main-tained by Eastman and an appallinglack of standardization promulgated bygreedy equipment manufactuers,Super-8 was being forced into use as aprofessional medium — for certainspecific applications — by innovativefil m-makers all over the world.

In the six years that have elapsedsince then things have changedradically. There is no longer anyquestion as to whether Super-8 will beaccepted as a professional format. It isa fact — like it or not, and one istempted to say: "You've come a longway, Baby!"

Just how far Super-8 has come as aprofessional medium is the reason forthis current special issue of AmericanCinematographer. The intent is to re-port in detail the significant advances inequipment and techniques that havemade possible the acceptance ofSuper-8 as a professional medium —for certain specific applications.

We purposely and repeatedlyemphasize that latter phrase becausecertain realities must be faced in ordernot to confuse the issue — namely thatthere is no way that a Super-8 image

will ever look as good as a 16mm imageof the same subject. There is no waythat a 16mm image will ever match thequality of a 35mm original, just as35mm will never capture the detail of70mm. This doesn't mean, however,that a professional cinematographershoots 70mm whenever he can affordit. While one eye is looking through theviewfinder, the other eye must be look-ing at the image in the way that theaudience is going to see it. The fact isthat, in terms of total viewing time, 90%of today's audiences are going to seefil m images on television screens with amaximum diagonal size of 25 inches.

More and more cinematographerswho release for the small screen use16mm in original production ratherthan 35mm simply because it hasproved to be economical and of goodenough quality to satisfy themselvesand their clients. It is also a com-bination of simple economics and"adequate" image quality that is caus-ing many television stations to drop filmproduction entirely in favor of video-tape production. A key question raisedby many of the writers of this specialissue of American Cinematographer iswhether Super-8's extremely low-costcan compromise with the effect of aslight sacrifice in image quality, inorder to produce a "cost-effective;medium that will keep the techniques ofcinematography active in original pro-ductions for television, as well as lowerthe production costs in many non-theatrical films.

The "cost" part of the answer to thequestion of Super-8 "cost-effective-ness" is to be found in a simple budgetanalysis of any film production. Thatpart of the budget allocated for equip-ment and film stock is the primary partinfluenced by the gauge or formatdecision. Some sound costs, lab trans-fers and studio mixes, are reduced bythe techniques used in Super-8 syncsound equipment, which allow the film-maker to do his own sound work. Atypical non-theatrical film productionbudgets only about 10% for equip-ment and expendables, the balanceconsisting of research, scripting, talent,crew, travel, etc. Even if Super-8 stockcosts only one-third as much as 16mm;even if Super-8 location, editing, andstudio equipment costs only one-fifthas much as comparable 16mm equip-ment; and even if Super-8 video trans-fer equipment costs only one-tenth as

much as 16mm, the saving is stillli mited to a small fraction of the totalbudget.

Since not all productions are typi-cal, it is likely that those film produc-tions with budgets consisting of morethan 50% equipment and expendableswill be first to use Super-8 as theiroriginal medium. This, of course, in-cludes the many situations where thefinal film is not actually sold to anyone.such as filmmaking classes, in-houseaudio-visual groups, and even profes-sional producers who might shoot aSuper-8 "pilot" rather than invest acomparable amount in a static story-board. But even with a clear costadvantage, a careful decision to goSuper-8 must also include the "effect' .

side of Super-8's cost-effectiveness.The comprehensive equipment

review presented in this special issueon Professional Super-8 will convinceknowledgeable cinematographers thatvirtually every production and post-production technique of sync soundcinematography is now possible inSuper-8. There is no basic cinematog-raphic reason for rejecting Super-8, ex-cept that of image quality. So theanswer to the "effectiveness" side ofSuper-8 cost-effectiveness liesprimarily in the size of the presentationscreen. Where the presentationmedium is television, including video-tape and the upcoming videodisc, arear-projection portable Super-8 pro-jector, or a classroom screen, Super-8is more than adequate, as can be seenby looking at the quality achievable inone-quarter of any 16mm screeni mage. Technically, a Super-8 print in1975 has image resolution and grainstructure superior to that of a com-parable 16mm print made in 1965,when both are projected to the samescreen size.

So two elements combine assufficient conditions to shoot originalSuper-8: Cost — if a substantial frac-tion of the budget will be spent onequipment and expendables, andImage Size — if the size of the in-tended audience's viewing screen issmall enough, then the decision to workin Super-8 is an intelligent profes-sional decision. As more professionalproducers make that decision, we canlook forward to a healthy growth incinematography for the small screen.

However, despite all the aforemen-Continued on Page 1297

1252 AMERICAN CINEMATOGRAPHER, s NOVEMBER 1975

The Kodak Supermatic 200 sound camera is an existing light, single-system sound Super-8camera that runs at 18 and 24 frames per second with 18 frame separation, designed for usein television, education, business, industry and government. Camera features includeacceptance of 50-foot and 200-foot silent and sound Super-8 cartridges, manual and auto-matic exposure control, zoom lens, and automatic gain control for sound recording.

By ALLAN L. WILLIAMSManager, Pacific Southern Region; M.P. & AudiovisualMarkets Division, Eastman Kodak Company, Hollywood

The seemingly simple addition of a voice to Super-8 is actually onlythe final step in a long and extremely complex trial-and-error process

The first serious talk that I remem-ber hearing about Super-8 film as aprofessional medium goes back over adecade. Our research division, andmany other people were wrestling withthe strenuous problems involved inestablishing a standardized small-format film medium, primarily be-cause they foresaw the enormousopportunities that it would open for dis-tributing films on a massive scale.

The hurdles that had to be cleared tomake this dream come true were high.However, almost everyone in the filmindustry agreed that the opportunitieswere too substantial to ignore. That wasthe first time I heard the premise thatthe small-film format could do formovie-making what the paperback haddone for publishing.

Furthermore, the lid would be takenoff new production. Producers couldtailor their films to the specific tastesand imaginations of consumers ratherthan the "mass appeal" sought bytheaters and the television networks.

However, much had to be achievedbefore the dream of Super-8 film as aprofessional medium could becomereality. Some predicted that it wouldtake as long as three to five years forthe new medium to take hold. In fact, ittook a decade of innovativeengineering and hard work.

The introduction of the Super-8 filmframe format was the essential key forunlocking the puzzle. The new filmframe dimensions upgraded the qualityof the projected image from amateur toprofessional. And standardization isunlocking the door to earning thepublic's trust. Prior to this, few peoplewere willing to invest in equipmentwhich could become obsolete beforethey reaped a fair return.

Finally, even with that doubt allayed,there were still some importantquestions which had to be answeredbefore progress could be made on abroad scale. Should sound be re-corded and played back on an opticalor a magnetic track? Should the film befitted into a cartridge for easier han-dling during projection?

Most of these answers had to behammered out on the anvil of trial anderror. Fortunately, the promise didn'tli e dormant awaiting developments inthe consumer marketplace. In a worldwhere almost everything that we doappears to be becoming increasingly

more complex and specialized, Super-8 color-sound movies have providedthe stuff that an evolution — not a revo-lution — in communications is made of.Progressive individuals in education,business and industry, government andthe medical profession have recog-nized that the new medium is aneffective way to bring their messages topeople in a highly effective, standard-ized and individualized manner.

For example, at the University of Ari-zona, the agricultural education facilityfound that they could use Super-8cameras to document hard-to-learnskills for students to view in groups aswell as individually. Also in Arizona, areal estate broker began to use anexisting-light movie camera and KodakEktachrome 160 movie film (type A) toproduce economical movies that in-creased his sales and earnings. Insteadof bringing all of his prospects to everysite that he had to offer, he discoveredthat he could do considerable qualify-ing, and save a great deal of time byusing a portable Kodak Supermatic 60sound projector to show them films ofwhat was available.

The idea also took hold inMilwaukee, where a producer filmed

interview situations with top insurancesalespersons, and then sold Super-8color prints to hundreds of agencies foruse in training. And, in Memphis, amanufacturer of spray-on paints foundthat Super-8 color-sound films were anexcellent vehicle for making point-of-purchase demonstrations of how to usehis products.

Then, there is the case of the manu-facturer of dental furniture and equip-ment who produced demonstrationfil ms, and provided his sales force withrelease prints and portable Super-matic 60 sound projectors for makingpresentations in prospects' offices.Instead of just talking, they weredemonstrating, and the result was thatsales spurted upward.

In Georgia, a prison official chargedwith the responsibility for rehabili-tating and training inmates to live andwork on the outside, uses a Super-8camera and a Supermatic 70 projectorfor producing a library of realisticinstructional materials. And, in Cali-fornia, a fast-growing restaurant chainuses Supermatic 60 sound projectorsto teach job skills to employees.

The key to the success of the newmedium as a communications device is

the flexibility it permits in presentinginformation. No darkened rooms areneeded, cumbersome film projectorsand videotape playback units don'thave to be hauled around andthreading is only a memory. Considerthe Supermatic 60 projector as anexample. It is lightweight so a sales-person can carry it on trips, but alsosturdy enough to withstand the rigorsof travel. The cartridge-loadingprojector can be used to project ani mage on either a wall screen for bigaudiences or a self-contained high-gain screen for viewing by an individualor small group.

Furthermore, it is ideal for self-pacedinstruction and individualized presen-tations. A one-lever control permits theoperator to advance forward, freeze onany frame or instantly replay anysegment of a film.

Now, for added flexibility, there is theKodak Supermatic film videoplayer VP-1. This unit is similar in size andappearance to the film projector and ituses the same cartridge.

However, that's where the similari-ties end. The film videoplayer is used tofeed Super-8 film images to a singletelevision set or to an entire TV net-work. With this unit, companies usingboth individual film projectors andclosed-circuit television for training canproduce and distribute everything inone medium.

With these fast-breaking develop-ments, there have been some crucialquestions raised for filmmakers. Themost obvious is: What are the bestmethods for producing Super-8movies? The answer is highly sub-jective.

For certain, anyone aiming at themassive consumer marketplace shouldthink about originating on either 35mmor 16mm film stock, Depending uponthe type of production, either Eastmancolor negative II film 5247/7247 orEastman Ektachrome commercial film7252 would be good choices. Both ofthese films are designed with a largenumber of release prints in mind.

By way of comparison, all of theSuper-8 color films in use today aredesigned for optimum projection. As aresult, some quality is invariably lostwhen a laboratory uses one of thesefil ms for making an internegative.Furthermore, many labs are using1 6mm internegatives for Super-8release printing. This means that theoriginal Super-8 film image is usuallyfurther degenerated during the processof making 16mm intermediate blow-ups.

There are other important reasonsfor originating on a larger format film.Flexibility is primary among these. Forexample, consider the experience ofthe Loctite Corporation in Newington,Conn. The company is a major manu-facturer and distributor of adhesivesand sealants.

In 1964, Bruce Burnham, manager ofcommunications projects for Loctite,produced their first 16mm film onlocation at a client's plant. Prints of themovie were used by the sales force togive prospects a firsthand view of howto use the product involved. The filmwas a great success, Burnham relates,because it demonstrated techniquesand concepts that were very difficult toget across in words alone. As a result,other films were produced and Loctitecontinued to reap good results. Theonly limitation, in fact, was that presen-tations could be made effectively onlywhere prospects were gathered andappropriate facilities were available forprojection.

All of this rapidly changed with theintroduction of portable Super-8 soundprojectors. After testing the variousmodels of equipment available, Loctitedecided to provide each of their salespeople with a Supermatic 60 soundprojector and a library of all of their16mm films reduced in size to theSuper-8 format.

The flexibility of using both media —16mm and Super-8 — gives themmuch more bang for their marketingbuck. And while it would be technicallyfeasible for Loctite to originate in the

Super-8 format and do release print-ing in both 16mm and Super-8 from ablowup intermediate, the quality ofboth would be compromised, and theresultant savings in production costswould only be minimal.

Loctite, of course, is fortunate inhaving someone like Burnham. Hewrites his own scripts, records his ownlocation sound, does his own camerawork and produces his own movies.Outside specialists are brought in forrecording narrations, editing film andmixing sound, as well as for lab work.

If a company doesn't have an internalfil m department, it's best to hire anoutside filmmaker who is experiencedwith 16mm production techniques. Heor she can often make a powerfulcontribution to the impact of the film,and that's no small contribution. Afterall, people don't usually make films tosave money. They make them to solveproblems.

However, different considerationshave to be weighed when only one or afew prints are needed. In these cases,many hundreds of people are alreadyoriginating Super-8 color-sound filmfor professional use. We believe thatthere will soon be thousands, if not tensof thousands of people doing this for avery simple reason. Today, the Super-8camera is, by far, the easiest to use andthe least costly color recording deviceavailable.

Super-8 movie cameras are beingused for many types of reporting: Theinsurance agent or investigator whowants to document an accident; a realestate broker producing a sales film; acorporate executive reporting uponprogress at a new construction site; alaw enforcement officer recordingevidence at the scene of a crime are alltypical users of the new format.

And persons with safety, training andsales responsibilities coming to realizethat there is no substitute for showingthings the way that they really are usemotion pictures. Many educators inschools, in the military services and inmedicine have also come to similarconclusions.

In addition, there has also been atremendous amount of interest in theSuper-8 medium for television. Forcable systems and educational broad-casters, as well as for many com-mercial UHF and other smaller stations,Super-8 sound film provides the firstopportunity to produce local news,documentaries and commercials onlocation in color. It also allows all tele-vision stations to reap a tremendousharvest of material from stringers andfree-lancers. There are an estimatedseven million small-format movieContinued on Page 1347

The Kodak Supermatic film videoplayer VP-1 is designed for use in schools, business, indus-try, and government installations to play color and sound Super-8 movies over a standardcolor television set or closed-circuit television system. Features of the videoplayer includepush-button controls, automatic threading, instant review, stop-motion, cassette loading,automatic rewind of the film into the cassette at the end of the film, and extremely quietoperation.

looking at thy other side of the Super-8 coin with a critical eye,a professional cinematographer concludes that the narrow-gauge formatfalls short as a professional medium, when compared with 16mm and 35mm

By ANTON WILSON

Super-8 was introduced about 10years ago as an amateur format. In thefirst five years of its infancy, thisamateur classification went almost un-challenged. With the seventies and anapparent improvement in relatedSuper-8 equipment, the cry of "profes-sional format" should have beenexpected. There is no doubt thatSuper-8 is applicable for certainprofessional (remunerative) situations.However, the reasons given by Super-8aficionados for using the small formatare usually erroneous, irrational andsometimes ludicrous. By taking a closeand objective look at the "Super-8System" we may get a more realisticappraisal of its professional applica-bility.

Super-8 equipment is much less ex-pensive than similar larger formatequipment. Not true! As a matter offact, a Super-8 camera will cost morethan a 16mm or 35mm camera of simi-lar quality! The trap that most Super-8proponents fall into is illogically com-paring amateur Super-8 cameras withprofessional 16mm and 35mmcameras.

A professional Super-8 camera mustbe manufactured with double the pre-cision of a 16mm camera to achieve thesame professional standards. Forexample, professional registration isusually stated as at least 1/1000 offrame height for any size format. For35mm this relates to about seven-tenths, for 16mm this becomes three-tenths and for Super-8 it is almost one-ten-thousandth of an inch. That is apretty close tolerance, and very ex-pensive to achieve. Likewise, flange-to-focal-plane distances (lens seating) willalso have proportionally closer andmore expensive tolerances to achievethe same visual standards of the largerformats. What this boils down to is thata Super-8 camera will cost more than alarger format camera if you comparethem on the basis of the sameprofessional standards.

This is not just theory. As anexample, take the Arriflex 3511C and theArriflex 16M cameras. Arriflex de-signed the 16M camera as a 16mmversion of the 351IC camera. These twocameras are almost identical in termsof design: quick-change magazine,three-lens bayonet turret, mirror-shut-te• etc. Yet the Arriflex engineers had

to design the tolerances of the 16Mmuch tighter than those of the 351IC inorder to achieve the same standards ofvisual precision. As a result, the 16Mactually cost 30% more than the Arri-flex 351IC. One can draw the similarconclusion that if Arriflex ever came outwith a professional Super-8, it wouldmost likely cost about the same as theirequivalent 16mm camera.

Conversely, the precision of mostcurrently available Super-8 cameraswould be comparable to that of a Fair-child 16mm Gun Camera which can behad for about $25. There are many16mm cameras in the $100. to $1000.range that will give results, in terms ofregistration, better than Super-8cameras of the same price. The pointhere is that for a given amount ofmoney, a 16mm camera can be pro-cured that will give as good, if notbetter, registration results than asimilarly priced Super-8 camera.

There is another important point tobe made about precision. Not only arethe closer tolerances of Super-8 equip-ment more difficult and costly toachieve, but also more difficult to main-tain. A Super-8 camera/lens is farmore vulnerable to dirt and abuse thana camera of larger format. A given errorin alignment, registration or seating willcause a much greater visual distortionwith the smaller format. Super-8 equip-ment will thus have to be handled andmaintained with greater care. Like-wise, dirt and scratches on the film willvisually appear at least three times aslarge with the smaller format. Thesefacts hardly make Super-8 a formatconducive to Q & D (quick and dirty),low budget or knock-about produc-tions. As a matter of fact, if a produc-tion has to be shot Q & D, i.e., no A & Brolls, no work print, no editing gloves,etc., it most assuredly should be shot in16mm. Under these extremely low budg-et conditions, a Super-8 print wouldbe totally unintelligible. If Super-8 wereused, greater care in terms of clean-li ness and splicing would have to beused, even to get barely acceptableresults.

We've been looking at camera gear.What about lighting and sound? Light-ing for Super-8 is obviously going to bethe same or more expensive than for asimilar production in a larger format.To light a given area to a particular

illu mination level will require the sameamount and type (and cost) of equip-ment regardless of the format beingused. So here the expense is the samefor any format. However, there arecases, quite frequently, where theSuper-8 production will cost more toli ght than if 16mm or 35mm were em-ployed. This is due to two facts.

Firstly, almost all Super-8camera/lens combinations are muchslower than the average 16mm pack-age. This is due to the fact that almostall Super-8 cameras have zoom lensescoupled with beam-splitter-type view-finders. The average Super-8 zoomlens does not employ as effective acoating as the better large formatlenses and thus loses more light in thelens, not to mention the half-stop or solost in the beam splitter. A Super-8camera/lens using the beam-splittersystem will lose better than one stopand sometimes as much as two stops inthe lens/finder optics. This is whyalmost no Super-8 manufacturer ad-vertises or even indicates 'T' stops onthe lens (the exception beingAngenieux) because that nice f/1.8 be-comes a T/3.5, and even some of theso-called reflex XL cameras are still inreality around a T/2.8. Therefore, in16mm, where fixed focal lengths ofT/1.4 to T/1.8 and zoom lenses of T/1.9to T/2.5 are quite common, the stand-ard Super-8 lens will more likely be aT/2.8 to T/3.5, requiring from two tofour times more light (and lightingequipment). Of course, there are newSuper-8 zoom lenses, notably theAngenieux 6mm-80mm, T/1.4, that arefast and of professional calibre, butthey are also professionally priced.

There are other factors that couldmake the large formats more con-ducive to low budget films. There aremany devices, film stocks, special proc-esses, etc., that can facilitate quickand cheap location production that arenot available for the Super-8 format.For example, there are several pro-prietary processes, such as Chem-tone, for the development of ECN II at250 ASA with virtually no quality lossand 500 ASA with a minimum of loss. Inaddition, this process reduces con-trast, which can minimize the use of filllight both indoors and out. Becausethese processes are not available forContinued on Page 1296

AVERICAN CINEMATOGRAPHER. NOVEMBER 1975

access to film and video tools

The WholeSuper 8 Catalog

Some of our customers think of it as "The WholeSuper 8 Catalog", but it's really called the "Super8Sound Catalog". Its 72 pages contain the mostcomprehensive listing available anywhere of Super 8sync sound and low-cost video production equipment —single-system cameras and double-system cameras,crystal camera controls and camera silencers, synccassette recorders and sync fullcoat recorders, inexpen-sive motorized editing benches and elegant horizontalediting tables, sync projectors and interlock projectors,telecine projectors and flying-spot-scan videoplayers,

1/2-inch videotape and 3/4-inch videocassette recordersand editing systems, optical printers and continuousprinters, laboratory processors and automatic do-it-yourself processors, film stock and fullcoat mag stock,complete film and video production system recommen-dations, and cables of every description that are neededto connect system components together.

All this plus technical data tables on film stocks, oncamera and projector specifications, and over 100photographs and illustrations.

The Super8 Sound Catalog attempts to make at least abrief comment about every professional Super 8 tool.It tries to be objective, and frankly critical wherenecessary. We believe the Catalog will prove invaluableto anyone studying the new possibilities in professionalSuper 8. Send $2 for your postpaid copy, and, as withany Super8 Sound product, return the Catalog for a fullrefund if you're not satisfied.

Now that every production and post-productiontechnique of professional cinematography can be accom-plished in Super 8 — at a cost averaging one-fifth that ofcomparable 16mm equipment — Super8 Sound isestablishing a national and international dealer networkto provide Super 8 filmmakers everywhere with localsales and service of the same high quality they havecome to expect from our Cambridge headquarters.

Our current dealers are listed below. Since none of themas yet stocks every Super8 Sound product, please callahead before visiting, but they all can supply any of the715 production items listed in the Super8 SoundCatalog.

With all these developments, isn't it time you got intoSuper 8?

And if you're already using Super 8 as a silent film —Isn't It Time You Got Into Sync?

Super 8 Sound DealersNY: SOS Photo-Cine-Optics

315 W. 43rd St.New York, NY 10036(2121-586-1420

Hahn Graphic, Inc.308 Driving Park Ave.Rochester, NY 14613(716)-254-5705

PA: Oscar Hirt, Inc.41 N. 11th St.Philadelphia, PA 19107(2151-923-0650

MO: Audio-Visual Services, Inc.709 Westport Rd.Kansas City, MO 64111(816) 531-8800

CA: Adolph Gasser Film Enterprises Benelux:1 81 Second St.San Francisco, CA 94105(4151-495-3852

Skinner Studios345 Sutter St. Canada:San Francisco, CA 94108(415)-986-5040

Valley Projection2227 W. Olive Ave. France:Burbank, CA 91505(2131-842-3576

Camera Mart625 B St. Germany:San Diego, CA 92101(7141-235-6564

India:

Adviesbureau voorAudio-Visuele TechniekVondelstraat 17The Hague, Netherlands070 33 39 32

Canadian Super 8 Centre205 Richmond St. W.Toronto M5V 1V5(4161-363-4554

Cinesync S.A.2, Rue Lecomte75017 Paris(1) 229-58-42

Super 8 Vertrieb5023 WeidenOstlandstrasse 50Postfach 1362(0 22 341 7 25 52

KATONIXC-15 Greater Kailash-INew Delhi-110048

Australia: Camera World76 Waverley St.Dianella, Western Australia 606276 6695

The Super8 Sound Catalog

SUS

11

TAINING

41f4/ gMEMBER

Super 8 Sound, Inc.95 Harvey Street, Cambridge, Mass. 02140

AMERICAN CINEMATOGRAPHER.NOYEMBER 19751256

By JULIE MAMOLEN

The serious Super-8 film-maker is happily confronted by a veritablesmorgasbord of highly sophisticated cameras for sync sound shooting

Choosing a Super-8 camera fromamong the many fine double-systemsound, single-system sound, andDouble Super-8 cameras on themarket is a difficult task. The Super-8cinematographer is faced by an arrayof features that includes zoom ratiosup to 13.3 to 1, lenses as fast as f/1.2for filming in available light,interchangeable lens mounts, run-ning speeds from time-lapse inter-valometry to 80 frames per second,crystal camera controls, through-the-lens automatic exposure control withmanual override and manual offset byone or two stops from the automaticsetting, single-lens reflex viewing,macrocinematography down to thelens front element, and in-camerafades, dissolves, and superimposi-tions.

Double Super-8 cameras use16mm-width film perforated Super-8(1-4) and permit up to twenty-minutecontinuous-run loads, full backwind,professional emulsions such as 7252(ECO), superior image registration,and stock processing economy.

Single-system cameras offer in-camera recording on a magnetic edgestripe, some with high-fidelity soundrecording specifications, and you cantransfer later to full-coat magnetic filmfor serious editing. New 200-footsound cartridges allow up to ten-minute continuous-run filming, andsome single-system cameras alsohave double-system sync connec-tions.

Double- System Super -8 CamerasWhat makes a Super-8 camera a

double-system sync sound camera?All that's required is a sync signal(some means of carrying informationabout the frame rate of the camera —exact speed in fps — to a sync soundtape recorder). This sync signal maybe recorded by a tape recorder on aspecial sync track alongside the audiotrack. Alternatively the sync signalmay be used to speed-control Super-8 fullcoat magnetic film if a Super-8Sound Recorder is used. Electronicservo-control of the recorder's speedinsures that for each frame of picturefil m exposed in the camera exactlyone sprocket hole of magnetic filmpasses the magnetic head of theSuper-8 Sound Recorder.

The sync signal from the cameracan be as simple as a switch thatopens and closes once for each frameof film exposed. This 1/F (once-per-frame) sync signal is available on over40 Super-8 cameras, where it hasgenerally been included by the manu-facturer as an electronic flash (PC)contact. Several cameras generate a1/F tone burst, and have a specialsync corrector.

The traditional sync signal used in16mm and 35mm filmmaking is a60Hz pilotone continuous wave, andthis sync signal is used on someSuper-8 cameras, Beaulieu, CinemaPathe, and Nizo Professional. Thedifference between the pilotone and1/F sync signals is shown in theaccompanying figure.

We are summarizing here themajor characteristics of the Super-8cameras that are most widely used fordouble-system sync sound work.

I mportant accessories, such ascrystal camera controls and silencers,are available only for some cameras;if you need these devices, chooseyour camera carefully. Besides thebrief description of the more notablecameras, we have collected data on29 double-system cameras, 14 single-system cameras, and two DoubleSuper-8 cameras into convenientcomparison tables. Unless otherwisespecified, all Super-8 cameras des-cribed in this article have the follow-ing features:

— Use Super-8 film in 50'cartridges—Automatically keyed to film'sASA speed from ASA 25 to 160—Integral type-A (Wratten 85)filter manually keyed—Footage counter— End-of-film indicator inviewfinder—Zoom lens with battery-powered zoom, and manualoverride—Reflex groundglass viewingwith beamsplitter in front ofdiaphragm— Focusing down toapproximately 3-4 feet (somehave macro capability)—Automatic exposure control(CdS cell) through the lens withexposure value displayed inviewfinder and manual override—Powered by AA (penlight)batteries—Screw-in filter mount (sizespecified)—24 fps speed as well as amateur18 fps

(LEFT) The new Beaulieu 5008S is probably the highest quality Super-8 sound camera of any kind, single- or double-system, with soundrecording specifications superior to those of most cassette recorders (Hervic Corporation). (RIGHT) The Canon 814E Sync Sound camera iscompact 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. Nizoalso manufactures the Nizo 800 Professional, which features built-In 60Hz pilotone and slating devices. (CENTER) The Bauer C Royal BEsync 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 separatecable release socket—Sound sync jack with onecontact per frame (1/F)

Beaulieu 4008ZM2 and 4008M3 SyncCameras

Two-thirds of all the Super-8cameras in use as double-systemsync sound cameras are made byBeaulieu or Nizo. The Beaulieu4008ZM2 is the single most popularcamera among Super-8 Soundcustomers, and also the most ex-pensive. The Beaulieu's popularity isdue to its Schneider 6-66mm lens (thewidest angle lens of any Super-8camera), its C-mount lens inter-changeability, variable speeds from 2to 70 fps, and manual ASA setting,together with the availability of a crys-tal camera control and silencer. Themirror shutter gains nearly half anf/stop over cameras with a beamsplitter, and p'•,;.„, des a 2-stopbrighter viewing image. The 4008M3is a less expensive version of the4008ZM2, with the electric zoom re-placed by a smooth manual zoom.See the camera data table for moredetails.

The Beaulieu has some negativefeatures. It is relatively noisy andsomewhat fragile. It has no internal1/F switch, and requires the additionof the modified Er!son sync contactswitch to provide 1/F sync signals.Note that the single-system Beaulieu5008S described below is also a dou-ble-system camera.

Nizo Sync Cameras

The Nizo cameras are probably themost reliable double-system Super-8cameras; they are also the quietest.They withstand heavy student use(and abuse) with a minimum ofrepairs. The old Nizo S56 was cho-sen by MIT to be the crystal synccamera in the Leacock system. TheS56 was redesigned by Braun as the

Nizo S560 to include lap dissolvesand a 1/F sync pulse tone burst. Itscurrent version, the Nizo 561, has ani mproved viewfinder that makes thef/stop scale easily visible. The 481and 801 cameras are similar to the561 except for the lens capability. Seethe double-system data table for de-tails.

The Nizo cameras have always hadtwo sync contacts — 1/F tone burstsystem, and the PC contact 1/Fswitch. Now the Nizo Professional800P has a third sync capability — thestandard 60 Hz pilotone signal (50Hzin European cameras). The NizoProfessional also has a macro ver-sion of the 7-80mm Schneider lensused on the 801, and a built-in slatinglamp that fogs a frame and sends aclapper voltage for use with recordershaving a bloop (beep) oscillator.

All the Nizo sync cameras exceptthe S56 and S80 can be modified byBraun North America (55 CambridgeParkway, Cambridge, MA. 02142) toaccept the Super-8 Sound CrystalCamera Control.

Nizo also offers a number of "XL"cameras with a 225 shutter. The lensaperture ,_" ,,,ec1 has not been in-creased to f/1.2, as with most cam-eras carrying the XL designation.These cameras have a PC contact forsync sound filming, and are the small-est sync sound cameras available.

Canon Sync Cameras

Canon cameras are very ruggedlybuilt. Their f/1.4 lenses were thefastest Super-8 lenses until the newXL f/1.2 lenses. The Canon camerasare next most popular after Nizo andBeaulieu as sync sound cameras.They have been used for sync soundsince Bell & Howell first modified theCanon 814 for their Filmosound 8system in 1970. The Canon's lowprices are perhaps the lowest-costhigh-quality Super-8 cameras.

Nikon Sync Cameras

The strong points of the recentlyintroduced Nikon Super-8 camerasare the excellent lens quality of theCineNikkor, and the very complexcontrols which allow virtually every ef-fect, and which are extremely wellthought out. For example, when theexposure control is switched fromauto to manual it does not reset to themaximum f/stop; it stays on the f/stopthat had been automatically set.

The Nikon PC sync socket is anunusual locking type that provides asecure sync sound connection, andthe camera itself is very ruggedlybuilt.

Bauer Sync Cameras

Bauer was the first manufacturer toinclude lap dissolve in its camerasand to incorporate automatic ex-posure control down to one frame perminute. Bauer sync sound camerasare equipped with the same min-iature DIN 8-pin sync socket used byNizo. The cable is different, however,because Bauer provides a 1/F switch,and not a tone burst like the Nizo.

Bolex Sync Cameras

Although Bolex is one of the great

The Bolex 580 sound camera. Bolex now in-cludes 1/F sync contacts on its two bestSuper-8 cameras, the 450 and the 480Macrozoom.

Single•System Camera Data Table

CAMERA

HeadPhoneMonitor 200' Speeds ASA

ZoomRange( met) f/Stop

MinFocus Filter Batt.

Double-SystemSync

Beaulieu 5008S YES NO 24,18 25-400 6-80 f/1.2 2' 72mm NiCad YES

Bell & Howell Filmosonic 1230 NO NO 18 25-160 8.5-24" f/1.3 none 6AA NO

Bolex 550XL YES NO 1 8 25-160 8-40 f/1.2 5' 6AA+9V NO

Bolex 580 YES NO 1 8 25-160 7.5-60 1/1.7 5' NO

Eumig 30XL YES NO 1 8 25-160 8.5-24 1/1.3 4' none 6AA NO

GAF SS805 YES NO 18* 25-160 7.5-60 01.7 5' 58mm 6AA NO

GAF SS605 YES NO 1 8* 25-160 8-48 1/1.7 5' 58mm 6AA NO

GAF SS250XL YES NO 18* 25-160 9-22.5 1/1.1 6' none 6AA NO

Kodak Ektasound 130 NO NO 1 8 25-160 9 01.2 6' none 6AA1-9V NO

Kodak Ektasound 140 NO NO 1 8 25-160 9-21' 1/1.2 6' none 6AA+9V NO

Kodak Ektasound 150 NO NO 1 8 25-160 9-21 f/1.2 6' none 6AA-19V NO

Kodak Ektasound 160 NO NO 1 8 25-160 9-21 1/1.2 6' none 6AA-19V NO

Kodak Supermatic 200 YES YES 24,18 25-160 9-21 1/1.2 6' none 6AA+9V NO

Sankyo X L4OS YES YES 24,18 25-160 8.5-34 1/1.2 macro 55mm 6AA NO

Double Super 8 Cameras

CAMERA BatterySyncSocket ASA Zoom f/Stop

MinFocus Filter Weight

NoiseLevel Options

Cinema Pathe DS8 SpecialNiCad

Special 1 2-4004-pin(1/Fswitch +pilotone)

6-80 f/1.2( T/1.4)

2' 72mm 3.4kg NA 400' loadsBarney

Canon DS8 8AA none 1 0-320 8-64 1/1.4( T/2)

4' 58mm 3.4kg 6046 -

Other Sync Cameras

There are a number of other Super-8 cameras that can be used asdouble-system sync cameras with theSuper8 Sound Recorder and varioussync cassette recorders such as theScipio, the Philips 2209, and the newUher CR134. They are listed in theaccompanying data table.

Sync Camera Conversions

Owners of Super-8 or 16mmcameras without a once-per-framecontact switch can have aninexpensive conversion made bymany fine camera repair services. Werecommend the work of Mr. Willi(Vilmos) Keresztes at Marty For-scher's Professional Camera RepairService, 37 W. 47th Street, New York,NY 10036. Professional CameraRepair also does 24 fps modi-fications of GAF sound cameras, andprojector modifications to include theonce-per-frame sync switch. On thewest coast, we recommend the workof Bill Allen at Cinema Sync Systems,P.O. Box 61, Ontario, California, whodoes in-warranty conversions of anyBeaulieu camera with Hervic Cor-poration approval.

Double Super -8 Cameras

Double Super-8 is 16mm film with

Super-8 sprocket holes along bothedges (perforated 1-4). It is usedexactly as was old regular 8mm,which was 16mm film with twice theusual number of 16mm sprocketholes. DS8 film is run through thecamera once, turned over, and runthrough again to expose the otherside. Film is loaded on daylightspools, 100 ft. or 400 ft. in length.Many 16mm films are available in theDS format (e.g. EktachromeCommercial and EF 7242). Since theDS8 cameras have built-in metalpressure plates, image registrationand stability are superior to anySuper-8 cartridge camera.

Only two manufacturers haveregular production Double Super-8(DS8) cameras - Cinema Pathe andCanon. Since the DS8 format has somany advantages to offer to theprofessional Super-8 filmmaker, weexpect that other 16mm manu-facturers may soon offer DS8versions of their equipment. Eclairand Arriflex both have built specialDS8 versions of their cameras, andhave given them limited publicity atPhotokina. Bolex has a strong posi-tion in the 16mm and Super-8 market,and might be expected to offer a DS8version of their H-16 or new ELcameras. Beaulieu could offer a DS8version of their R16B. If the stronginterest in Super-8 TV News con-tinues, Cinema Products might betempted to build a DS8, perhapsbased on their planned relatively in-expensive SMO camera.

Cinema Pathe Electronic DS8

The Pathe DS8 is a conversion ofthe Pathe 16mm Electronic camera.Into the rotating 3-lens turret hasbeen mounted the new 6-80mm f/1.2Angenieux lens. The 6-66mm f/1.8Schneider-Optivaron lens is availableas an option. The variable speed (8 to80 fps) includes the highest speed ofany Super-8 camera. The Pathe DS8is a fully-equipped sync soundcamera, with built-in 60Hz pilotoneand 1/F sync switch. It is thus com-patible with all sync recorders, cas-sette or reel-to-reel. The Pathe DS8can be fitted with a 400-ft. magazinewith an integral take-up motor. Thispermits a continuous shot of 20minutes, one of the longest availableruns in any film gauge. A customsound barney is available from KarlHeitz, the importer, making the cam-era very quiet in operation.

Canon DS8

Although closely related struc-turally to the Canon Scoopic 16mm,the Canon DS8 is actually a

names in 16mm, Bolex Super-8 cam-eras show little sign of benefittingfrom the technical expertise that pro-duced the Bolex H-16 camera, theBolex 16 Pro, and the new crystal-controlled Bolex EL. Bolex was first tointroduce a macro lens on a Super-8camera. They now include 1/F synccontacts on their two best Super-8cameras, and 450 and the 480 Macr-ozoom.

The Cinema Pathe Electronic DS8 double-Super-8 sound camera is a conversion ofthe Pathe 16mm model and mounts a 6mm-80mm Angenieux zoom lens in place of thelatter's three-lens turret.

Double•System Camera Data Table

CAMERA Batt.Sync ASACable Range

ZoomRangeI mml f/Stop

Min.Focus

FilterThread Weight

NoiseLevel

S8SXTAL

S8S OtherSilencer Features

Bauer CRoyal 8E

6AA CC8 25-160 7.5-60 f'1.8 Macro 49mm 1.1kg NA NO KIT 1,2,3,4

Bauer CRoyal 10E

6AA CC8 25-160 7-70 f/1.8 Macro 55mm 1.1 kg NA NO KIT 1,2,3,4

Beaulieu4008ZM2

7.2V Edson, 1 0-400Pilotone

6-66 f/1.8 Macro 61mm 1.5kg 55dB YES YES 1*,2,3,5

Beaulieu4008M3

7.2VNiCad

Erlson, 1 0-400Piiotone

6-66 1/1.8 4' 61mm 1.5kg 5548 YES YES 1.,2,3,5

Bolex 450 5AA PC 25-160 8-40 f/1.8 4' 55mm 1.4kg 5556 NO KIT -

Bolex 480 5AA PC 25-160 7-56 1/1.8 4' 55mm 1.5kg 55dB NO KIT -

Canon 814E 4AA PC 16-400 7-56 f/1.4 Macro 58mm 1.55kg 5448 NO KIT 1,2

Canon 1014E 6AA PC 16-400 7.70 f/1.4 Macro 58mm 2.0kg 54dB NO KIT 1,2

ElmoSuper 110R

4AA Special 25-160 7-70 f71.8 3' 62mm 1.4kg 51dB NO KIT 3*

Fujica Z800 4AA Special 25-400 8-64 f/1.8 Macro 62mm 1.4kg NA NO KIT 1,2,3

GAF ST802 4AA PC 1 6-250 7.5-60 f/1.7 5' 58mm 1.7kg NA NO KIT -

GAF ST1002 4AA PC 25-640 6.5-65 f/1.7 5' 77mm 1.9kg NA NO KIT -

Leicina Special 6AA CC9 10-1000 Interchangeable Leica-Mount Len ses 55dB Jensen KIT 3,4.

MinoltaAutopak8 D-12

5AA CC9 1 0-400 6.5-78 f/1.8 Macro 67mm 2kg 55d8 NO KIT 1,2,3,4*

Nikon R8 6AA Locking 10-400PC

7.5-60 f/1.8 Macro 52men 1.6kg NA NO KIT 1,2,3

Nikon R10 6AA Locking 10-400PC

7-70 f/1.4 Macro 67mm 1.9kg NA NO KIT 1,2,3

Nizo 136XL 4AA PC 1 0-160 9-36 f/1.8 3' 49mm .8kg NA YES KIT 4

Nizo 148XL 4AA PC 1 0-160 6-48 f/1.8 3' 49mm .85kg NA YES KIT 4

Nizo 156XL 4AA PC 10-160 7-56 f/1.8 3' 49mm .85kg NA YES KIT 4

Nizo 481, 5480 6AA PC,CC8 10160 8-48 f/1.8 3' 49mm 1.35kg 52dB YES YES 1,2,3,4

Nizo 561, 5560 6AA PC,CC8 10-160 7-56 f/1.8 3' 49mm 1.35kg 52dB YES YES 1,2,3,4

Nizo 801 6AA PC,CC8 1 0-160 7-80 f/1.8 4' 62mm 1.6kg 52dB YES YES 1,2,3,4

Nizo 800P 6AA PC,CC8, 10-160Tuchel

7-80 f/1.8 Macro 62mm 1.6kg 52dB YES YES 1,2,3,4

Rollei SL84 3AA PC 25-160 7-70 f/1.8 5' 55mm 1.1 kg NA ISS KIT 1,3,4.

Sankyo CME444 4AA PC 25-400 8.5-35 f/1.8 4' 49mm 1.3kg NA NO KIT

Sankyo CME666 4AA PC 25-400 848 f/1.8 4' 49mm 1.3kg NA NO KIT

SankyoCME1100

4AA PC 25-400 6.565 1/1.8 Macro 55mm 1.6kg NA NO KIT -

1. Lap Dissolve (* if with accessory) 2. Variable Shutter 3. Tape Recorder Start/Stop 4. intervalometer I * if with accessory)

5. Mirror Shutter

The Beaulieu 4008ZM2 camera, shown here synced with the Super8 Sound Recorder, is thesingle most popular camera among Super-8 sound customers - and the most expensive.The Beaulieu's popularity is due to its Schneider 6mm-66mm lens (the widest-angle lens ofany Super-8 camera), its C-mount lens interchangeability, various speeds from 2 to 70 fps,its manual ASA setting, together with the availability of a crystal camera control and silencer.

completely reworked camera. Thepermanently-mounted zoom lens isthe same 8-to-1, f/1.4 lens as is on theCanon 814E. The Canon DS8 is notbuilt as a sync sound camera; it mustbe modified (e.g. by ProfessionalCamera Repair of New York) toinclude a 1/F sync switch.

It is very noisy, and some kind ofbarney is an essential accessory. Theelectric eye is not through-the-lens.Other technical details are listed inthe table.

Bolex DS8Owners of the Bolex H8 Rex cam-

era should consider a conversion tothe Double Super-8 format. Thisunder-$200 modification is performedby J-K Camera Engineering, Dept.S8S, 5101 San Leandro St., Oakland,CA 94601.

Single -System Super-8A single-system camera is a com-

plete sync sound location outfit,combining a sync camera and a syncrecorder in one housing. Sound isrecorded in sync on the magneticedge stripe at a standard position 18frames from the picture gate. Shotafter shot is in perfect sync; slating isonly needed for transfers to double-system. For one-person film crews,single-system is the ultimate in con-venience and simplicity. All the con-trols are in one place; all decisions,sound and picture, can be made byone person. For these reasons, it isclear that single-system soundcameras will eventually dominate thehome movie market. This is probablyalso the best way to introduce abeginner to sync sound filmmaking,since it postpones learning how tosync up the rushes until the novicehas a creative reason for wantingseparate sound and picture.

The Super8 Sound Recorder canbe used to transfer sound from themagnetic edge stripe to fullcoat magfil m for double-system editing. Thisgives the filmmaker the best of bothworlds - single-system productionand double-system post-production.

The first single-system camerasbuilt (Kodak Ektasound) are veryprimitive designs - 18fps only,rangefinder viewing, automatic gaincontrol and exposure control, noisy,and with a sound hiatus betweenshots.

The second manufacturer to enterthe field. Beaulieu, built a camera (the5008S) that is probably the highestquality Super-8 camera of any kind,single- or double-system, with soundrecording specifications superior toContinued on Page 1322

AMERICAN CINEMATOGRAPHER. NOVEMBER 1975 1261

AUTO I CRYSTAL DIGITAL i LINEPILOTONE

SUPER-8 SYNC SOUND RECORDERSA surprisingly large number of cassette and reel-to-reel recorders arenow available, or can easily be adapted, for Super-8 sync sound shooting

By ROBERT 0. DOYLE

There are a surprisingly largenumber of sync sound recordersavailable for use in Super-8 pro-duction.

First, any professional quarter-inchpilotone recorder can be used with thevarious Super-8 pilotone cameras, orwith crystal-controlled Super-8cameras if a crystal sync generator isadded to the recorder.

Second, several hi-fi stereorecorders, reel-to-reel or cassette,record an audio track, plus either apilotone sync track or the new one-pulse-per-frame (1/F) sync signal usedin many Super-8 cameras.

Third, a number of cassette syncrecorders have been specially de-signed for use in Super-8, most usingthe 1/F sync signal, and one thatutilizes the standard pilotone.

Fourth, any single-system Super-8camera is a sync recorder, since soundfrom the magnetic edge stripe is inframe-for-frame sync and may betransferred to Super-8 fullcoatmagnetic film for editing.

Fifth, and finally, there is the Super8Sound Recorder, a Super-8 fullcoatmagnetic film recorder that is portableenough to be used as locationrecorder, laboratory resolver, soundstudio dubber, and transfer recorder toand from magnetic edge stripe. Thesemultiple functions and the compre-hensive compatibility of the Super8Sound Recorder have earned U.S.letters patent no. 3,900,251 and ledAmerican Cinematographer to de-scribe the machine as the most impor-tant addition to the Super-8 scene" intheir review, "Professional Super-8 at

Photokina '74".We summarize here the major

operating features of the Super8 SoundRecorder and a number of new cas-sette sync recorders that are widelyused in double-system Super-8 syncproductions. We do not discuss syncrecorders like Arrivox-Tandberg, Uher,Stellavox, and Nagra because 16mmcinematographers are familiar withthese machines, and their operation inSuper-8 is the same as 16mm, exceptthat the transfer to mag stock is notnormally done in a lab, but by the film-maker himself, using his own Super-8sound studio equipment.

The Super8 Sound Recorder is nowin use by more than three hundredschools and universities in the UnitedStates and abroad, and more than twohundred industrial filmmakers,government filmmakers andindependent filmmakers.

On Location

The Super8 Sound Recorder willrecord in sync on location with over 40available Super-8 sync sound cameras.No camera modifications are required.The cameras must be equipped with a1/F contact switch (electronic flash PCsocket), a pilotone generator, or becrystal-controlled. The list of synccameras currently available fromSuper8 Sound (all of which are alsocompatible with our sync cassetterecorders) is given below.

Crystal controls are available for anumber of these cameras from Super8Sound. Single-system cameras canalso be used as location recorders, withtransfers to Super-8 magnetic film

made back in the laboratory.Argus 7310Bauer C-Royal 8E, 10EBeaulieu 4008ZM2, 4008M3, 5008SBolex 450, 480Canon 814E, 1014E, DS8Cinema Pathe DS8Elmo Super 110R, 612Fujica 2800GAF ST/802, ST/1002Leicina SpecialMinolta Autopak-8 D12Minolta XL400Nikon R8, R10Nizo 136XL, 148XL, 156XL, S480, 481S560, 561, 801, 800PSankyo CME444, CME666, CME1100

In the Laboratory

Transferring sync sound to Super-8magnetic film requires a sync si

gnalthat provides frame rate information tothe Super8 Sound Recorder. TheRecorder servo-controls its speed sothat one frame of magnetic film passethe recording head for each "frame'ofthe sync signal, whether a pilotoneordigital 1/F signal. Transfers can bemade from professional sync recorderssuch as Nagra, Stellavox, Arrivox-Tandberg, and Uher Neo-Pilot, andfrom the new sync cassette recorderssuch as Philips 2209 AV, Uher CR134,Super8 Sound's Scipio and others.

Transfers can also be made from themagnetic edge stripe of a single-system film by connecting the Super8Sound Recorder to a projector with a1/F contact switch. Professional sou

ndlabs can use the Super8 SoundRecorder in AC line sync with theirother recorder/reproducers.

(LEFT) The Super8 Sound Recorder is the most widely used Super-8 magnetic film recorder. This extremely versatile machine acts as a Synclocation recorder, a crystal recorder, a laboratory resolver, a mixing unit, and a transfer machine. With the use of this equipment and Super8fullcoat magnetic film, Super-8 sync film-making is as straightforward as 16mm practice. (RIGHT) The side panel of the Super8 SoundRecorder, showing the sync socket connector and the panel of switches used to select and monitor the synchronous functions of the recorcs-

The Super8 Sound Recorder synchronizes automatically with the selected sync reference bymeans of its unique electronic speed servo-control capability. Diagram shows the operationof its flip-flop circuit, which ensures that the Recorder's speed matches the reference frame-for-frame.

(LEFT) The crystal-controlled Beaulieu 4008ZM2 and the Super8 Sound Recorder make an extremely inexpensive crystal-sync location rig.More than 40 cameras which, like the Beaulieu, provide a sync signal output, may be used for cabled sync location work with this recorder.( CENTER) Very lightweight sync cassette recorders, such as the Super8 Sound Scipio, may be used to record sync sound. The Super8 SoundRecorder then automatically resolves these tracks. It can also transfer sound from pilotone sync recorders like the Nagra and Stellavox.(RIGHT) The Super8 Sound Recorder will synchronize with any projector equipped with a once-per-frame sync switch, for interlockscreenings. It is shown here with the Bolex SM8 sync projector.

in the Dubbing Theater

Since the Super8 Sound Recorderwill run in perfect interlock with otherSuper8 Sound Recorders, with theSuper8 Sound Sync projectors, andeven with the Super8 Sound Double-Band Projector, the possibilities fordubbing and mixing are extensive.Filmmakers can listen to the originalsync material, over and over if neces-sary until perfect, on a second fullcoatmag film recorder.

In the Sound Studio

The Super8 Sound Recorder offerstwo basic approaches to multiple tracksync recording. One is to use multiplefullcoat magnetic film recorders, allrunning in sync with the AC linefrequency. Any number of Super8Sound Recorders can be interlockedthis way, although sync operation isli mited to a common start. No sync roll-back is possible.

Another method is to transfer editedli p-sync material to one track of a four-channel quarter-inch tape. A pilotonesync signal from the Super8 SoundRecorder is also recorded as a controltrack. Now the same Super8 SoundRecorder can transfer a second full-coat strand, with additional syncmaterial, to a third track of the four-channel machine. The Super8 SoundRecorder will maintain sync against thecontrol track. The fourth track can beused for music, narration, etc. All threetracks can then be mixed down tomake a composite master fullcoattrack, again on the same Super8 SoundRecorder synced to the control track.

In the Screening Room

Sound on fullcoat magnetic film,from the first look at synced-up rushesto the final composite master soundtrack. can be run in double-systemsync with any projector equipped with a1/F contact switch. Projector andRecorder are started together usingeither a Common Start Box or theSuper8 Sound Photo Start for pre-cisely repeatable starts.

Double-system interlock screeningswith a sync rollback capacity can beaccomplished on the Super8 SoundDoubleBand Projector. The Super8Sound Recorder will also synchronizewith AC synchronous equipment suchas the Kodak TVM100A telecineprojector. The Kodak Videoplayer VP-1and VP-X are supplied by Super8Sound with a 1/F sync pulse fordouble-system video transfers.

The Super8 Sound Recorderoperates at both professional (24 fps)and amateur (18 fps) film speeds, andhas built-in quartz-crystal control forcableless sync work at 24 fps. A syncmeter provides positive indication ofsync condition.

The Super8 Sound Recorder is amodified Sony TC800B quarter-inchtape recorder. It operates on batteries(12V) or 60Hz/110VAC. Export modelsoperate on 50Hz, 220V or 110V; theysynchronize at 24 fps, 25 fps, and 18fps, and with a built-in 25 fps crystal.

An illustrated, 28-page Super8

Sound Recorder User's Manual is avail-able for $1.

Super8 Sound Laboratory Recorder

The Super8 Sound LaboratoryRecorder is a non-portable studioversion of the Super8 Sound Recorder.It records on Super-8 fullcoat mag-netic film, using 10 1/2-inch reels (onefull hour). It has all the automatic syncfunctions of the Super8 SoundRecorder except portable crystal syncoperation. These include: transferring(resolving) sync sound from any syncrecorder — cassette or reel-to-reel, 1/Fsync pulse or pilotone; transferringsync sound to a magnetic edge stripewith any sync projector equipped with a1/F sync switch or AC synchronousmotor; transferring sound from themagnetic edge stripe to fullcoatmagnetic film; and multiple recordersynchronization via AC line interlock.

The Lab Recorder is a modifiedCrown PRO-700 three-motor tapeContinued on Page 1318

CRYSTAL-- SYNC SUPER-8

By JON ROSENFELD and AL MECKLENBURG

Crystal-sync cableless operation of the camera-recorder pairs has freedSuper-8 from the umbilical cord and made it an incomparably mobile format

From the beginning of our work withRicky Leacock to build the original MITSuper-8 system, a key factor in the de-sign was to provide crystal sync cable-less operation of the camera-recorderpairs. The extreme portability and easymobility of Super-8 cameras and cas-sette tape recorders would be sense-lessly compromised by an awkwardcable between the two.

When we joined Super8 Sound, onlythe Super8 Sound Recorder was a cry-stal sync machine. Now we have pro-duced crystal controls that mount on

the camera for all the Beaulieu andNizo double-system sound cameras,and developed lightweight crystal syncgenerators for a number of cassettesync recorders that use the Super-8sync signal of one pulse per frame(1/F).

Our latest design is a conversion of aSONY Dolby cassette recorder knownas the XSD Recorder that can be usedfor sync sound by 16mm or 35mm film-makers as well as by Super-8 film-makers, since it uses the industry stan-dard 60Hz pilotone sync signal. The 1/F

sync cassettes are transferred to full-coat magnetic film using the self-resolving capability of the Super8Sound Recorder. XSD cassettes can beresolved to Super-8 fullcoat the sameway, and to 16mm or 35mm magneticfil m using an external XSD resolver thatmatches the speed of an XSD cassetteto the 60Hz AC line frequency.

The XSD Recorder is similar to theMIT/Leacock cassette recorder in thatit is a converted stereo cassette ma-chine, with one track used to carry thesync signal. Unlike the MIT recorder, ithas a separate gain control on the syncchannel, and this makes it possible touse the XSD Recorder with pilotonesync cameras, which vary widely in thevoltage of their sync output signal.

Crystal Camera Control for Beaulieucameras.

The crystal control is enclosed in a 1"x 2" x 2" box mounted on a 2" x 4"bracket. The bracket attaches to the tri-pod screw in the Beaulieu handle. Itweighs only six ounces, adding verylittle to the three pounds of cameraweight. One cable connects to thebattery-charging socket of the camera.drawing the power necessary to drivethe crystal oscillator, and energize thecontrol circuitry. A second cable plugsinto the remote control socket to regu-late the speed of the camera. Theframe rate of the camera is sensed bythe modified Erlson screw-in mountcontact switch. This 1/F contact switchis supplied by Hervic Corporation witha lock-ring 5 pin DIN plug suitable forcable connection to the Super8 Sound

(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 beltworn 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 blooplight 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.

The Cine-Slave Universal Resolver was invented by Inner Space Systems' Technical Director,Bob White, in 1969 and marketed in 1970. In late 1971, ISS became the first firm to crystal-con-trol Super-8 cameras on a full production basis. A Cine-Slave CS-5, with optional plug-in crystalboard, can crystal-control any Super-8 camera custom-modified by Inner Space Systems.

The Beaulieu 4008ZM2 camera with Super8 Sound Crystal Camera Control and the Uher CR134Stereo Cassette Recorder with Super8 Sound Crystal Sync Generator. Early on it was realizedthat crystal-sync was essential to optimizing the extreme portability of Super-8 cameras and taperecorders.

Recorder. This same sync cable con-nects to a 5 pin DIN jack on the crystalcamera control. The Beaulieu camerasrequire no modification whatever.

When the variable speed of theBeaulieu camera is set above 24fps, thecrystal control holds it back to a true24fps. Any setting below about 33fps iseasily controlled, but a setting justabove works best. A light-emitting-diode indicates proper sync operation.Accuracy is one frame in thirteenminutes over a temperature range from-10'C (15°F) to 40°C (108°F).

The control should be unpluggedwhen not in use, even though the op-erating current is only 1 mA, and theBeaulieu batteries can supply this twoweeks before discharging.

The Beaulieu control is available in a25fps version for European use.

Crystal Camera Controls for Nizocameras.

Braun will supply any new Nizocamera with a remote speed controljack that accepts the Super8 SoundCrystal Camera Control. Cameras with-out such a speed control capability maybe returned to Braun North America, 55Cambridge Parkway, Cambridge,Mass. 02140, and the control jack willbe installed for $29.95. This jack servesthe double function of supplying powerto the Crystal Camera Control, andallowing the control to regulate thespeed of the camera. The PC elec-tronic flash contact on all Nizo camerasprovides the necessary 1/F sync signalto the control unit.

The Super8 Sound Crystal CameraControl for the Nizo cameras is thesame size and weight as the Beaulieucontrol described above. It also has thesame speed accuracy, but a signifi-cantly higher power draw (35mA). Un-li ke the Beaulieu, the Nizo crystal con-trol regulates the camera to 24fpswhenever the camera is running on its24fps position, and it is turned off whenthe camera run switch is off, so it canbe left plugged into the camera indefin-itely.

Crystal camera controls are alsoavailable for cameras other than theBeaulieu and Nizo from other manu-facturers, notably from Inner SpaceSystems of Deerfield, Wisconsin. InnerSpace Systems have for many yearsoffered the CineSlave, a synchronizerthat can control the speed of manytypes of film equipment. A Cine-SlaveCS-5 with an optional plug-in crystalboard can crystal-control any Super-8camera custom-modified by InnerSpace Systems. Recently, Inner SpaceSystems have offered more economi-cal pocket-sized versions of their basicCine-Slave control circuit. Their model

PSX is a crystal-controlled Cine-Slavesuitable for controlling modifiedcameras, and their new model PX is acrystal oscillator suitable for recordinga 60Hz pilotone sync signal on onetrack of any two-channel recorder.

Crystal Sync Generator for CassetteRecorders.

For filmmakers who prefer to recordwith a lightweight cassette recorder inthe field, rather than directly onto full-coat mag stock with the crystal syncSuper8 Sound Recorder, Super8Sound has produced lightweight cry-stal sync (1/F) pulse generators forthree cassette recorders — the Scipio,the Philips 2209, and the stereo (plussync) Uher CR134.

The Crystal Sync Generator XG24 is1" x 2" x 2" and weighs about fiveounces. It mounts directly to the strapof the recorder's carrying case, and de-rives its operating power from the cas-

sette recorder batteries. Accuracy isone frame in thirteen minutes from —10°C to 40°C. 25fps versions are avail-able.

XSD (Crystal-Sync-Dolby) RecorderThis latest crystal sync product was

designed for use by 16mm and 35mmfil mmakers as well as Super-8.

The XSD Recorder is a SONYTC153SD stereo cassette recorder withDolby Noise Reduction (Trade Mark,Dolby Labs), modified to include abuilt-in 60Hz pilotone quartz crystaloscillator. It can record sound in syncwith any Super-8, 16mm, or 35mmcamera that is crystal-controlled or hasa standard pilotone sync output. TheXSD Recorder uses high-densitychromium-dioxide cassettes or stand-ard cassettes. In sync use, it is mono-phonic with sync on cassette track 1. Itreverts to a stereo cassette recorder inContinued on Page 1320

SUPER-8 LAB SERVICES AND STOCKSThe lack of professional film stocks and laboratory services presentsserious problems for Super-8 which, it is hoped, will soon be solved.

By RICHARD LERMAN

Perhaps the most serious draw-backs to Super-8 original productionare the lack of professional quality filmstocks and professional-levellaboratory services for Super-8 originalfil m stocks.

The most widely available Super-8fil m stocks — Kodachrome 40 andHigh-Speed Ektachrome 160 — areprojection contrast emulsions intendedfor use by amateur filmmakers whoscreen the original camera stock.These stocks cannot be processed bymost local laboratories, and theirsaturated colors duplicate poorly, withcolor shifts and loss of detail inshadows and highlights. Carefulli ghting can control the lossessomewhat if ratios are kept well below4:1, preferably 2:1, but there is nocontrolling the inherent contrast rangeof much subject material. Low-contrastEktachrome Commercial (7252) isavailable in the Double Super-8 format(DS8), but a limited number of Super-8fil mmakers are using DS8 cameras.Ektachrome EF 7242 is available inSuper-8 cartridges but it, too, is of pro-jection contrast, has relatively softi mages, and a large noticeable grainstructure.

When all these options are con-sidered, many labs prefer the highresolution of Kodachrome 40 as thebest original stock in the Super-8cartridge, despite its contrast prob-lem. Most labs report a small volume(less than 5) of prints as the most com-mon Super-8 original order, and thesewere struck directly from the original inmost cases by continuous contactprinting onto Eastman 7389 and

ELA

EG

EFB

ECO

SM

PXR

4XR

Type of Film

Ektachrome Type GG (Indoor/Outdoor) any light

Ektachrome EF(7242) 3200°K

EktachromeCommercial (7252) 3200° K

Ektachrome SM B3200 ° K

4XReversal 7277

Ektachrome 160

Plus XReversal 7276

processed in a modified ME-4 process.The shortage of lab services is

probably because labs have not yetbeen convinced that there is asignificant volume of business inSuper-8 original production to meritgearing up the expensive liquid-gateSuper-8 printers. Most labs have beencommitted to Super-8 as a release printmedium for years, with the principaloriginal stock being 16mm EktachromeCommercial — a low-contrast colorreversal original. This stock wasgenerally reduction-printed two-uponto Eastman 7387 or 7390 16mmperforated 1-4. For large quantity re-lease an Eastman 7271 internegativewas usually prepared, either two-rankon 16mm stock or four-rank on 35mmstock with five rows of Super-8perforations. Quantities of color-release prints were made on Eastman7381 or 7383, either two-rank or four-rank.

The problem is that few Super-8producers require the volume ofprinting that could merit thepreparation of four-rankinternegatives, and 7271 is intended foruse with low contrast original in anycase. Kodak has recommended aninterpositive two-rank reversal masteron 7252, and this could then be printedonto 7387 or 7390 reversal color printfil m. George W. Colburn in Chicago isoffering these services and with aSuper-8 liquid gate. The cost of allthese steps is, of course, as great as, orgreater than, comparable steps startingwith 16mm original. Colburn also hasthe capability of producing a 7271 two-rank internegative by a low-cost con-

604400'DS8

82A/32 X X X

not rec. X

8513/80 81A/100 none/125 X X X X X

8513/16 81A/100 none/25 X X

X X

— /40 x

—/160 X

— 120 X X

tact print in two steps from the Super-8original, and is studying the possibilityof a 7247 blow-up internegative on thisnewest 16mm color negative stock.

The lowest-quality and mostcommon procedure is a straightreversal contact print onto EastmanEktachrome R 7389. Many 16mm labsuse 7389 as a reversal master, and thiswill no doubt occur also in Super-8,with prints then made also on 7389.Some Super-8 labs are offering single-strand contact prints onto 7389, so theycan sell just one print at a time, as doesKodak's Consumer Print and Process-ing services. Newsfilm Labs in LosAngeles has a large quantity of pre-striped 7389 single-strand like thatused by Kodak.

Most of the labs active in Super-8original production have built heir ownprinters, by custom modifying 16mmequipment. An example is the Super-8Division of Bellevue Pathe in Toronto,whose entry into Super-8 is chronicledby Murray Fallen in another article. Butnow equipment manufacturers arebeginning to respond to the newdemands.

One notable new product is theAcme Mini-Printer Model 5800 fromProducers Service Corporation,Glendale, California. This is a lab-quality low-cost ($13,500) opticalprinter with four basic modes ofoperation: 1) single-strand Super-8original to a Double Super-8 print; 2)single-strand Super-8 original blow-upto a 16mm print; 3) 16mm reduction toa Double Super-8 print; and 4) 16mmoriginal to a 16mm print. The projectorsection accepts 1000 feet of originalfil m and the camera section accepts a1200-foot magazine loaded with 16mmfil m or 16mm film perforated Super-8(1-4). Camera and Projector sectionsboth run in forward or reverse, andhave freeze frame/stop motion. Thelens system includes filter holders forcolor and density correction, and avariable shutter allows fades anddissolves. The Mini-Printer has a103mm Eastman Ektar lens for 1-1printing and an 89mm Eastman Ektarlens for reduction and blow-ups, and isbuilt for daylight operation.

For laboratories requiring additivecolor correction, scene-to-sceneautomatic timing, liquid gate, double-i mage, lenses for single-pass multipleprinting, etc., Cinecraft, International ofContinued on Page 1315TXR Tri X

Reversal 7278 — /200

EMA Ektachrome 40 A 85/25 none/403400° K

KMA Kodachrome 40 A 85/25 none/403400° K

Type of Filter/ASA 464 594 580Color Photo Flood Tungsten 50' 50' 200' 200' 100'Balance Daylight 3400 ° K 3200°K Silent Sound Silent Sound DS8

A 85/100 none/160 82A/125 X X3400 ° K

85/100 81A/125 none/160

— /60

— /400

none/60 none/160 none/160 X

In the editing room at Super 8 Film Group, author Gunther Hoos works with the MKM Model824 tabletop horizontal editing console. Whereas in 1972 even Super-8 synchronizers werehard to find, at present it is possible to cut a Super-8 film on a very elegant 10-plate hori-zontal table. The quantity and diversity of Super-8 cutting equipment now available is as-tounding.

PROFESSIONAL SUPER-8 EDITING EQUIPMENTQuiet but rapid progress in the development of Super-8 editing hardwarehas resulted in a stunning array of such equipment currently available

By GUNTHER HOOS

During the 1974 Photokina, an Eclairspokesman explained that one of thereasons why Eclair was not rushingtheir Super-8 camera to market was thelack of professional film handling andediting equipment. "After all," he saidsomewhat airily, "what's the good of asuperior film image, if you can't edit itafter you've shot it?"

In 1972, he might have had a point.But he said this in 1974 while at leasteight firms, including KEM and Steen-beck, demonstrated their Super-8editing hardware in the same building.

He was not being arrogant. Likemany others, deeply involved in thetraditional film business, he had simplybeen unaware of the quiet but rapidprogress in the development of Super-8 editing equipment. Where in 1972even Super-8 synchronizers were hardto find, by 1975 it had become possi-ble to cut a Super-8 film on a very ele-gant ten-plate horizontal table.

What's more, rather than rushing offto a $100.00/hr sound mixing studio,the filmmaker would simply convert hisediting table to the mixing configur-ation. He would then mix multiple synctrack to a master and finally, still on thesame table, transfer the mixed track insync to his edge-striped film.

This article presents a summary ofpresently available and soon-to-beavailable editing hardware. Most of theequipment is in full production and intosecond and third generation models.The quantity and diversity of the equip-ment is astounding.

Super8 Sound, Inc.Super8 Sound's contribution to

double system editing is representedby three elegantly conceived motorizedvertical editing benches. Three modelsare currently available, the originalbench with one picture and one full-coat track ($795.00), as well as two newmodels built around a four gangMoviola synchronizer. The main dif-ference between the two new models isthat one has two sound heads and theother three. ($1025.00 and $1090.00respectively)

All three benches include a 24 fpsmotorized synchronizer activated via afoot-pedal and engaged with a veryquick-acting electric clutch. Starts andstops are on the frame without coast-ing. Changeover to manual for-ward/rewind is quick. Fullcoat sound isread with a clever sliding magnetichead assembly mounted in editorial

sync with the picture. This head can bemoved 12 frames in either direction ofcenter to help establish sync withoutnecessitating removal of the entirefullcoat strand from the synchronizer.As nice as this feature is, I wish that thehead assembly would truly slide ratherthan jerk. Perhaps the addition of aroller would help. Oil or graphite help abit.

The sound quality is adequate forediting purposes. To get the thing tosound its best really takes a little prac-tice in coordination. It's mainly aproblem of applying the proper tension(drag) to the supply reels, and in notyanking too hard on the takeup whilethe motor pulls the fullcoat past thesound heads.

The synchronizers have been modi-fied by the addition of "outriggers".These handy gadgets pull the film freefrom the sprocket teeth when thesynchronizer roller arms are released,but continue to hold the film on therollers during fast rewind/forward ofsingle or multiple strands. Theseoutriggers help to save you fromyourself by preventing the disengagedfil m from dragging over the synchro-nizer sprockets. When reengagementof the film is desired, the outriggersmake the process very quick.

The outriggers also serve anotherfunction. The Minnette viewer has aclosed gate, and unless you want topunch out the edge of the film frame inthe gate, there is no way to mark theframe at the gate. The outrigger con-

tains markers superimposed over theframe indicator disk of thesynchronizer. By the fact that the view-er gate is exactly 50 frames from thecenter mark of the synchronizer, thedisplacement markers on the out-riggers allow quick alignment of bothsound and picture frame at the framepointer of the synchronizer. Here thecuts are easily marked and the editsmade.

The new benches also come with alittle crank mounted on the synchron-izer shaft. This crank introduces somesemblance of speed control whenhand-winding. It also permits quicklocation of cut and sync marks.

A device most useful when workingwith two strands, is the differentialrewind adaptor. (Standard equipmenton the two gang bench). This Super-8Sound Original has a number offunctions. First, it adapts the Super-8reels for use with standard 16mmprofessional rewinds. Second, becauseof the differential action between thetwo reels, either strand can be movedindependently of the other without theusual tedious clamp and spacer adjust-ments. Third, the differentials allowreels of unequal diameters and full-ness to take up evenly. Since fullcoat ismuch thinner than film, this feature isvery important in maintaining theeditor's sanity.

Before we received our differentials,a disproportionate amount of energyand frustration went into the effort ofkeeping the film and fullcoat from spill-

The Super8 Sound 4-gang editing bench provides the economies of vertical editing, com-bined with the design innovations that make vertical editing in Super-8 a vast improvementover conventional 16mm vertical set-ups. Unique "Third Hand" devices on the rewind armsprevent film spillage and automatically hold back on the supply and take-up reels; no filmbins or bench top holes are necessary. The synchronous motor drive is activated by means ofa convenient foot clutch.

ing all over the editing table.All models of the bench come

equipped with the Minnette S-5 viewer.This viewer has a long history ofdurability, brightness, and gentle filmhandling ability. Order several replace-ment lamps. For some reason, theselamps are hard to find. On a recentdesperate search in New York, it tookfive hours to locate two lamps.

The editing benches also comeequipped with 16mm professional re-winds, friction drags, and long shafts. Apre-drilled Formica mounting boardcompletes the setup.

Other than the extra two gangs, thefour-gang model differs only in that dif-ferentials are not used. To accomplishessentially the same results, Super8Sound modified the rewinds with "thirdhand" rewind clutches that auto-matically hold back on the feed reel. Bylocking the synchronizer and releasingthe desired outrigger, the third hand, inconjunction with smooth-acting spac-ers and hub adaptors, allows a singlestrand of film or fullcoat to be movedindependently of all the others.

In addition to all the hardware, thesebenches come equipped with very de-tail ed operation and assemblymanuals. The only item not included isa squawk box.

To my mind, the four-gang model isreally the most useful. Not only canthree sound tracks be simultaneouslycut, but later, the film can be con-formed into A & B printing rolls. A set ofdifferentials is included for use in thetwo-gang mode.

What with differentials, third hands,outriggers, sync tuning, and displace-ment markers, these benches may atfirst appear a little strange. Takecourage. Read the operations manualcarefully and sit down to edit. In a fewhours you will be cutting as efficientlyas if you had a horizontal table costingfrom two to five times as much.

Specialties Design & ManufacturingCo.

The Specialties editor is a veryeconomical and versatile editing tool

Designed from scratch, this compactunit incorporates a powered four-gangsynchronizer operable either manually,or, via a foot switch and magneticclutch. It is driven by a synchronousmotor at 24fps and includes a foot-age/frame counter.

The unit is designed to work with theMinette S-5 viewer on one gang andthree magnetic heads on the otherthree gangs. A three-channel solidstate mixer-amplifier with individualand master volume control is built in. Aspeaker is also built in. Sound quality isadequate for editing and pre-mixcuing. A fluorescent light well, veryuseful in A&B roll preparation, is built indirectly in front of the viewer andadjacent to the synchronizer. The basicprice (without rewinds and viewer) is$595.00.

In practice, the editor would sit on atable between a set of rewinds. Theviewer would be positioned so that thefil m path is directly in line with the rearsynchronizer gang. Picture and soundwould not be in editorial sync sincesound is read at the synchronizer, whilethe appropriate picture appears somedistance to the left.

To edit with this machine, thefil mmaker must first locate the viewerat some definite point left of the syn-chronizer frame pointer. Let's say 60frames. This location should then bemarked so that the viewer can alwaysbe put in this position during editing.

Then, assuming that picture andsound are in sync and that a cut will bemade, the frame-counter disk is zeroedon the desired sound frame. By movingthe synchronizer 60 frames forward,the picture frame corresponding to thesound frame will be opposite the framepointer. The frame is marked and thecut is made. It is not as simple as in linesync, but it's adequate.

MKM Industries, Inc.

Karl Murgas, president and princ-ipal engineer at MKM Industries ofSkokie, Ill., stands as a pioneer in thefield of Super-8 horizontal table design.The model 824 Super-8 four-plate

editing deck evolved from a personalneed. Murgas found the availableSuper-8 editing systems to beunworkable, so he designed his own.The table was introduced in 1973 for$1200.00. This summer, the firstmodels of the second generationmachines will be delivered. Currentprice for a complete machine is$2000.00.

The present model features a verybright ground glass projected image(3.75x5"), 750 ft. reel capacity (almost40 min at 24f ps), 24f ps sync speed withpushbutton/in/out, a variable speedmotor drive from 1-65fps for-ward/reverse, instant on-framestop/start switch that stops the filmfrom any speed, an inching knob, asolid state amplifier and built inspeaker, a flywheel stabilized soundhead for Super-8 fullcoat, indepen-dent torque motors with cutoff switchesfor each supply and take-up plate,common AC start in sync for interlockwith other AC sync fullcoat machines,modular component assembly for fastrepair by the filmmaker or the factory(only the defective module is sent out,not the 100 pound table), and of coursea declutching mechanism to allow inde-pendent transport of tracks.

Options include a two channel ampli-fier ($125.00), a flywheel stabilizedsingle system sound stripe reader($145.00), and an extension speaker($45.00). For video use, a TV safetymask will be available soon. U.S.distributor is Cinecraft International.European distribution is handledthrough Kem Electronic MechanismsLtd., London, England.

Apart from the technical improve-ments, the new model has new humanengineering. The controls-have beenmore logically grouped and allow theactivating hand to rest on the edge ofthe deck during operation, rather thanhaving to remain suspended in space.The threading path has also beenredesign'ed so that proper film tensionis easily achieved.

Unquestionably, the MKM is a finepiece of engineering and is built towithstand considerable abuse bynovice editors. Chances are that it willwork troublefree for many hundreds ofhours. The model in our studio, used atleast 50 hours per week, needed ser-vice only after about 1200 hours.Nevertheless, a couple of items shouldbe considered.

There is no real advantage to thedeck format. All it does is shrinkworking space, limit the placement ofcontrols, and necessitate the buildingof a special height table toaccommodate the machine. Lack of

1272 AMERICAN CINEMATOGRAPHER. Nay EMBER 1975

work space is the worst complaint that Ihave. In splicing, it sometimes happensthat control buttons are bumped by thesplicer, causing the machine to startmoving at the most awkward mo-ments.

Despite the fact that a hood has beenadded to the viewing system, there isstill a lot of light spill. A tighter andmore enclosing gate is needed.

Expensive or not, a decentframe/footage/time counter is sorelyneeded. The present version simplytells you how many times the sprocketwheel has rotated. You must multiplyby 16 to get a frame count. Perhaps adigital counter could be offered asoption.

Finally, there is a great need for acomprehensive user's manual and for atrouble-shooting guide. Many Super-8fil mmakers are new to film and tocomplex equipment. They need all thehelp they can get. A good model wouldbe the Super8 Sound recorder User'sManual.

As useful as the four-plate machineis, more exciting still will be the new six-plate model now in prototype andplanned for late 1975 production.

The machine has been designed tobe more than just an editing table.Tolerances in the fullcoat sprocketdrives and flywheel stabilization havebeen engineered to permit high-qual-ity sound transfers, re-recording, andmixing.

In its full postproduction configura-tion, the picture track will haverecord/playback capability allowingplayback and recording of magneticedge stripe as well as fullcoat. Theother two fullcoat tracks will be able torecord and playback.

Thus, single-system sound film canbe edited double-system by transfer-ring the sound from the mag edgestripe to one of the fullcoat tracks. Afterconventional editing and a mix, thesound can be rerecorded on the magedge stripe with the proper 18fpspicture/sound separation.

Using common sync start, the tablecan be interlocked with any number offullcoat recorders for more complexmixes or to record a master track.

If the filmmaker already owns one ofthe MKM four-plate editors, amechanical interlock is possible to pro-vide 2 picture/3 sound track editingcapability.

The basic six-plate table will sell forless than $4000.00. With variousrecording amplifiers, a mixer, an equal-izer, a frame/time digital counter etc.its cost will be about $5000.00. The firstproduction model will be introduced atthe upcoming SMPTE Conference inLos Angeles.

Super8 Research Associates, Inc.

The Super8 Research series of hori-zontal tables, after almost monthlydesign changes, finally seem to havearrived at a final version. Rick Minicucciand Sam Roney have designed a trulyversatile postproduction console forthe Super-8 filmmaker.

The current models, due for changesthis fall, are all modular in design. Thetable is expandable from a basic four-plate to a ten-plate with three soundtracks and two picture heads. Currentprices run from $2600.00 to $4500.00.

The features of the table arei mpressive. Independent electricclutching allowing fingertip switchingcontrol of sound and picture. Manualinching of each track. 24fps sync drivesystem. Variable speed motor permit-ting 0-120 fps forward/reverse. In-dependently switchable torque motorsfor each take-up/supply reel. Singlelever transport function control (sync,variable speed, forward/reverse).Large drive sprockets for safe un-stressed film transport. (Masking tapesplices even go through) The viewingsystem employs a modified Minetteviewer with quartz light. Pulldown syncis possible. The table is designed withexcellent work space.

As is stands, the PPC-25 is a honeyof a machine, but some improvementswouldn't hurt. Granted, viewingsystems are not easy or inexpensive todesign. However, considering thepossible applications of the table, areally high-quality viewing system isrequired. At the present, it is im-possible for more than one person tosee the image. In fact, one person can-not glance at both picture heads with-out some head craning. It has been myexperience that there are alwayspeople who need to sit in on an editingsession or for an interlock runthrough.Unless they can see, it will be anunhappy experience. Use of the Min-ette viewing systems should be a stop-gap measure only.

The sound on current machines is abit unsteady. It can be greatly improvedwith an optional flywheel ($100.00). Itshould not be an option. Without theflywheel, the sound is about on a parwith a motorized synchronizer, acondition no respectable flatbedshould long endure.

But enough, those who already ownthe machine have learned to live with itand those who don't have the newi mproved version to look forward to.The new model designations are PPC-35M and the PPC-45M. The newmodels will be available in 6 or 8 plateversions ($3895.00 and $4495.00).Additional Picture heads will cost

$800.00 each.These new machines, they say, will

truly be postproduction consoles. Theywill edit and they will mix. Not only that,but they can lock to a digital pulse trainand resolve to Super-8 fullcoat. Fullrecording capability for mag edgestripe and fullcoat is part of the plan.Separate high quality heads for mixingand transfer will be provided. Specialthreading paths during recording andmixing will serve to stabilize the sound.All sound transports will be flywheelstabilized. A digital footage/timecounter will be an option. Commonstart for interlock with other syncmachines will also be provided.Optionally, the machine will be conver-tible for full large-screen projection.Available this fall, this new version ofthe PPC will definitely be worth waitingfor.

Another new machine, now avail-able, is a very basic (and I stress basic)four plate editing deck. For only$1095.00 you can edit horizontally. Youshould not expect an overly sophis-ticated machine however. There is noamplifier. You provide it. There are noflywheels. If you want them, they cost$100.00 each. If you want a mag stripeContinued on Page 1302

More and more excellent Super-8 splicers,utilizing both tape and cement, are becom-ing available on the market.

SUPER-8 SYNC SOUND PROJECTORSThe projector is much more important in Super-8 filmmaking than in 16mm,because it is often used to transfer sound from fullcoat to edge-stripe

By ROBIN OGDEN

The projector plays a much morei mportant role in Super-8 filmmakingthan it does in 16mm. The reason isthat the Super-8 projector is often usedas part of the sound transfer system forgetting sound from fullcoat to mag-netic edge stripe (and from stripe tofullcoat in the case of single-systemoriginal films). Filmmakers doing theirown sound transfers may find itnecessary to own more than one ma-chine — with one primarily for screen-ing or presentation and another dedi-cated to sound transfer work. ActiveSuper-8 producers will eventually usestill other types of Super-8 projectorssuch as continuous-loop repeating pro-jectors for exhibits, telecine projectorsfor video film chain work, Xenon-arc ormetal-arc lamp projectors for theateruse, and interlock projectors forscreening a workprint with double-system sound just before final editorialdecisions are made. Most of thesetypes of projectors are available now inSuper-8, and are described below.

Any Super-8 sound-recording pro-jector can be adapted for sync workwith the installation of an inexpensivesync signal generator, e.g., a one-pulse-per-frame (1/F) magnetic reedswitch device. This sync signal is usedto control the speed of fullcoat mag film

on the Super-8 Sound Recorder,matching up picture and sound on anexact frame-for-frame basis. All pro-jectors supplied by Super-8 Sound aresync projectors, and Elmo is nowsupplying all its ST1200 projectors withthe standard 1/F sync signal.

To start sound and picture in sync,both projector and recorder can beplugged into the same switched outletbox. When power is turned on, bothmachines make a "common start". Ifstart frames of picture and sound areprecisely at the gate of the projector ata calibrated point near the nagnetichead of the recorder respectively, thetwo will start in sync and then remain insync because of the Super-8 SoundRecorder's speed servo-control. A syncstart method superior to common startis a photoflash start, in which apunched frame in opaque leader firesan electronic switch to start the full-coat recorder. Super8 Sound's Photo-Start device plugs into the remotecontrol jack of the Super8 SoundRecorder, and prevents the Recorderfrom running until activated by a brightflash of light, e.g. a scraped frame of anopaque leader, or a 1000Hz burst ofbloop tone. This device insures arepeatable double-system sync startwithout the frame calibration required

for "common start", and works withprojectors such as the Bolex SM8which don't have the "inching knob"required to get the sync start pictureframe exactly at the gate.

If you want to be able to stop andrestart the projector, and even rewind.in sync, then you need the capabilitiesof a double-band (picture film andmagnetic film) interlock projector. Amachine with such rock-and-roll cap-abilities is available from Super8Sound and is described below.

The installation of a 1/F sync signal isa simple task that can be accom-plished by any camera repair tech-nician. Super8 Sound provides a kit ofmaterials — magnetic reed switches,magnets, mounting strips, adhesives,cable with wired DIN plug — and a setof basic instructions that cover install-ation of a 1/F sync contact switch inmost popular Super-8 projectors. Theyalso do installations.

ELMO ST1200 SYNC PROJECTOR

The Elmo ST1200 stands out as thebest general purpose Super-8 projec-tor currently available. It has the largestreel capacity (1200 feet, 365mm), oneof the brightest lamps, the fastest pro-jection lens available in a Super-8 pro-jector (f/1.1, as an optional extra), andan automatic threading system that canbe monitored by opening the projectorside and (with difficulty) be unthreadedin the middle of a film. It handles full-coat well, and it is almost impossible todamage film with the Elmo. The majordrawback is the Elmo ST1200's poorsound fidelity on film spliced with tape.This is no problem for transfers toprints, or with a well-cemented splicedoriginal, but every time a tape splicepasses the loop former there is asignificant wow, and occasionally a lostloop. It is easy to regain the loop withthe loop former.

The Elmo ST1200 is the first Super-8sound projector supplied directly bythe manufacturer with a standard 1/Fsync contact switch.

EUMIG PROJECTORS

The Eumig Super-8 soundprojectors are the most widely used inthe United States, primarily becausethey have been the lowest-priced ade-quate sound-recording and reproduc-ing Super-8 projectors. The latestgeneration of Eumig machines have"High Quality Sound". a 10-watt IC

Super-8 projectors equipped with a once-per-frame sync switch may be used to transfersync sound directly from Super-8 fullcoat magnetic film to the magnetic edge-stripe of aSuper-8 print. A flash frame on the opaque leader of the picture film fires an electronicswitch to start the fullcoat recorder.

AMERICAN CINEMATOGRAPHER. MOVEMBER 19751276

PROJECTORAMP FREQPOWER RESPONSE

RECORDLEVELCONTROL INCHING STILL

REELCAP.

SPLICEHANDLING VOLT/WATT

LAMP

ANSICODE

LIFE/HOURS LENS

Bolex SM8 8W 60-8500Hz MANUAL (VU) NO NO 800' EATS FILMW/TAPE SPLICES

1 2V/100W EFP(P6834)

50 f /1.3, 15-25mm

Bolex SP8 3W 75-10,000Hz AUTO/MANUAL(LED's)

YES PREHEATONLY

600' GOOD 1 2V/100W EFP 50 f /1.3, 15-30mm

Bolex SM80 1 0W 75-10,000Hz AUTO/MANUAL(LED's)

YES PREHEATONLY

600' GOOD 1 5V/150W EFR 50 5/1.2 1 2.5-25mm

Bolex SP80 Special l OW 75-10,000Hz AUTO/MANUAL(LED's)

YES PREHEATONLY

600' GOOD 1 2V/100W EFP 50 1/1.3, 15-25mm

Elmo ST1200 10W 50-9500Hz AUTO/MANUAL( VU)

YES YES 1200' SOUND WOWSW/TAPE SPLICES

1 5V/150W EFR 50 f/1.3, 15-25mm,5/1.1, 12.5-25mm,5/1.4, 25-50mm

Eumig 5807 3W 75-10,000Hz AUTO YES PREHEATONLY

600' FAIR 12V/75W (P68531 NA 1/1.6, 17-30mm

Eumig 810 HOS 1 0W 75-10,000Hz AUTO YES PREHEATONLY

600' FAIR 1 2V/100W EFP 50 f/1.3, 15-30mm

GAF 3000S NA 1 00-5000Hz AUTO NA NA 400' 1 2V/150W DNE 1 2 1/1.3, 15-25mm

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(VU)

NO YES 400' EXCELLENT 30V/80W ELB 15 5/1.3, 15-30mm

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

Sankyo NA NA AUTO/MANUAL( VU)

NO 600' 1 2V/100W EFP 50 5/1.4, 15-25mm

Si!ma Bivox D-Lux 4W 1 00-7000Hz MANUAL NO PREHEATONLY

600' 12V/100W EFP 50 1/1.3, 16.5-30mm

Videotronic Compact 5W NA NA NO NO 400' 21V/150W DNF,E LZ,ELV

25

Sync Projector Data TableA note on sound projector fidelity: Figures quoted here are as supplied by manufacturers, who vary widely in their criteria for frequencyresponse, power output, etc. Power is generally quoted at the 5% distortion level. Frequency response is generally quoted if there is anyresponse — a few manufacturers also give the range over which response is linear within a certain ±dB figure. Most projectors have asignificant 24 Hz flutter component, at least .2%.

amplifier with excellent frequency andsignal/noise ratio. They have an inch-ing knob and a dimly visible still frameillu minated by the lamp preheat posi-tion. They have automatic threading,automatic gain control only. There is noVU meter. They have a significant 60Hzhum on playback (you must learn toadjust the hum-bucking coil) and it isessential to have an equalizer with a60Hz cut for transfers from strip to full-coat. They handle fullcoat well, but areunforgiving if improperly loaded andoccasionally chew up polyester-basefil ms.

BOLEX PROJECTORS

The Bolex SM8 is a very sturdily builtprojector. It is reliable with well-cemented acetate base splices. It has aVU recording meter and manual gaincontrol. However, it is autothreading,and cannot handle fullcoat or poly-ester-base Single 8 films. It oftenbuckles at a tape splice and chews upthe film in the top sprocket. There is noinching knob and no still frame.

The Bolex SP8, SP80, and SM80 arebuilt for Bolex by Eumig and aremechanically similar to the Eumig pro-jectors — inching knob, dim still frame,60Hz hum. and no VU meter (LED's areused for record level). They havemanual gain control as well as auto-

matic gain control. Bolex too haveadded superior integrated circuit elec-tronics to their latest machines.

KODAK SUPERMATIC 70PROJECTOR

The Supermatic 70 is Kodak's com-promise between a conventional pro-jector and a continuous-loop cartridgeprojector. It accepts film in KodakSupermatic cassettes, and projectsthem onto either a built-in Ektalitescreen or a standard wall screen usingjust one lens. It has high speed auto-matic rewind through the gate, and isready to restart moments after show-ing the film. It has still frame, auto-matic or manual gain control, and a VUmeter. The same Supermatic cassettefits the Kodak Videoplayer VP-1 or VP-X.

EASTMAN SUPER 8 VIDEOFILMPROJECTOR TVM100A

The TVM100A is a conversion of therugged Kodak Pageant chassis and isprobably the heaviest-duty Super-8projector on the market today. An openport on a multiplexer is all that isrequired to give a TV station full Super-8 capability. The TVM100A is AC-syn-chronous at 24 fps. It's 5-bladed shutterproduces 120 images per second. Ithas remote control of all functions, and

an inching knob, but no still frame. Ithas automatic threading through thegate. The lamp is a 21V/150W ANSIcode DNF, with a 3-level lamp switch. Aneutral density or color correction filterholder is provided. It has manual gaincontrol with a VU meter.

ELMO TC1200 TELECINEPROJECTOR

Elmo makes a telecine version oftheir fine ST1200 projector. 60Hz (U.S.)and 50Hz (Europe) versions are avail-able. The 1200-foot reel capacity(360m) holds one hour of film, withmagnetic or optical sound tracks. TheElmo TC1200 has a special telecinelens (25-50mm), and a 15V/150Wlamp. The automatic threading isremovable in the middle of a film. The60Hz version produces 120 images persecond; the 50Hz produces 50 imagesper second. It has remote control offorward projection only.

CONTINUOUS-LOOP SUPER-8PROJECTORS

These cartridges projectors arehighly portable rear-screen projectors(some with optional front screen),usually packaged in an attache case.Console versions are also available.They allow Super-8 sound films to beContinued on Page 1281

AMERICAN CINEMATOGRAPHER. NOVEMBER 1975 1277

By AMBROSE SALMINI

"3 Climbers Fall Into Crevasse""Avalanche Buries Mountaineers""Rescue Helicopter Crashes Into Mountain""Frostbite Claims Toes, Fingers of 'Lost' Climbers"Even though Jim Mitchell assured me the weather fore-

cast was excellent, recent newspaper headlines like thesespoke with a little more authority. I knew Jim had just spentfour days bivouacked in a snow cave in some "excellent"weather. Jim is an internationally famous mountain guidewho would be leading a group of climbing students up14,410-foot Mt. Rainier in Washington State. I had beenworking on a series of survival education films with Jim, andhe felt an instructional film on mountain climbing would fit invery nicely.

Jim couldn't understand why I wasn't enthusiastic aboutshooting sync sound while going over, under, around, andthrough glaciers, crevasses, avalanches — especially above10,000 feet.

I was starting to run out of excuses."The rental shop won't let me have another thing unless I

leave my car for deposit.""Leave the driving to me.""How can I load an Arri in blowing snow at 3:00 a.m. with

freezing hands?"Jim, not knowing a Panavision conversion from an Insta-

matic (1'd at least seen a picture of the Panavision): "Usethat cartridge film that you can buy in all the drug stores."

"Don't be ridiculous, that's Super-8 film for those amateurcameras .. .

Zap! I found myself repeating, "... Super-8 film for those

Setting up to shoot at "Base Camp" on Mt. Rainier. A variety ofSuper-8 cameras were used, shooting both double-system andsingle-system sound. The footage was shot for ultimate transfer to2-inch video tape, with digital time code readout to aid in editing.

1278

4

A slap-happy Super-8 sync sound safari conquers Mt. Rainier, with thesustenance of Ding Dongs, M & M's, Budweiser six-packs and Kool-Aid

amateur cameras ... long zoom lenses, auto and manualexposure, fast and slow motion, self-contained batteries,li ghtweight, portable ..."

Three days later (artistic license) in the parking lot at the5,500-foot level of Mt. Rainier I was desperately attemptingto shove one more Super-8 50-foot cartridge in between apeanut butter and jelly sandwich and a first aid kit.

At some point the lightweight and portable conceptbecame: the Hamton Engineering modified Nizo S56 andSony TC124 cassette recorder for sync shooting; KodakEktasound 130 for research and development purposes(also to separate Ding Dongs from extra socks); Bauer C5XLmodified with a once-per-frame contact switch; Minolta D-6with Intervalometer; Super8 Sound Recorder to shoot syncwith Bauer; Sony TC55 cassette recorder for wild sound;Bolex tripod with small Miller fluid head; Mountain SafetyResearch rock helmet modified by me for POV shots; Bolex233 camera for mounting on helmet; Instamatic X15 for stillphoto documentation; and 50 cartridges of the amateurstuff.

My brother, Peter, usually acts as sound operator/gaf-fer/grip/gofer. He had conveniently chosen this weekend toshoot a documentary about water skiing on Lake Wash-ington. Thus, Jeff Tobolski, a local pilot/fisherman/tape-gap expert, was recruited as sound operator/tape-gap ex-pert/Sherpa (a Sherpa is one who carries your equipment,gets paid very little, and calls you Sahib). We dispensed withthe Sahib routine and shot a couple of quick interviews inthe parking lot as the sun went down Friday night.

Thinking out loud, I mumbled, "If I leave my first aid kit inthe car I'll have room for five more film cartridges and apack of M & M's."

Jim emerged from the Ranger Station where we had allregistered. "Looks like another group fell into a crevasse upon top ..." Then, without a pause, "... Make sure you allhave your 12 essentials — extra wool clothing, emergencyfood and shelter, water, waterproof matches, candles, fire-starter, flashlight with extra bulb and batteries, map andcompass, a signalling device, knife, extra sunglasses, and afirst aid kit. We're leaving in five minutes."

Although I had planned more extensive coverage of theparking lot departure, it was now 9:00 p.m., Friday, and Jimplanned to climb for an hour or so before camping at thebase of the Nisqually glacier. Jeff and I filmed a bear goingthrough garbage cans with the Super8 Sound Recorder andthe Bauer C5XL and then decided to leave them in the car.The Super8 Sound Recorder has proven to be an excellentresolving, dubbing, transferring machine in the studio — butit's a bit heavy to haul up mountains. The C5XL is a fineexisting light camera with a 5-to-1 zoom that runs at 24 fps.With a 230-degree shutter, f/1.2 lens, and Ektachrome ELA160, it's damn near possible to shoot by moonlight. TheBauer was modified by Willie at Professional Camera Repairin New York City, who added a once-per-frame contactswitch — this contact switch is necessary for many of thesync systems now on the market. Some Bauer people tellme their repair facilities are capable of making this con-version quicker and cheaper, but I haven't checked. TheC5XL works especially well at rock concerts where the noiseof its 60 H.P., two-cycle engine is easily mistaken for a drumroll.Continued overleaf

AMERICAN CINEMATOGRAPHER. NOVEMBER 1975

(LEFT) The climbers on Mt. Rainier, buffeted by icy winds and cheered by the roar of recurrent avalanches, arrive at the conclusion that itwould be a nice day to shoot a water-skiing documentary on Lake Washington. (LEFT) On the summit of Mt. Rainier, Jim Mitchell records thehistoric moment for posterity with a Hamton Engineering-modified Nizo S56 camera synced to a Sony TC124 cassette tape recorder.

(ABOVE LEFT) The author, with one of the four cameras he hauled to the summit. (CENTER) The magnificence of 14,410-foot Mt. Rainier, asseen from 50 miles away. (RIGHT) Array of Super-8 equipment carried to the summits of Mt. Rainier and Mt. Adams. (BELOW LEFT) Filmingwith helmet-mounted Bolex 233, while crossing crevasse In which two climbers had just spent 56 hours awaiting rescue. (RIGHT) Jim andNancy Mitchell during early summer filming of survival education series.

"Man from Mars" rig features a Bolex233 camera mounted on MountainSafety Research helmet, with cablerelease.

The author waiting to be pulled fromcrevasse during filming of crevasse res-cue practice prior to Mt. Rainier summitclimb — a requirement.

Shooting with Ektasound 130 on summit of Mt.Adams. Note Mt. Rainier in background. Insnow, over-exposure of 1/2 to 2 stops Is re-quired to photograph people.

Crisis #1 struck when Jeff attempted to pull on his back-pack. With the help of two innocent bystanders he gotstrapped in and began calling me many different names,none of which was Sahib. Crisis #2 struck when a third by-stander had to be called over to help the other two lower thepack on my back. I began yelling about six-figure budgetsand National Geographic Specials where camera operatorsonly have to carry a light meter. Then Jim gave his inspiring,"Because it's there!" presentation. Twenty yards from theparking lot, still deeply inspired and only slightly ex-hausted, Jeff turned to me —

"You forgot something."Thinking I had enough film, batteries and equipment for a

twenty-six week series, I cautiously asked, "What?""You forgot to put the Budweiser in the cooler."A serious error, quickly corrected — as I say, these

Sherpas work for cheap wages.The local lab seems to hate Super-8, and they take it out

by processing my EFB 7242 in warm bath water andcleaning it with wire brushes. If nothing else, they areconsistent. I've tried several different labs with the Ekta-chrome EMA 40, and it always comes back soft, grainy,washed-out, etc. — must be the film. As with larger formats,some emulsion batches just seem to be bad — perhaps afunction of Kodak "stock" on Wall Street. The "2 stops morefun film," Ektachrome ELA 160, is a good original for printson Ektachrome 7389, and it's only one stop more expen-sive. I had thirty cartridges on my back. Jeff carried twentycartridges of Kodachrome II so we could qualify asamateurs and thus avoid getting releases from the climbingparty. I also planned to go directly to 2-inch videotape withthe finished film, so I wanted different stocks to play with.

Secure in the knowledge that the Buds were now gettingcold, we shifted into high to catch up with the pack. Soon wewere 50, 60, then 70 yards from the car. I wanted to getsome silhouette shots against the full moon overhead. "Paton the Back" #1 goes to me for rigging a camera harnesswhich allowed one hand to get warm in a pocket and theother to get cold on the ice axe. At all times in the climb I hada camera in position ready to film avalanches, fallingclimbers, Yeti (Abominable Snowpeople — locally called"Sasquatch") and occasionally I got the lens cap off in timeto get something.

Spectacular shot #1 was accomplished with the Ekta-sound 130 (Yup!) and 160 film. The Bauer stayed in the carbecause I couldn't see hauling two XL cameras — the 130went for political/financial reasons (a product report for theNational Enquirer). Moonlight reflecting off the snow gave asacred existential glow to the climbers.

Although the Ektasound 130 only cranks at 18 fps, thesilent footage could easily be cut with the 24 fps footage( most uphill climbing takes place at a snail's pace — it's thehead-over-heels downhill footage that's a little jerky).

We had a slight 40-degree slope to go down to reach"Base Camp". I remembered to yell "Falling!" just as Ireached terminal velocity — then remembered it onlyhelped to yell "Falling!" if you are on a rope team and theother team members can help you stop. I got my ice axe inthe full stop position in time to see Jeff go by head-first. Weboth laughed this off 300 yards below until I realized mycamera insurance policy covered floods, nuclear blasts,earthquakes, exorcisms — but nothing about crevasses.

Fortunately, Jeff had turned on the Sony TC55 before hefell, so we already had some nice documentary sound of aSony ECM16 mike flailing down a snow field. This tech-nique of anticipating exciting events proved to be veryvaluable in the course of the next few days.

Although my down sleeping bag had been advertised"good to 30 below" and priced accordingly, it apparently

hadn't been tested with 3 cameras, 2 boots, 2 quarts ofwater, $30 worth of batteries, and 1 body. As mountaineersaffectionately put it, "I slept cold." I dream of helicopters,five-figure budgets, the parking lot — and woke up with thei mprint of a Minolta D-6 in my left side.

Our gourmet breakfast of Ding Dongs and Kool-Aidhardly digested, we decided to get up ahead of the party fora potentially beautiful sunrise shot. We spent the next hourtrying to differentiate a Singapore Slip Knot from a Bowline.Finally roped up with prusiks in place (a prusik enables aconscious climber to ascend from a crevasse), we crossedthe Nisqually glacier and set up a telephoto shot with theNizo on the tripod. The problem with the Nizo is that itsSchneider lens is too "cold" — if that's a problem. It's hardto cut some of its crisp footage with that shot by the warmerMinoltas, Bauers, and Kodaks. The early Nizos had troublepushing through some of the thicker emulsions, such as Tri-X. The "multiple imaging" on single frames that resulted wasa nice effect, but, unfortunately, there was no way of predict-ing or controlling it. This apparently can be completelycorrected with a take-up torque adjustment. The blimpedcrystal-controlled Nizo modified by Hamton Engineeringwas the first and perhaps the best of the professionalSuper-8 sound cameras ever manufactured. Unfortunately,production was stopped several months ago — but manyother manufacturers have jumped in with continuously up-graded lines of cameras and camera controls for both singleand double-system filming.

Now the work began. Our objective for the day was CampHazard at 11,500 feet. This meant about five miles and 6,000vertical feet, and that's a lot of Kool-Aid. In spite of thefrequent need of cardiopulmonary resuscitation (air), Jeffwas doing as fine a job as any high-priced Sherpa. From aprecarious perch on a cliff, we shot some nice instructionalsequences of Jim pulling people up the mountain.

Pat on the back #2 goes to Jeff for constantly remindingme to disregard automatic exposure readings when there'ssnow around. The automatic setting will make snow lookli ke an 18% gray card and the brightness range is too greatfor the film to record. Depending on light conditions, it'snecessary to overexpose anywhere between 1/2 and 2stops to get the proper exposure for subjects on the snow.This tends to wash out the snow, but take your pick — two-dimensional silhouettes or washed-out snow.

When the sun got pretty high I threw an ND 0.50 filter onthe front of the Nizo to bring the light down 1-1/2 stops toacceptable exposure levels for the diaphragm to handle.

Spectacular shot #2 was a time-lapse sequence filmedwith a Minolta D-6. I got the climbers running up a 2,000 footslope in six seconds. The Minolta Intervalometer P which Ihad can be adjusted to expose a single frame once everyhalf-second or with other settings up to once every hour.This time-lapse stuff usually gets a laugh because it relievesthe boredom of the rest of the film, so it was probably worththe extra ten pounds. I brought the D-6 along because frompast experience I knew it would function even if everythingelse quit — even if I didn't sleep with it to keep the batterieshappy.

We arrived at what was supposed to be Camp Hazard at5:00 p.m. All Jeff and I could see was a hairy rock slide areawith a seventy-foot glacial wall hanging overhead — a niceplace to camp. Jim Mitchell began clearing a two-foot byeight-foot bedding area and stacked up stone slabs on theperimeter to form a grotto — like a little temple. Maybe heknew something we didn't, so we built our little grotto andput up a prayer wheel just to be safe.

Then we had some fun shooting dinner preparations. Byadding a little water to what looked like an air-sickness bagContinued on Page 1326

SUPER-8 SYNCSOUND PROJECTORSContinued from Page 1277

shown in a normally-lit office, plant, orexhibit. They are widely used bysalesmen to make a specific point thatis best made by a short single-conceptfil m. They are much less expensive andmore portable than color videotaperecorders/monitors that are also widelyused to accomplish the same thing.

A large fraction of all Super-8release prints made are presented inthe continuous-loop format. In the pastsuch films were produced in 16mm andreduction-printed for Super-8 release.Today many Super-8 cartridge-loadedfil ms are produced on Super-8 originalstock, with a cost saving of between 50to 70% on the stock cost, and a savingof 80% on the production and post-production equipment costs, whencompared to 16mm production.

The three most popular types ofcontinuous loop projector are theTechnicolor, Fairchild, and Video-tronic. All three now use magneticsound tracks. Because there is nointerchangeability of cartridgesbetween different brand projectors,producers whose clients already havesuch equipment must be supplied withthe Technicolor and Fairchild car-tridge projectors, but we recommendthat a new installation be equipped withthe remarkable MPO VideotronicCompact Super-8 projector.

We have found the Videotronic to bequieter, with better sound and abrighter, larger picture (the 21V/150Wbulb is the strongest used in anySuper-8 projector), and in a lighter andsmaller package than the Technicolorand Fairchild units. With an auxiliarylens, the Videotronic can also be usedfor front-screen projections.

The Bolex SM80 is one of a fine line ofSuper-8 sound recording projectors incor-porating an inching knob, still-frame,sound-on-sound recording, manual andautomatic gain control.

ELMO SC-8T REAR SCREENPROJECTOR

Although this is not a continuous-loop projector, it has many of the sameapplications. The Elmo SC-8T hasbasically the same mechanical andelectrical components as the ElmoST1200, but squeezed into a portablecase with a large rear screen. It acceptsfil m on reels (400 ft.), and can projectthem both rear-screen, and front-screen, with an auxiliary lens.

XENON ARC AND METAL ARCSUPER 8 PROJECTORS

A Xenon-arc conversion of theHeurtier ST42 is being offered by ValleyProjection of Burbank, CA. The lamp isan ozone-free 500-watt Osram Xenon.1500-hour lamp life. Another firm doingXenon arc conversions of Super-8 pro-jectors is the Optical Radiation Corpor-ation.

We expect that General Electric orSylvania will soon offer a version of theMarc (GE) or Colorarc (Sylvania) metal-arc lamps and power supplies suitablefor replacing the standard Super-8quartz-halogen lamp. Most Super-8projectors now use the common EFPlamp, and the blower system can ade-quately cool the lowest-power metal-arc projector lamps.

This is especially true of the ElmoST1200, which already uses the 150WEFR bulb. Elmo has introduced ametal-arc projector in Japan, and wehope it will be available soon in the U.S.

The Super8 Sound DoubleBand Projector,based on the Eumig S807, makes possiblein Super-8 the interlocked double-systemscreenings so necessary for many applica-tions. The two projectors may also beseparated for individual use when needed.

DoubleBand Projector and two Super-8 Sound Recorders, a two-track syncsound mix can be made while simul-taneously viewing the picture work-print. Of course, wild sounds may bemixed in at the same time. If Super-8fullcoat is run in both projectors, athree-track blind mixdown can beaccomplished.

The DoubleBand Projector can beused to dub new sounds on fullcoat insync with the picture. Its sync rollbackcapability allows concentration on justone short segment at a time. A shortloop of picture, or original sound, canbe run in one projector for the repeatedplayings needed to achieve a precisereplacement of the original material.

For further details on Super-8projectors, including the cablesneeded to do double system screen-ings and strip/fullcoat transfers, sendfor a copy of the SuperB Sound Catalog($1) and SuperB Sound RecorderUser's Manual ($1) to SuperB Sound,Inc., Dept. P, 95 Harvey Street,Cambridge, Mass. 02140. ■

(ABOUT THE AUTHOR: Robin Ogden is avideo and film producer at Video Vision, anexperimental video production company inCambridge, Mass. He has experimentedwith the Kodak Videoplayer and is aconsultant at Super8 Sound, where he issetting up an inexpensive film/video transferservice using the Videoplayer.)

SUPERS SOUND DOUBLEBANDPROJECTOR

The Super8 Sound DoubleBand Pro-jector is a versatile tool for the Super-8fil mmaker's sound studio, dubbingtheatre and screening room. It consistsof two identical Super-8 sound movieprojectors which are mechanicallyinterlocked to permit stopping, restart-ing, and even rewinding in perfect sync.Its primary use is to permit a double-system screening of an edited work-print and fine-cut sync sound onSuper-8 fullcoat magnetic film.

The two projectors can be instantlyuncoupled and run separately. Thispermits easy threading of picture filmand sound film. Each projector has aninching knob to facilitate setting of startmarks in the gate. Once running insync, either projector can be in theplayback or the record mode, permit-ting sound transfers from fullcoat mag-netic film to magnetic edge stripe, orfrom stripe to fullcoat.

Each projector is equipped with aonce-per-frame (1/F) sync contactswitch, permitting sync operation withthe Super8 Sound Recorder. With the

By RODGER J. ROSS

Fifty years ago a new generation offil mmakers was learning how to makeuse of 16mm film for what was thentermed non-theatrical production. Thatformat was introduced in 1923, whenthe Eastman Kodak Company began tomanufacture 16mm film on a safetyacetate base that could be processedwith a reversal method to give positivepicture images on the original film ex-posed in the camera. Intended from thefirst to meet the needs of amateurmovie makers, it was soon found that16mm offered many new — and highlyprofitable — opportunities for utilizingfil m as an audio-visual medium in sit-uations where 35mm was either toocumbersome or too expensive. Theprofessional 35mm sector of themotion picture industry put the stamp"sub-standard" on 16mm, but this onlyserved to spur enthusiasts to demon-strate the advantages of the new for-mat, and as manufacturers improvedfil m materials and equipment, and bet-ter film handling methods wereadopted, 16mm soon acquired profes-sional status in its own right.

Today there is a new contender forprofessional status: Super-8. A film8mm in width had been introduced in1932, to still further reduce the cost ofamateur movie-making. That new for-mat was made available simply by slit-ting 16mm film in half. By the early1960's demands for improvements in8mm picture and sound quality gaverise to numerous proposals for a modi-fication of the format. At the technicalconference of the Society of MotionPicture and Television Engineers in Los

Angeles in April 1964, Eastman Kodakproposed that the perforations shouldbe reduced in size and placed nearerthe edge of the film, giving fifty percentmore space for the picture frames, andallowing placement of the sound trackon the edge of the film opposite theperforations.

The proposed format was enthusias-tically received. Within 12 months,equipment to handle the new 8mmfil m was being marketed and by theend of 1965 SMPTE engineeringcommittees had under considerationno less than 16 standard proposals.The term "Super-8" was adopted todistinguish the new format from theolder "regular-8." Within two years,almost every camera manufacturer inthe world had discontinued the build-ing of regular-8 cameras.

It was anticipated that an enormousmass market would open up for lowcost Super-8 prints, mainly for edu-cational and home use. However, asignificant limiting factor in theuniversal acceptance of films for com-mercial and educational purposes wasthe inconvenience of traditionalprojection equipment. To remedy thissituation many new designs for Super-8 projectors were developed, featuringautomatic threading and cartridgeloading. Manufacturers here andabroad rushed into the design andproduction of competing incompatiblecartridge projection systems. This lackof concern for interchangeability nodoubt bewildered many prospectiveSuper-8 film users. Visionaries of the1960's predicted that department

stores would sell as many Super-8 filmsas record albums, and our localli braries would circulate vast numbersof "paperback films", but disregard ofthe user's needs choked the fulldevelopment of Super-8 as a com-munications medium.

In contrast to the cartridgeprojector situation, a consensus wasreached quickly on the main features ofSuper-8 camera design.

The daylight-loading cameracartridge was accepted as the mostconvenient method for handling film.The camera should have an automaticexposure control system, eliminatinglaborious calculations with an expos-ure meter. The drop-in film cartridgeshould have notches in the leadingedge to automatically set the ex-posure-control mechanism for thespeed of the film in the cartridge. Alarge, bright, upright viewfinder dis-play should be provided with an easilyvisible indicating needle showing f/stopat which the control system sets thelens. The camera should be fitted with amotor-driven zoom lens. Dry cell bat-teries in an internal compartmentshould be utilized to supply power forthe camera motor and zoom lens. Thecamera should be designed for hand-holding, and it should be as light, small,and fool-proof as possible.

Many variations on these basicdesign features, in a price range fromabout $200 to $1200, have emerged inthe market place, as amateur movie-makers, and later on, professional filmproducers began to explore the possi-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 rightare: Super-8 picture film; Super-8 leader, with magnetic edge stripe area; Super-8 "fullcoat" magnetic film; 16mm double-perforated picturefilm, used in silent or double-system filming; and 16mm fullcoat magnetic film, used to record the sound in double-system filming.

A comparison of the old "regular-8" format and the present Super-8 format, introduced byEastman Kodak in 1964. Note that the Super-8 format has a much larger picture area,smaller sprocket holes, placement of the magnetic edge stripe opposite the sprocket holes,and a "balance stripe" to equalize the film plane in both the filming and projection to insureequal focus across the width of the film. Overall film widths of both formats are exactly thesame: 8 millimeters.

cameras can be run backwards, ena-bling effects such as4ap dissolves to beincorporated while the original film isbeing exposed. Many offer a choice offil ming speeds, from 80 frames/sec.down to still-frame exposures. One sig-nificant improvement over regular-8 iswhat might be termed "in-camera edit-ing." Super-8 cameras have an instantstop-start action of the shutter, so thatno frames are overexposed at thebeginning or end of a shot. The join-upbetween one scene and the next looksli ke a physical splice.

At first, Super-8 cameras did nothave sound recording capability, main-ly because sound was not a major con-sideration for amateur movie-makers.Those who insisted on the need forsound with the pictures could have amagnetic strip applied to the edge ofthe processed camera films, and then avoice-over recording could be madeusing a recording projector. In 1969,Bell & Howell introduced a double-sys-tem sync camera to the market, aseparate tape recorder being used forthe sound. With this arrangement,pulses generated in the camera werecarried by a cable to the tape recorderand laid down as a separate track onthe tape. These pulses were thenutilized in projection to synchronize theplayback of the tape with the pictureprojector. There was no capability forediting; even simple rearrangement ofsync shots was essentially impossible.

In 1972, the documentary filmmakerRichard Leacock announced thedevelopment of the first complete pro-fessional Super-8 system. With theassistance of a $300,000 grant from theMassachusetts Institute of Tech-nology, Professor Leacock and hisassociates modified consumer marketcameras, recorders, and projectors toprovide professional capabilities. Thecamera was blimped to reduce operat-ing noise and crystal-controlled,eliminating the cable connection to thecassette tape recorder, which re-corded sync pulses from a built-incrystal generator. A fullcoat magneticfil m recorder was built with a capabilityfor transferring (resolving) sync soundfrom the location cassette. A 4-platemotorized horizontal editing table wasconstructed for editing of picture filmand magnetic film. A projector wasmodified to incorporate a 5-bladedshutter and AC synchronism, whichpermitted synchronous transfers ofSuper-8 film to a color video camera.

Eastman Kodak announced an ACsynchronous telecine version of theirM100A projector the same year, and inthe spring of 1973, Robert a Doyle, aresearch fellow at Harvard University.developed a portable fullcoat mag-

netic film recorder compatible with theBell & Howell double-system and theMIT/Leacock system, including crystalsync. Doyle's new firm, Super8 Soundof Cambridge, Mass., also announcedinexpensive double-system editingequipment based on conventionalmechanical synchronizers, rewinds,viewer, and magnetic head. Double-system screenings were achieved byinstalling a one-contact-per-frame syncswitch in the projector.

Single-system sound came to Super-8 with the announcement in the fall of1973 by Eastman Kodak that camerafil ms with a magnetic stripe would bemade available in 50-ft. cartridges at acost between $5 and $6. Soon a num-ber of single-system Super-8 camerasappeared on the market, the mostnotable of which were the KodakSupermatic 200 with 24 fps operationand 10 minute, 200-foot film loads, andthe Beaulieu 5008S, which has a 6-80mm zoom lens, an f/1.2 (T/1.4) aper-ture, and high-fidelity sound per-formance.

The scope of Super-8 utilizations hasbeen extended still further with theintroduction by Eastman Kodak of theirfil m video player, VP-1. This small,compact, automatic device, at a costless than $1400, gives a video outputfrom Super-8 film that can be dis-played on television picture monitorsand receivers. The quality of the tele-vision pictures from the videoplayercompares favorably with those ob-tained through the use of much morecomplicated and costly equipment.

Original filming with Super-8cameras has the disadvantage that it issomewhat difficult to make prints, and

some losses in picture quality cannotbe avoided in the printing process.Filmmakers associated with televisionbroadcasting have discovered thatthereare many advantages in transferringthe original Super-8 films to video-tape. From that point on, various prom-ising avenues of exploitation openup. For example, the film sequences fora program can be edited into A & Brolls and, during the transfer to video-tape, access can be gained to the fullrange of electronic special effects thata television studio control room offers.

This method of program assemblyhas the advantage that once the trans-fers to videotape have been made, theSuper-8 originals can be retained insafe storage, while distribution of theprogram can be effected with any of thepopular videotape formats.

At the SMPTE technical conferencein Toronto in November, 1974, thechairman of the Super-8 study group ofthe Canadian Broadcasting Corpor-ation, Karl Kruger, described hisgroup's research with Super-8 as anoriginal medium for television produc-tion. Equipment studied included theMIT/Leacock system, the Super8Sound Recorder, a custom-engi-neered fullcoat recorder that wasselsyn-interlocked with a KodakTVM100A, and a rear-projectionsystem that gave excellent televisionpictures from Super-8 film. This wasaccomplished by setting up a studiocamera facing a small translucentscreen in a light box. The light beamfrom the Super-8 projector wasdirected by an arrangement of mirrorsinside the box to the rear side of theContinued on Page 1321

.1 001•LIERIC! CINE1111•TC1CIRAPHFR NCIVEIVRFR 1975

TEACHING FILMMAKING WITH SUPER-8 AT MITHow the modification of appropriate existing equipment, funded by a$300,000 grant, led to the development of a complete Super-8 filmingmethodology modeled closely on existing 16mm crystal-sync systemsBy JOHN TERRY

The Massachusetts Institute of Tech-nology began a limited film productioncourse in 1969 under the supervision ofEd Pincus. Richard Leacock becamethe director in 1970, and I joined theprogram shortly thereafter. From thebeginning the basic philosophy of filmteaching at MIT has been to approacheach student as a potential filmmakerrather than a potential technician. Film-making was approached not solelyfrom a technical point of view, but fromone that encouraged the student toconsider his filmmaking experience onmany levels — personal, political,sociological, etc. The relationshipbetween ideas and their execution infil m form has been our main point ofdiscussion with students. The primaryintent of the film curriculum is to intro-duce students from many disciplines tothe techniques of making film, in theexpectation that they will use this skillas a tool for research and explorationwithin their own fields. The way in whichwe have attempted to implement thisphilosophy in the past six years hasbeen dependent on the level of tech-nology with which we have been able toequip ourselves and the problems andsuccesses we encountered.

We began production courses with16mm non-sync Bolex and Scoopiccameras and Sony 1/4" reel-to-reeltape recorders. Students learneddouble-system editing on Moviolas andsynchronizer/viewer/squawk boxcombinations. From the beginning wefelt the necessity for teaching double-system techniques as the primary

Al Mecklenburg and Charles Meyer threaddouble-system interlock projector for finalscreening of student films at U.F.S.C. Sum-mer Institute. Also pictured are John Terryand Richard Leacock.

grammar of filmmaking. Our limitedfacilities meant virtually nosynchronous sound filming.

But the importance of sync cannotbe overstressed. Significant work canbe done non-synchronously, but astudent must have the possibility ofsync sound if he is to be given access tothe full range of possibilities of film.Gradually, we developed a modest16mm sync production facility. Intro-ductory students continued to workwith 16mm double-system non-sync,and advanced students were "free" touse the 16mm sync equipment. Theli mitations were largely of an economicnature. Often neither MIT nor the stu-dents could afford the budget for aserious sync film. Because of the highcost of 16mm sync cameras, we couldown only a few of them; student de-mand was great and consequentlystudents could spend only a limitedamount of time in the field with theequipment. We thought that the exis-tence of a Super-8 sync system mightsolve some of these problems.

Over the years, we have found thatstudents who filmed on-going realitieshave had more expeditious learningexperiences than those who havefil med directed performances. We haveobserved much less wasted time andeffort by introductory and intermediatestudents filming an on-going inter-action, event, or performance than bythose who have also been responsiblefor the arrival, direction, and per-formance of actors and crews. Thus,the further reduction of the baggage offil mmaking by the development of ali ghtweight, highly portable andtechnologically simple Super-8 syncsystem seemed a most desirable goal.

In early 1971 MIT granted RichardLeacock $300,000 to develop acomplete Super-8 production system,modeled closely on existing 16mmcrystal-sync systems.

The design philosophy we sought toutilize was the modification of appro-priate existing Super-8 products,whenever possible, rather than todesign totally new equipment. Also, weattempted to find electronic solutionsrather than mechanical solutionsbecause we believed this would be acheaper approach. We hoped our newdesigns would have many advantagesfor teaching film over existing tech-niques.

By the summer of 1971, we hadmodified two prototype Nizo S-56cameras for cableless crystal sync. Onewas blimped and one was un-blimped.

In the prototype blimped camera allthe crystal control electronics werefitted inside the camera body. Extend-ing through the blimp were the auto-matic light meter control (which alsoallowed for manual setting), as well asthe control which positioned an 85(type A) filter in front of the film plane.

MIT's first sync prototype cassetterecorder was a modified Sony TC 124.The crystal synctone electronics weremounted in a "black box" attached tothe side of the recorder. Since the TC124 was a stereo recorder, a 48 cpssync tone was fed into the line input ofone channel and the microphone signalwent directly to the microphone input ofthe other channel. A slating device(visible light, and a "beep" tone on theaudio track) was considered to be adesign requirement and wasincorporated in even the earliest proto-types. Very quickly in our research itbecame apparent that high-qualitycassette sound could only be achievedby using better microphones tharthose supplied with the recorders. Wechose the Sony ECM 21 electretcondenser microphone.

By incorporating a pre-amp aroundthe microphone itself, one was able tocontrol volume with the fingers of thehand holding the microphone. We alscincluded in the black pre-amp box aswitchable low frequency cut-off filterwhich was very useful in eliminatincwind noise and in improving the clarityof speech.

For editing, we had two jury-riggecmotorized double-gang synchronizerswith viewers. Thus equipped, we wen:off to Hampshire College to teachSuper-8 sync-sound filmmaking for thefirst time. The occasion was the firs:U.F.S.C. Summer Institute, a three-week intensive gathering of studentswith teachers, filmmakers, photog-raphers, film critics and historians of alpersuasions.

Out of this somewhat primitiveequipment came some remarkable filr -

efforts. MIT's research and develop-ment of Super-8 sync continuecspurred on by the success of our .

intensive course. Since the summer o'1971, we have gradually equipped our-selves at MIT with more and more

In the MIT prototype blimped camera all the crystal-control electronics are fitted Inside thecamera body. Extending through the blimp are the automatic light control meter (which alsoallows for manual setting), as well as the control which positions an 85 (type A) filter Inposition in front of the film plane. The Sony TC 124 cassette recorder, unlike the final Ham-ton production model, has not yet had the crystal-sync generator electronics moved Insidethe recorder body. This lack of internal wiring resulted In some degree of unreliability, due toplugs coming unplugged and the loss of sync or radio signal.

Super-8 production equipment so thatduring the past year at MIT, both intro-ductory and advanced productioncourses were conducted in Super-8sync, and 16mm was used only for"special projects" (those projects withoutside funding when the client clearlywanted 16mm production). We havealso taught four more summer work-shops, and from this experience a veryinteresting observation has emerged.There seems to be very little differencebetween student progress in the three-week intensive workshop and a regularone-semester course of work at MIT.Students seem to learn as much inthree weeks (with classes every day,often editing all night) and emerge withabout the same "level" of finished filmas they do in a course meeting once ortwice a week over four months of theacademic semester. Though we havenever performed similar comparisonsin 16mm production (and we nevercould, due to the high cost of 16mmproduction), this would be aninteresting experiment.

Teaching with both 16mm andSuper-8 for five years has also raisedseveral other interesting issues.Recently, another film teacher askedme directly, "Is teaching Super-8 reallydifferent from teaching 16mm sync, oris it pretty much the same?" The bestanswer I could come up with is, "Yes."

There are several facts about thenature of Super-8 sync that makeintensive teaching situations a viableeducational possibility. In our summerworkshop courses, there are somestudents who have no comprehensionof ASA, exposure, focal lengths, etc.After explaining a few switches, dials,and an initial discussion of automaticli ght meters (concentrating on thenecessity of using them only to get aproper manual setting), students go outin pairs and shoot a test roll of sync!The next day, they resolve-transfertheir sound and the problems ofattaining good sound are discussed.The third day film is back from thelaboratory; rushes are screened silent-ly and camera work is critiqued. Stu-dents then proceed to the editingtables, where they sync up the testrolls. This seeming assembly-line-likeprocedure allows the students toexperience the entire process ofdouble-system filmmaking beforeactually beginning their film projects.This confronts directly the problems weencounter with students who arrive withideas for cinematic projects that are notfeasible because of the time span of thecourse and their level of technicalexpertise.

From the standpoint of cost, perhaps

the most important difference between16mm and Super-8, many questionsarise. While the debate rages as toexactly how much cheaper Super-8 isthan 16mm, let us accept, for thepurpose of discussion, an estimate offil m stock, mag film, and other editingsupplies as being about one-half of the16mm price per minute. Let us alsoaccept the cost of Super-8 camerasand recorders, editing equipment, etc.as being about one-fifth that of 16mmequipment. Stock and equipment areseparate issues, and we should discussseparately the implications of thecheapness of each.

Because of the lower capital value ofthe equipment, one can simply ownmore of it. At MIT we have sevenSuper-8 camera-recorder pairs andthree 16mm camera-recorder pairs.This means we handle more students,who can film in the field for longerprojects, can tackle projects furtheraway from the equipment checkoutroom, and can be involved in higher"risk" situations. Students can film inareas of the city where it would not bewise for inexperienced filmmakers toappear with a 16mm sync rig that looksas if it's worth $10,000 (and indeed is).Because of the "lower profile,"innocuous appearance of some of ourSuper-8 rigs, we never have had any ofthem stolen from students in the act offil ming, which has sometimes oc-curred with 16mm equipment.

But the greatest virtue of cheaper

equipment is the possibility of givingmore students access to the equip-ment. Having more students neces-sarily means we will see a greatervariety of interests in the people whoare coming to learn. If an appropriateatmosphere for the exchange of ideasand viewpoints can be maintained, anopportunity for a superb educationalexperience will exist. Having increasingnumbers of students in film is also afact of the times. It is important toremember Laslo Moholy-Nagy's state-ment that "the illiterates of the futurewill be ignorant of both the pen and thecamera."

Cheaper raw stock and mag film arealso a plus, but not as clear a benefit asthey might at first appear to be. One'si mmediate instinct is to believe that themore one can shoot, the greater thelearning experience, and the bettercameraperson one becomes.Generally, this seems to be true. How-ever, in our summer workshopexperiences I have often found that thestudents who shoot the most often doso because they have the least clearideas of what it is they're after andtherefore they go for a kind of"buckshot" approach and try to shooteverything. The same students oftenhave trouble editing their films becausethey find that in shooting everything,they concentrated on nothing.

The most important aspect ofcamera technique that filmmakingContinued on Page 1299

AMERICAN CINEMATOGRAPHER NOVEMBER 1975 1287

Comparison of cassette and striped film frequency response. Eastman scientists engi-neered a special tape deck that could accept either cassette tape or prestriped Super-8 filmin order to eliminate the deck as a factor. Note superior stripe response, attributable to itshigher lined rate (3 or 4 ips), compared with tape (1 7/8 ips).

By LENNY LIPTON

All Super-8 sound projectors canoperate at either 18 or 24 fps. So canmany Super-8 cameras. What does thisreally mean to you as a filmmaker?What are the reasons for the choice?

People coming to Super-8 from thelarger 16mm or 35mm formats willprobably advise you that the onlyspeed to use is 24 fps. That's the wayit's done in the larger formats. Althoughmost 16mm projectors in service willoperate at either 16 or 24 fps, few, ifany, are suited for sound projection at18 fps: the amplifier is usually turnedoff at the slow speed. And 16mmprojectors designed for theatricalprojection usually don't operate at theslower speed. Thirty-five mmprojectors also rarely operate at what isconsidered to be the silent speed byprofessionals.

All in all, it's fair to say that a soundfil m at 18 fps for the 16mm or 35mmformats is totally incompatible withprojection facilities.

How we inherited the two fps stan-dards is an interesting story: Edisonand his research associate WilliamDickson chose 48 fps for their battery-operated camera in 1889. (It's interest-ing to note that the very first moviecamera was battery-operated. Peopledidn't hand-crank cameras until the

rate was lowered to 16 fps.)While Edison was exclusively inter-

ested in peep show or nickelodeondisplay of his movies, the FrenchLumière Brothers, Louis and Auguste,had other ideas. They adapted earlyEdison apparatus and produced thefirst theatrically projected motionpicture images. The Lumières, whowere photographic platemanufacturers, decided that the Edisonrate of 48 fps was too high to beeconomical, so they experimented withlower rates, and in 1895 settled on 16fps. Twenty years later the Gestaltpsychologists exhaustively deter-mined this very same value for thephenomenon in their laboratories inGermany.

The Lumières were trying to producean acceptable illusion of motion whileusing the least amount of film. So in thesilent days of theatrical motionpictures, the standard was a nominal16 fps. This was an era of hand-cranked cameras — and hand-crankedprojectors as well. With an active aud-ience in the theater, and a musicalensemble in the pit, the projectionistwas creatively tied and profoundly aliveto the dynamics of the moment, crank-ing the projector faster or slower to suitthe dramatic circuit of images,

audience response and music.With the coming of sound, all that

disappeared. (I was going to sayforever, but the description reminds meof the great light shows that flourishedin the rock houses of the psychedeliclate '60s.) Sound forced the decision toraise the fps rate to 24 to get the mostout of the unperfected optical tracks ofthose days. For the technology of the'20s, running 35mm at a higher speedmeant less flutter, that gargling soundor poorly reproduced recordings; and italso meant better high-frequencyresponse for clearer speech and moretreble for music.

As I look at it, 16mm optical soundreally didn't click until the '40s and thewartime need for sound entertainmentand training films for the armed forces.Naturally enough, 24 fps was neededfor good quality 16mm optical sound;as an important feature, it alsoprovided compatibility with 35mm filmsoptically reduced to 16mm.

In the early '50s, magnetic soundtracks for 35mm prints weredeveloped, notably with four-trackstereophonic sound for CinemaScope:but many theaters balked at having toinstall new sound equipment as well asscreens and lenses, so Fox retreatedfrom their original standards andadded an optical track to their releaseprints. That's why you're more likely tohear optical than magnetic sound atyour local theater.

Despite the fact that it's really a hellof a lot better sound than optical, 16mmmagnetic sound never caught on in abig way in this country. It had twostrikes against it from the beginning:magnetic sound prints are more costlythan optical prints, and magneticrecordings can't be played back withthe optical soundheads installed inhundreds of thousands of 16mmprojectors in service.

But now we have Super-8. It's awhole new ballgame, a new era, and anopportunity to develop standards thatare not locked into the technology ofthe past. Films made in Super-8 withmagnetic sound meant for Super-8projection or TV display ought to beshot at 18 fps. In terms of sound qualit\there is no reason not to. Why stick tostandards based on an obsolete med -um for original scund recordincdeveloped in an era that used tubesinstead of printed circuit chips?

1290 AMERICAN CINEMATOGRAPHER. NOVEMBER 1975

Camera Projector

pulldown

A Super-8 film at 18 fps travels atthree inches per second (ips) past thesoundhead, and 4 ips at 24 fps. The dif-ference in sound quality with goodequipment is hard to hear, althoughtest equipment may show some slighti mprovement at the higher speed. Andfor magnetic recording this marginali mprovement will become all butmeaningless as technology improves inthe immediate future.

If you have a reel-to-reel taperecorder, you know it uses quarter-inchtape (6.35mm). The 27 mil Super-8track is just about the same width asone of the four stereo tracks these ma-chines use. Your recorder probablyruns at any of, or all, these speeds: 17/8, 3 3/4 and 7 1/2 ips. You can getgreat results at 3 3/4 with yourmachine. So can Super-8 at 3 ips.

If you have a quality tape deck, usingPhilips-'designed audio cassettes,you're getting hi-fidelity sound withstereo tracks only 21 mils wide, runningat 1-7/8 ips.

If you have listened to a good Super-8 track played back through goodspeakers at 18 fps, you know the soundis really good; and if you bother to run atest, you'll find you have a hard timetelling the difference between 18 and24 fps. Make the test for music andvoice recordings: your ears are thejudge.

Now what about picture quality?Won't an image projected at 24 fps looka lot better than one at 18 fps? Won't ithave less flicker and be less jerky?

There's a vast amount of researchthat has been done on the phiphenomenon: Gestalt psychologistswere practically obsessed with itbecause they used it as theexperimental basis for their theory ofelectrical fields moving through thevisual center of the brain. While peopleworking in psychology and neurologytoday think this theory is not correct,the mass of experiments theyperformed are valid nonetheless. Thephi phenomenon requires from 12 to 16fps for the illusion of motion, the figuresvarying with the sources I've looked up.Certainly 18 fps is more than enoughfor this illusion. Try it out. Take shots ofthe same action at 18 and 24 fps. Dothe movies projected at 18 fps look anyless smooth? I think you'll agree thatthey look just as good as those taken at24 fps.

Now what about the constraintimposed by the persistence of vision,the Critical Fusion Frequency? Simplyput, if a light flickers about 50 times asecond. or more, you won't see aflicker. but rather a continuous light.This 50 flickers a second is called the

Critical Fusion Frequency, and it varieswith the brightness of the light andother factors. Well, for shutters used inprojectors designed to work primarilyat 24 fps, there usually are 48 flickers oreffective frames per second; in mostSuper-8 projectors, at 18 fps theshutter produces an effective 54 fps.So, all things being equal, you'd expectless flicker at 18 than at 24 fps. Usingthe same projector at 18 or 24 fps,you'll be experiencing 54 or 72 flashesper second respectively, since theshutter is usually set up to satisfy theCritical Fusion Frequency for the lowerspeed; you will probably not be able tosee (or hear) any difference.

But why the pressure to shoot andproject at 24 instead of 18 fps? Elitism,ignorance, snobbism, conservatism; orsimply hanging on to standards thatonce had meaning? Who cares?

Don't be taken in. Think the thingthrough for yourself. Try the simplecomparisons I've suggested. Shootingat 18 fps, look how much money andfil m you save! Three 50-foot cartridgesat 18 fps will equal the running time offour cartridges at 24 fps. Both will runfor ten minutes. Both will give finequality. Only someone planning a blow-up to 16mm or 35mm, or Super-8optical sound release prints, has tochoose the faster speed.

But there's even more: you gainabout half a stop shooting at 18 fps.This means that in marginal low-lightsituations you can take movies at 18that you couldn't have at 24 fps. Also,all hardware runs more quietly at 18fps. It's a fact of life: machines' motorsand other running parts make lessnoise running at a slower speed. Notonly does this apply to the camera, butyour projector will run more quietly too.

I think it's an absolute disgrace that24 fps is being palmed off as necessaryby an industry rapidly expanding to fillthe needs of people deeply into Super-8 filmmaking. And a few items of goodequipment will operate only at 24 fps.For shame! Moreover, as long as 24 fpsis considered to be the professionalstandard, designers are likely to maxi-mize their equipment specifications forthis speed, letting the 18 fps user takesecond best. If designers want to makesuperior 18 fps equipment, they caneasily enough, since the differencebetween 3 ips and 4 ips is not verygreat.

And even if video presentation isplanned, there isn't any excuse for this.The Eastman videoplayer will operateat both speeds, so films can be shownclosed circuit, broadcast live or trans-ferred to tape, if need be, all at 18 fps,the home moviemaker's humble speed.

pulldown

pulldown

pulldown

A Camera-projector shutter cycle. Thedrawing compares the action of the cameraand projector shutters and pulldown for oneframe of film. While the camera shutter ismade of a single blade, the projector shut-ter in most Super-8 machines is made ofthree blades. The segment of the projectorshutter marked with the arrow preventsprojection of the moving film, while theother segments interrupt each frame twice,producing an effective fps rate of 54 at 18fps, and 72 at 24 fps. (ABOUT THE AUTHOR: LENNY LIPTON isa well-known filmmaker and author whosecurrent passion is the simplicity of theKodak Ektasound Super-8 single-systemcamera. He defends even the lowest-costcameras as valuable communications toolsadequate to many tasks. Here he arguesthat the more economical 18 fps amateurfilm speed, originally standardized as theSuper-8 silent speed, but now a soundspeed on low-cost Ektasound cameras,provides more than just acceptable imageand sound quality. His latest publication"Super 8 Book", is now available fromStraight Arrow Books.)

AMERICAN CINEMATOGRAPHER. NOVEMBER 1975 1291

Diagram showing comparison between the new "1/F" (once-per-frame) sync pulse signal,and the conventional pilotone signal (60Hz sine wave, 50Hz in Europe), which is a perfectlyacceptable alternate sync signal for Super-8 use. Most new sync cameras and projectorshave a built-in 1/F switch.

By ROBERT 0. DOYLE

The need for standards, especiallycompatible sync signals andinterchangeable equipment, should beobvious to anyone who wants to makeSuper-8 a professional medium. Butdespite the obvious, inventive peopleseek to do things slightly differently,and almost always for what they per-ceive to be a good engineering reason.This urge to do one's own thing is alsomotivated by the thought of financialgain as the inventor's company reapsthe benefits of a market place it hopeswill become wedded to its proprietary(usually incompatible) approach.

Few strong voices tend to be raisedin support of doing things in just oneway, simply in order to get on with thebusiness of doing things. Moreover,these isolated voices rarely have themedia clout of a large company widelyadvertising its patented process in anattempt to corner the market.

The failure to agree on standardshas led to production inefficienciesand, in some cases, virtually completemarket collapse as giant companiesrefused to compromise on any onedesign. Examples close to the motionpicture industry include 33 1/3 vs. 45rpm record speeds, the videotapeformat controversy, and the choice ofaudio cassette design. RCA's 45 rpmdisc with the large hole and secondspeed have kept record-handlingequipment more expensive than it

should have been for years. The loss toone consumer may be only a few dol-lars or cents but the societal loss is inthe millions of dollars. The multiplicityof videotape widths and formats wasreduced somewhat with the well-knownEIAJ-1 standard for 1/2 inch videotape,but then complicated by Sony'sintroduction of a 3/4 inch videotapeand the option of reel-to-reel orcassette versions of 1/2-inch tapeoffered by Philips and Sony. Thestandard compact audio cassette isconsidered a classic of industrycooperation, initiated by Philips'unusual offer of royalty-free licenses toany company observing the technicalspecifications of Philips' compactcassette design. This led to thewithdrawal from the market ofcompeting cassette designs by3M/Wollensak, RCA, and others whoare now benefiting from the resultingenormous audio cassette market. Asimilar competition is in process toestablish a preferred design for thenew Videodisc, with many of the samecompanies in the running.

Standardization problems within theSuper-8 industry are consideredresponsible for the failure of Super-8fil m to become much more widely usedas an audio-visual medium. In the late1960's almost every projector manu-facturer rushed to design his ownautomatic-threading, automatic-load-

ing Super-8 cartridge in the hopes ofcornering the market. The thought wasthat the more convenient Super-8projectors would replace harder-to-use1 6mm equipment — a $4-millionannual market. Unfortunately, potentialusers found it difficult or impossible todecide between projection cartridgesfrom Kodak, Bell and Howell, Techni-color, Fairchild, Bohn-Benton, and sev-eral others. As a result, most film usersstayed with 16mm which, while some-what harder to use, was at least aninternationally standardized format.

Although the Super-8 projectioncartridges were incompatible, onewould naively think that at least theSuper-8 sound film inside the cart-ridge was standard. This was actuallynot so, thanks to the imaginative designefforts of engineers in the differentcompanies on how to record soundtracks. Some chose optical sound.others magnetic. Some recordedsound at 18 frames displacement fromthe picture, some 28 frames and some125 frames. The result drove labor-atories crazy and kept lab charges highas each Super-8 order had to be acustom order.

Today Super-8 sound tracks arealmost invariably magnetic, and withsound displaced 18 frames from thepicture. This has been the result o'users expressing their preferencesthrough their buying decisions in themarketplace, and not because o'industry agreement or compromiseBasically the only option that remainsbesides magnetic or optical sound isthe 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 thesound speed. Subsequently, Kodak'sConsumer Markets division intro-duced single-system sound-on-stripeSuper-8 cameras (Ektasound), with justone running speed — 18 fps — whichthey 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 andfidelity at 18 fps is more than ade-quate, enthusiastic proponents of the

speed like Lenny Lipton wa -

everyone to save the additional 25°/: -fil m stock costs.

1292 AMERICAN CINEMATOGRAPHER. NOVEMBER 1975

RECOMMENDED STANDARD TRACK POSITIONS ON SUPER-8 FULLCOAT MAG FILM

Super-8 fullcoat magnetic film has the same width, sprocket-hole size, and pitch as Super-8picture film (ANSI Standard PH 22.161-1968). It is recommended that it be used in "A" wind,so that if run through a Super-8 sound projector it would have the emulsion (magnetic oxide)position away from the lens, in the normal magnetic stripe position.

The location of the magnetic record on the mag film is specified with reference to the edgeopposite the sprocket holes. The dimensions and locations are defined to be the same as theNAB standards for quarter-inch magnetic tape. There is slightly more than one quarter-inch(.251 inches) between the reference edge and the inside edge of the sprocket holes.

Any recording made on track 1 of a four-track NAB recorder adapted to fullcoat, or track 1 ofan adapted two-track NAB recorder, o an adapted full-track NAB recorder, provides a mag-netic record in the area of the Super-8 magnetic edge stripe (.027 inches from the definededge). Conversely, signals recorded on the magnetic film by a Super-8 recording projectorcould be read by track 1 of any format adapted NAB recorder, although with decreased sig-nal/noise ratio in the larger format.

Lipton's eloquent defense of 18 fpsin the accompanying article demon-strates the directly measurable benefitsfor any filmmaker who shoots 18 fps.What is not stated is the indirect disad-vantage that accrues to the filmmakerand to all Super-8 filmmakers, be-cause of the resulting confusionbetween speed options and therequirement for manufacturers toinclude every such option on all futureequipment.

While each additional option mayseem easy to defend, the additionalcost added by the manufacturerincreases the final cost of Super-8equipment to the filmmaker andreduces the overall size of the industry.For example, sound projectors that canhandle both Regular 8 and Super-8cost about $100 more than thoseexclusively Super-8.

The confusion produced by toomany options extends everywhere. Willevery Super-8 film festival require aleader on each film stating theprojection speed? Even that won'tprevent some false starts at the wrongspeed, and the resulting amateurishenvironment. How will a teacher usingSuper-8 be sure of the speed? Thepotential for embarrassment will nodoubt sometimes prevent the use offil m in class. Will labs be slower to buythe more expensive sound equipmentrequired for two-speed capabilityinstead of just one speed? If so, this willpostpone the day when completeSuper-8 lab services will be availableeverywhere.

A Single "Professional" Sound SpeedFor Super-8

We strongly recommend 24 fps asthe preferred sound speed. Film shot at24 fps can be transferred to video onhigh-quality telecine projectors, andcan be blown up to 16mm on a frame-for-frame basis. With this choice, thereis a single sound speed for all profes-sional film formats — 8, 16, 35, and70mm.

A New Sync Signal For Super-8

We recommend that the Super-8sync control track consist of a singlepulse for each frame of film. The"pulse" may be a short burst of tone(nominal 1000Hz), a voltage spike, asquare wave or a sine wave, or anyother signal that can be converted byavailable electronic circuitry to one ofthe above. A multiplicity of waveformsare all compatible with the basicrequirement of one "signal" for eachframe of film. An important example isa simple switch closing once per frame(1/F). Such a switch (mechanical oroptoelectronic) is used in most Super-8

sync cameras and sync projectors. Wecall this "1/F" (once-per-frame) sync or"digital" sync to distinguish it from theconventional pilotone signal (60Hz sinewave, 50Hz in Europe) which is aperfectly acceptable alternate syncsignal for Super-8 use.

Track Locations For Super 8 FullcoatMagnetic Film

We recommend that Super-8 mag-netic film have the same width,sprocket hole size, and pitch as Super-8 picture film (ANSI Standard PH22.161-1968) and that it be used in "A"wind, with the emulsion (magneticoxide) position away from the lenswhen run through a Super-8 projector.

The distance from the inside edge ofa sprocket hole to the unsprocketededge of Super-8 fullcoat is .255 inches,just slightly wider than quarter-inchmagnetic tape. Because of thisfortunate coincidence, there is no needto design new magnetic heads for usewith Super-8 fullcoat. We recommendthat the existing international standardtrack locations for quarter-inch tape(half-track, quarter-track, and full-track) be adopted as the standard tracklocations on Super-8 fullcoat magnetic

fil m. The position of the magneticrecord on the fullcoat will overlap thenormal magnetic edge stripe positionon Super-8 sound picture film, whetherquarter-track, half-track, or full-trackmagnetic heads are used. This choiceof track location insures that themagnetic head in a Super-8 soundprojector will be able to read the full-coat sound track, and tracks recordedin Super-8 projectors can be playedback on Super-8 fullcoat recorders. AtPhotokina in 1974 every manufacturerof fullcoat recording equipment andfullcoat editing equipment wascompatible with this recommendationexcept one (and this one announced itwould conform to the recommendedpractice in the future).

The ad hoc committee of SMPTE isconsidering many other recommendedpractices relating to sync sound Super-8 equipment, but these three are farand away the most important issuesbefore us. Every potential user ofSuper-8 is also a participant in theprocess of establishing workablestandards, for in the last analysis it willbe the equipment that is bought andused that will define tomorrow'sstandards. ■

AMERICAN CINEMATOGRAPHER, NOVEMBER 1975 1293

CASE AGAINST SUPER-8Continued from Page 1255

Super-8, the Super-8 producer willhave the added expense of workingaround location problems without thebenefit of these tools.

There are other little gadgets for16mm cameras that are designedspecifically for low budget filming.Among these are freeze-frame de-vices, slide duplicators and the like. Inaddition, there are certain 16mmcameras that are particularly suited toproducing professional films on a mini-mum budget. The Bolex Rex 5 isprobably the best example, with amyriad of in-camera low budget trick-ery, as well as reflex viewing. It has avariable shutter, automatic fades anddissolves, frame counter, backwind formultiple exposures, matte box for splitscreens and mattes, single-frame,variable-speed time-exposure, plus theavailability of 400' magazines, crystalmotors and an underwater housing.The imaginative low budget producercan make a very professional lookingfil m complete with effects and titles withthe raw stock never leaving the camera.The Bolex body can still be had foraround $1000. new, and that would behard to beat in Super-8.

Because sound gear is totallyindependent of the cinematography, itshould be obvious that the expensesinvolved for sound recording andtransfer should be about the sameregardless of the film format em-ployed. It is true that there have beennew low budget sound record-ing/transferring techniques developedfor Super-8, most notably the "Super8Sound Recorder". However, if thisquality is acceptable, there is no reasonwhy the Super8 Sound Recordercouldn't be used on a Super Pana-vision 70 production as well as 16mm.In general, most low budget tech-niques designed for Super-8 can beapplied to the larger formats but theopposite is not always true.

Now we come to physical size. First,size of equipment. As Super-8 gets

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more sophisticated, the cameras aregetting bigger while 16mm cameras aregetting smaller. I have recently seen aprototype of a new silent-reflexed,double-system 16mm camera made bya major professional camera companythat is about the same size and weightas the larger Super-8 cameras. I do notbelieve there is that much size orweight advantage to Super-8 for agiven class of camera. However, thisparameter is easy to judge and eachproducer can decide for himself. Thesize of the film is a different story. Thereis an optimum size for every productthat must be handled by human beings.This is a science known as human engi-neering, or anatomical design. Anexample of poor anatomical design isthe digital calculator company, which,in its zeal to miniaturize, made a cal-culator so small that the human fingerwould depress four buttons at once,due to the small size and close prox-i mity of the buttons.

Obviously, there is always an ana-tomical optimum for any product that ishandled. Most editors will agree that35mm (not to mention 70mm) is quitebulky to work with. On the other hand,8mm and Super-8 are most assuredlyon the small side of perfection. (Askany Super-8 editor who can be identi-fied by his squinty, bloodshot eyes andfrazzled nerves). The optimum ana-tomical size is somewhere betweenthese two extremes and most likelyaround 15mm to 17mm.

Now a clear picture is beginning toform. In reality, 16mm is better suited tolow budget production in most situ-ations. The cost of camera, lighting andsound gear is approximately the samefor the 16mm and Super-8 formats. The16mm format, however, has severaladvantages in available light, low budg-et location situations as previouslydiscussed. In addition there is a greatervariety of film stocks, processing anddevices available to the larger formatsthat can facilitate low budget tech-niques. Moreover, the larger size of16mm can cope with the less-than-i mmaculate and haphazard conditionsthat surround extremely low budgetproductions where the Super-8 formatwould yield totally unacceptable re-sults.

The notion that Super-8 productionis less expensive than 16mm is largelya myth. One of the main reasons for thismyth is that psychologically one is will-ing to accept much lower standards ofquality when shooting Super-8. ("That'snot bad for Super-8.") Moreover, theaverage Super-8 filmmaker is morededicated to low-budget technique. Ifthe Super-8 producer would applythese same standards and low budget

zeal to 16mm production, he would besurprised to find a superior end pro-duct with less hassle for the same, if notsmaller, budget.

So where is the great advantage ofSuper-8? Almost all overhead is thesame no matter what format you use:fil m crews, post-production, equip-ment, lighting, sound recording/trans-fer, transportation, rent, shipping, etc.As we have seen, Super-8 can actuallybe more expensive in many situations.With specific exceptions, the advan-tage of Super-8 can be summed up inone statement: "Super-8 offers anadvantage over larger formats onlywhen the cost of the raw stock and proc-essing comprise the major portion ofthe budget." Thus, if the overhead canbe reduced to the point where the rawstock accounts for more than 50% ofthe total production costs (and Super-8 image quality is acceptable), thenSuper-8 offers a decided advantage.

Into this category will fall sports ana-lysis, student films and small TV newsstations where the new Kodak Super-8video transfer machine will offer de-cided advantages over electronic newsgathering.

But for the majority of film produc-tion — and this includes the mostsimple educational, documentary, in-plant and commercial films — the costof raw stock is a mere fraction of thetotal budget once all production, pre-production and post-production costsand overhead are realistically cal-culated. The bottom line figures willusually indicate that the larger formatwill pose fewer problems, facilitatequicker production, and, in the end,save money over Super-8 production.Not to mention the fact that a larger for-mat produces a far superior image, andalways will. ■

CINEMA WORKSHOPContinued from Page 1236

ing image quality is the generation ofthe projector print. I have recently seensome large screen projection tests, andam convinced that projected Koda-chrome Super-8 original is indis-tinguishable from (if not better than)standard third-generation 16mm(16mm release from internegative of16mm ECO original). This is a primeconsideration for camera-originaldirect projection applications, such asfil m-to-video and sports analysis.

The cinematographer should befamiliar with the basic statistics for areference. However, an exhaustive andcomprehensive analysis of the formatsystems must precede a final decisionon format size. ■

AMERICAN CINEMATOGRAPHER. NOVEMBER 19751296

A.S.C. CINEMATOGRAPHERSAVAILABLE FOR SEMINARS,LECTURES, INFORMALDISCUSSIONS AND QUESTIONS &ANSWERS SESSIONS.

The following Members of the Ameri-can Society of Cinematographers haveindicated their availability to appear forseminars, lectures, informal discus-sions and questions and answers ses-sions pertaining to motion picture andtelevision photography, lighting,special photographic effects and pro-duction in general: Ted Voigtländer,Alan Stensvold, Vilmos Zsigmond,Ernest Laszlo, L.B. Abbott, LloydAhern, Chuck Austin, Victor Duncan,Ray Fernstrom, Lee Garmes, BurnettGuffey, Gerald Hirschfeld, MichelHugo, Victor J. Kemper, AndrewLaszlo, Frank W. Stanley, RichardShore, Earl Rath, Sol Negrin, RichardMoore, Fred Mandl, Harry Wolf, RalphWoolsey, Taylor Byars, Richard A.Kelley, David S. Horsley and JamesWong Howe.

Arrangements as to availability andother details are to be made directlywith the individual A.S.C. Member. Forfurther information, contact: AmericanSociety of Cinematographers, P.O. Box2230, Hollywood, California 90028.Telephone: (213) 876-5080.

•

REORGANIZATION OF SUPERSINSTITUTE

Mr. Soo Hum, motion pictureproducer, researcher and writer on allaspects of Super-8 production andpost-production, has been appointedthe new President of the ProfessionalSuper-8 Film Institute.

The Institute was originally formed inAugust of 1973 to meet the needs ofpeople who were interested inobtaining the maximum professionalquality from Super-8 film and equip-ment, and to have an organizationwhere they could get in touch withothers who were equally seriouslyinterested in upgrading the quality ofwork in this film format. This basic con-cept is still the prime directive of theorganization. In light of the evergrowing volume of software, the Insti-tute will expand its activities to pro-vide detailed reports oriented to theindustrial user.

The Institute's new program will takethe form of an Information Releaseevery second month commencing inJune. The releases will contain thelatest in-depth reports on professional

Super-8 production and technology,subscriber feedback, and its ownunique equipment reports.

The Institute is in the process ofcompiling the first Super-8 Informa-tion Resource Directory. This publica-tion contains the "what" and "where-to-find-it" of Super-8 professionalservices that are available to theserious Super-8 film-maker. TheDirectory will be updated periodically inkeeping with the Institute's policy ofhaving the latest and most definitiveinformation constantly available to itsreaders. They will all be based onactual use of the service or product bythe research staff of the Institute.

The Institute will also be reporting onSuper-8's involvement in the video-tape field. Many people today areshooting productions in Super-8 filmbecause of the light weight and low costas compared to conventional 16mmand 35mm equipment and film, andalso compared to portable videotapeequipment. The developed Super-8color films are then transferred tovideotape, edited in videotape, and theContinued on Page 1339

THE STATE OF THE ARTContinued from Page 1252

tioned optimism, the growth of Super-8as a professional filming format will re-main stunted until the last formidableobstacle in its path has been removed— namely, the inability to get Super-8prints of even acceptable home-moviesquality from Super-8 originals shot withcartridge-load cameras.

Consider the irony and incongruity ofthe fact that Eastman originated theSuper-8 format in cartridge-load form.Moreover, it developed highly sophis-ticated cameras to accept that cart-ridge and encouraged many othermanufacturers to do so. Yet, with all ofthis emphasis on the cartridge, thesimple fact is that all of Eastman's cart-ridge-loaded color films on the marketto date "are designed for optimum pro-jection" — to use the company's ownterm. In other words, they are all in-herently high-contrast films which lookfine when projected, but which makeperfectly abominable prints when usedas printing meda. Using inter-neg-atives made from these high-contrastoriginals simply compounds the felony.

Eastman blithely talks its way aroundthis problem by telling us that if wewant professional-quality prints weshould shoot in 35mm or 16mm andmake Super-8 reduction prints. Theonly other alternative is to shoot in

Double Super-8, using one of the fewcameras on the market designed tothat format — and which are the samesize as 16mm cameras. In either case,the advantages of using small, highlysophisticated cartridge-load Super-8cameras are negated.

No "professional" in his right mindwould consider going through all thetrauma of making a film and then pro-jecting his precious original for all ofthe screenings. Yet, that is what hemust do if he uses cartridge-loadcameras and hopes to get an image ofprofessional quality onto the screen.

It is hoped that it will finally dawn onthe Eastman people that talk of "pro-fessional Super-8" is all very fine, butthat if the term is to amount to any-thing more than fine-sounding talk, thecompany should make its ECO rever-sal and 7247 color negative stocksavailable in cartridge-load form.

When I have made this suggestion toEastman executives over the years, Ihave been told, "As soon as there issufficient demand, the company will dosomething about it."

Gentlemen, the demand exists —now!

The purpose of this special Profes-sional Super-8 issue of AmericanCinematographer is not only to pro-vide a comprehensive summation ofthe very latest state-of-the-art develop-ments in equipment and techniques forSuper-8 production on a "profes-sional" level, but also to present asobjectively as possible the "pros" and"cons" of such production. It is not thepurpose of this publication to endorseor recommend any of the methods orequipment discussed in these pages,but merely to make the data available,so that the reader may form his ownjudgment on the basis of the facts pre-sented — plus, it is hoped, his own re-search.

The major bulk of the subject con-tent of this issue was researched,assembled and edited by Robert 0.Doyle, Julie Mamolen and Anton Wil-son. American Cinematographerwishes to express deepest gratitude tothese people — as well as to the indivi-dual contributors — for their tremen-dous dedication, attention to detail andsheer professionalism in making avail-able the vast mass of information pre-sented in these pages. ■

(EDITOR'S NOTE: When various experts inthe field were invited to contribute featurearticles for this special Professional Super-8issue, the response was so overwhelmingthat, despite the addition of 16 extra pages,we regretfully had to omit several excellentarticles. However, they will appear in thenext — December, 19 75 — issue ofAmerican Cinematographer.)

AMERICAN CINEMATOGRAPHER. NOVEMBER 1975 1297

FUJICA

See the FujicaSingle-8 cameras

and film at:CaliforniaBill's Camera6022 Warner Ave.Huntington Beach,Calif. 92647Cal's Camera Inc.1770 Newport Blvd.Costa Mesa. Calif. 92627Camera Mart625°B' StreetSan Diego. Calif. 92101Dave's Camera Exchange474 E. 17th StreetCosta Mesa. Calif. 92627Desert Valley CameraVictor ValleyShopping CenterVictorville. Calif. 92392Fresno Camera Exchange1242 Fulton MallFresno. Calif. 93721Olympic Camera828 W. Olympic Blvd.Los Angeles. Calif. 90015ColoradoCamera Caboose1 610 S. College Ave.Fort Collins. Colo. 80521Englewood Camera3462 S. Acomo StreetEnglewood. Colo. 80110Ken's Camera1513 8th Ave.Greely. Colo. 80631Shutterbug Camera Shop750 Citadel Drive EastColorado Springs,Colo. 80909FloridaAbner's CameraExchange811 Central Ave.St. Petersburgh,Fla. 33701Burton Camera 8, Repair1 022 N.E. 163rd StreetMiami Beach, Fla. 33162Clik Camera2718 W. Davie Blvd.Ft. Lauderdale, Fla.Colonial Photo634 N. Mills Ave.Orlando, Fla. 32803London Camera518 N.E. 167th StreetN. Miami Beach, Fla. 33161Olsson Dist.1244 Lime Ave.Sarasota. Fla. 33577IllinoisBelvedere CameraCenter1532 Belvedere RoadWaukegan. III. 60085Lion Photo Supply500 West Golf RoadSchaumberg. III. 60172Randhurst Camera999 Elmhurst RoadMt. Prospect, III. 60056Tom Hubbard'sCamera a Gallery4607 N. ProspectPeoria Heights, Ill. 61614United Camera301 N. Lincoln Ave.Chicago. III. 60657MarylandHacks134 Main StreetAnnapolis. Md. 21401Perma-tone Studios& Camera Shop8368 Loch Raven RoadTowson, Md. 21204MassachusettsFerranti 8, Dege1252 Mass. Ave.Cambridge. Mass. 02139MichiganCavalier Camera1 265 S. 11th StreetNiles. Mich. 49120

Fuji Cine Centers

SUPER-8 AT MITContinued from Page 1287

students can be taught in a productioncourse is the difference between"shooting" and "looking." Shootinghere implies an attitude that there is areality out there, and that to point thecamera in the general direction of thehighest action will somehow "capture"or "get" it on film. With notableexceptions due to the grace of chance,nothing could be further from the truth.The fact of the matter is that seeingthrough a movie camera is physicallymore difficult than with your nakedeyes. Unless one strains and puts outsome positive force through the view-finder to "see" what is going on in ascene, that reality will never be visibleon the screen.

Quality camera work involves themind and eye in a constant interplay ofproposal and rejection of hypotheses.Let me give a few examples. What doesa gesture mean? How can one trans-late that gesture into a compre-hensible and meaningful form on thescreen for the viewer. All reality andi mages of it, however formed, aresusceptible to human misin-terpretation. In camera work of bothreal time and scripted situationsquestions constantly arise as to whenand where to look in order to conveythe most meaning. For example, in aninteraction between two or morepeople, when does one look at theprincipal action, when does one lookfor the responses going on with theothers involved in the interaction, orwhen does one look at both? Meaninghere must be understood only in ageneral context as expressing theintent of the filmmaker becausepresentation of ambiguity, suspense,development of character, etc., all fallwithin the context of meaning. Thesequestions arise continuously in qualitycamerawork, greatly removing it fromthe passive act of letting the camerarun.

Although cheaper film canencourage less disciplined camerawork, the other side of the coin has anobvious virtue. Only with the properdiscipline to "see" and think about whatyou're doing is it true that the more youshoot, the better you get. Teaching1 6mm has brought up some cases thatrelate to this issue of cheap film. Some-ti mes a student will go out and shoot afew thousand feet of 16mm film andcome back with nothing, i.e., theresimply is not a film there (for whateverreasons) — a very expensive and dis-couraging experience — and the stu-dent may give up. It requires mucheffort on the part of the teacher to

convince the person that he or shemight still have a future in film. Whendisaster strikes in Super-8, reactionsare less severe. Because it's cheaper,one can either re-do the project quicklyor forget about it more easily with lessego involvement, in order to go on toanother film.

A fundamental teaching issue inSuper-8 is editing, which includes theproblems (and sometimes virtues) ofediting original. Though Super-8 work-prints are a standard lab practice now,and several establishments offer inkedge coding of original and workprint,the fact remains that because of thehigh costs involved, editing workprint isnot feasible for a teaching method inSuper-8.

With no workprint, students learningto edit Super-8 never get that "editor'sfeeling" that the film itself is nothing ofvalue, that lack of respect that lets yourun it onto the floor when you want tolook at newly-cut sequence in a hurry.In Super-8 each cut shows, even whentwo contiguous pieces are reunited,because of that glitch of a splice. Lessadventurous editing and less experi-mentation are a possible result of this.In our experience both at MIT andsummer workshops, some studentstend to get one idea for editing theirfil m and never change it. There justisn't the possibility of attempting tointercut two diverse sequences, to seehow it looks and, if it doesn't look good,to reconstitute the sequence and startagain. The same is true in 16mm when,for economic reasons, one editsoriginal. But in 16mm one of the tech-niques available is to look at rushes ona gentle editing machine and thendecide what portions are valuableenough to selectively workprint. In theSuper-8 medium a big step would bemade in the right direction if Kodakwould see fit to print latent edgenumbers on Super-8 raw stock.

But there is another more positiveaspect to the necessity of editingoriginal in Super-8. On the one hand,one may not have the freedom ofmaking decisions and then going backon them. But on the other, good editorsare often very decisive, and Super-8editing of original certainly en-courages decisiveness. Good editorsare often quick and Super-8 editing oforiginal encourages speed, since themore time you spend editing withSuper-8 original, the dirtier and morescratched it gets.

As in any skill, craft, or art, thereexists in Super-8 a varying relation-ship between technical competenceand imaginative conception, or authen-tic quality. That is to say, we have seen

J. W. Knapp Co.300 S. WashingtonLansing. Mich. 48914Jensen's Art aCraft Center16 State StreetHart. Mich. 49420Linn Camera Shop Inc.3240 Mall CourtLansing. Mich. 48912Pepers Camera29096 Van DykeWarren, Mich. 48093MinnesotaI mage 64941 France Avenue S.Edina. Minn. 55410Virginia Boat 8,Sporting Goods205 S. 5th AvenueVirginia, Minn. 55792Webber & Judd123 1st Avenue S.W.Rochester, Minn. 55901MissouriThe Mechanical Eye2450 Grand Suite 211Kansas City, Mo. 64108MontanaRimrock CameraRimrock Shopping CenterBillings. MontanaNew JerseyMarvel PhotoEnglewood Cliffs. N.J.New York104 Camera World104 W. 32nd StreetNewYork, N.Y. 10001North CarolinaCarolina Camera Center2715 D Grandview Ave.Greensbdrough,N.C. 27408OhioCI 1 k Camera41 W. High StreetSpringfield, Ohio 45502Gross Photo236 Huron StreetToledo. Ohio 43604South CarolinaFant's Camera Shop107 Cater StreetAnderson, S.C. 29621TexasFoto Center215 E. HoustonSan Antonio, Texas 78205Unicarn2411 Ross AvenueDallas, Texas 75201VirginiaPhotocom Inc.8766 Richmond Hwy.Alexandria, Va. 22309WashingtonWasem's Inc.800 6th StreetClarkston. Wash. 99403WisconsinMeuer Photoart HouseEast Town mallMadison, Wisc. 53704Meuer Photoart HouseWest Gate Shopping MallMadison. Wisc. 53705Meuer Photoart House411 State StreetMadison, Wisc. 53703Mike CrivellosCamera Center7346 W. Greenfield Ave.W. Allis, Wisc. 53214Photo Copy aCamera Shop710 BarstowWaukesha, Wisc. 53186Seyforth's Inc.218 N. Bridge StreetChippewa Falls.Wisc. 54729

Aurizin•hi CINEMATOGRAPHER. NOVEMBER 1975 1299

Former M.I.T. students Del Hiligartner and Lisa Jackson on location with the early Super-8sync rigs. The equipment is remarkably light and simple to operate, yet retains certain de-sign features, such as built in slate-light systems and "through the lens" light metering, thatenable beginning students to learn double-system filmmaking in an inexpensive but profes-sional manner.

some good films made by very precisecraftspersons and we have also seensome good films made by very sloppyfil mmakers. No one, to my knowledge,has quite put a finger on the role thatchance plays in a work. The extent towhich lack of experimentation holdsback creative development can beconfounded when the same rigidityexpresses itself as discipline and leadsto productivity. On the one hand, lackof care (dirt on the film, inattention toexposure, excessive camera move-ment) allows for experimentation thatcan be productive. On the other hand, itis easier to relax or change disciplinesthan it is to change bad habits. Super-8incorporates both approaches becauseediting original demands discipline andcheapness allows experimentation.

On the most practical side, it mightbe useful to relate some of the prob-lems we have encountered over theyears in teaching Super-8 sync.Dependability has been the keyproblem. Nothing is more frustrating tosomeone trying to learn filmmakingthan wasting money on footage that isout of focus, registration, or not in sync.There is little doubt that at this pointSuper-8 equipment is generally lessrugged, less dependable, and requiresmore frequent maintenance than16mm. As a result, our staff has had tobecome much more alert and vigilantwhen checking out Super-8 equip-ment to students. We have recentlydeveloped a single sync checker forcameras that consists of a crystal-controlled light emitting diode whichflashes at 24 frames per second. Whenviewed through the aperture plate of arunning crystal sync camera, strobingof the L.E.D. indicates out of sync. Cas-sette tape recorders are checkedsimply by running a few feet of soundand then playing it back on a resolverto see if it resolves.

Battery capacity for given equip-ment is generally less in Super-8 than16mm; the standard battery supplies inSuper-8 don't run the cameras andtape recorders for as much time as in16mm. Here, too, staff must be moreattentive in checking battery chargeeach time before equipment is givenout. Notable and welcome exceptionsto this problem are the many Sonyaudio recorders which are equipped bythe manufacturer with built-in chargersfor "NICAD" battery packs. Here thefil mmaker can generally take along anAC cord and charge the batteries athome or in the field whenevernecessary.

High-quality, reliable, safe projectionis one of the most important require-ments for film-teaching in any gauge.Only in projection-size images can

camera work be judged and editingti ming be accurately and adequatelyevaluated. Also, in classroomsituations, starting in (and keeping in)sync is a necessity in order to preservesanity and egos. It simply isn't possibleto evaluate an out-of-sync film.

Finding a satisfactory projector fordouble-system work has been one ofour toughest problems to solve at MIT.In general, the most frustrating Super-8projector problems are automaticthreading systems that are difficult tounthread and gates and film paths thatare inaccessible for cleaning. We havegone through too many projector/re-corder combinations to mention. We'vetried projectors with sync motors,Super-8 mag film reproducers slavedto projectors, and both projector andmagnetic film reproducer "locked" tothe line with simultaneous start. We'vebeen through projectors that hadravenous appetites for film and splicesand projectors that were very gentlebut dim. Finally, we've put xenon arclamps in dim gentle projectors. The lasttwo of these trials deserve the mostattention. Our first really reliable ma-chine was the Kodak TVM100A. Its ACsync motor made double-system syncproblems easier, it threaded easily, andthe gate opened wide for cleaning. Italso had a five-blade shutter, so itcould be used for video transfers. Theone problem was that it was too dim. Sowe put a G.E. Marc 300 lamp in it.Because the lamp was putting out abeam for 16mm and wasn't as efficientas it would have been if condensed forthe Super-8 aperture, it was still toodim. Thus, we went to another similarKodak machine, the M 100A (which isunfortunately no longer manu-

factured). The M 100A with its normalprojection lamp puts more lightthrough the film because it has a three-blade shutter and, with a f/1.2 lens, itgives a superb bright image. The prob-lem was that since it wasn't a TVprojector, Kodak didn't put a syncmotor in it. So we added one, but wehad to leave in the existing motorbecause of the complexity of the on-offcontrols. The switching for the twomotors is more complicated than itneeds to be, but it works. For playingback magnetic film double-system withthe M 100A we use another reliableproduct, the Superb Sound Recorder.on remote start, with its motor locked tothe A.C. line.

This discussion of the history, equip-ment experiences, teachingdispositions, and beliefs about thevalues of Super-8 filmmaking of theM.I.T. Film Section would be incom-plete without an indication of ourthoughts about the pedagogical, aes-thetic and formal implications that thisSuper-8 dynamic might have for thef uture of film and visualcommunication. In a following article, areview of some of the films made by ourstudents in Super-8 attempts to showhow these thoughts are elicited by thefil ms themselves.(ABOUT THE AUTHOR: JOHN TERRY is anAssistant Professor of Film at the Massa-chussetts Institute of Technology. As anindependent filmmaker he has madenumerous experimental documentaries. Healso works commercially as a free-lancecinematographer. He filmed and producecthe Super-8 segments of the N.E.T.production, An American Family. Recentlyhe was the director of photography for aFrench feature comedy, shot in 16mm andblown up to 35mm, which stars Jean PierreLeaud and is called Les Lolos de Lola.)

1300 AMERICAN CINEMATOGRAPHER. NOVEMBER 1975

SUPER-8 EDITINGContinued from Page 1273

reader for the picture head, it costs$125.00. Sync drive is included, butvariable speed costs $150.00. Manualinching is provided.

This deck is an all metal machineweighing about 45 pounds. The viewer,a modified Goko, provides an ade-quate 3.5"x5" picture. The deck isessentially a stripped down version ofthe $2600.00 PPC-25 four plate. Thebasic high quality drives, sprockets andcontrols of the PPC-25 are retained. At$1095.00, this machine provides themodestly endowed filmmaker with analternative to vertical editing.

Without a doubt, the Super-8Research tables are designed by film-makers for filmmakers. Further, thecompany adheres to the notion sharedby most manufacturers in the Super-8editing field, that all equipment musthave multiple uses, provide completein-house capabilities, and be adap-table for improvement over the years.

Optasound Corporation:

Mercifully, the manufacturers ofSuper-8 editing equipment have beenrelatively subdued in their advertisingclaims. They have generally stayed withthe facts and left the users to judge forthemselves.

Not so with Optasound! Though stillnot delivering any units at the time ofthis writing (early June), the companymakes claims such as "Now the ESTECgives Super-8 its Voice" and "In edit-ing alone, and sound editing in parti-cular, Super-8 has fallen short of itspromise. Until now. Now, in a singlestep, the ESTEC closes the gap". (Fromtheir latest promotional piece.)

Hype is hype, but the Leacocksystem was introduced in 1972 andsince then there has been a steadystream of excellent equipment de-signed for editing Super-8 picture and

sound. True, this company is introduc-ing some innovations, and they areneeded and appreciated, but enoughalready! After years of misleadingpromises, the game has become tire-some. Let's see some equipment, or, asthe saying goes, "Put up or shut up".

At $2950.00, the ESTEC console isdesigned to be a complete post-production unit. It can be used to trans-fer, to edit both sound and picture, tomix multiple sync tracks to picture, andto transfer the completed mixed trackto edge stripe at high speed. TheESTEC also allows transfer of single-system sound, to fulicoat for conven-tional double-system editing.

As a conventional editing machine,the Estec does not offer a great deal.Due to its vertical configuration, splic-ing and film handling is a littleawkward. The picture is small and diffi-cult to see. A Muray viewer on a$3000.00 machine with ESTEC'ssophistication seems a little bizarre. Alldevelopmental efforts seem to havegone into the electronics and soundfunctions; with the optical aspects kindof thrown on. As a result, syncingrushes without slates is an impossi-bility.

Where sound is concerned, theESTEC is superb. The electronics areso good that several generations ofmixdowns are possible without signifi-cant degradation of the tracks. Theright fulicoat movement is capable ofrecording two separate sound trackson one strand of fullcoat. These twotracks can then either be mixed to theedge stripe or to fullcoat. (Either to theleft fullcoat movement or to an ex-ternal recorder) More than two trackswould require mix-downs.

Again considering the sophis-tication of this machine, it is strangethat four-track capability was not builtin. Super-8 Fullcoat is capable of four-track recording and quad heads arereadily available. If not as standard

equipment, the four-track capability onthe right fullcoat movement should bean option.

Prior to the ESTEC, all transfers toSuper-8 magnetic edge stripe of singlestrand films had to be done on projec-tors in real time. The quality was good,but the transfer was slow and there wasalways the chance of scratching thefil m. With the ESTEC, sound can betransferred at twice normal speed (48fps) without projection. There isvirtually no chance of scratches.

The feature most discussed aboutthe ESTEC has been the electronicediting. It is basically a system of trans-fer editing via electronic-cue-activatedre-recording from an original to amaster. Film is marked and cut in theusual manner, but each sound seg-ment is cued up with an electronic startand stop mark. At the appropriate time .

this cue noiselessly puts the mastertrack into record, and on the stop cuetakes it out of record. It does it exactlyon the desired frame. There is no noisebetween the butted segments. The cuemarks are recorded while the trans-ports are stationary.

If the ESTEC ever gets into fullproduction, it will be a powerful tool forSuper-8 filmmakers. Just to be able tomix multiple sync tracks to picture andto transfer at double speed without pro-jection, make it worth the price.

The Heavies: Steenbeck, KEM, andMoviola.

A sure sign that professional Super-8 is a reality comes from the intro-duction of Super-8 editing equipmentby the "heavies" in the field. Both KEMand Steenbeck have an establishedli ne of equipment, and Moviola, it isrumored, may introduce a four-platelater this year.

Steenbeck

The current model Steenbeckmachines 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 ofOptasound's ESTEC, which is designed as an ambitious interlock dubbing and mixing console, with two Super-8 fulicoat tracks and oneSuper-8 picture. Sound editing is accomplished through "spliceless" electronic cueing of tracks.

picture and 16mm fullcoat track. Futuremodels will have the option of Super-8fullcoat. One machine allows the inter-changing of Super-8 and 16mm pictureheads. Both machines are equippedwith optical/magnetic single-systemsound readers.

The ST 1068S is a non-interchange-able four-plate model ($5800). Theviewer is bright and the image is a fairlysharp 6"x8". Functions parallel those ofstandard Steenbeck tables. 24 fps syncspeed plus a variable speed from 1-200fps forward/reverse. The drive systememploys an electronically governed DCmotor and is operated via a switchlever. The picture transport is very easyon film and enables the viewing andediting of original footage.

Unlike most Super-8 tables, theSteenbeck accepts up to 1000-ft.cores. If reels are used, the capacity is600 feet. There is a footage counter, ora minute/second counter.

The sound reproduction is verygood. It is unfortunate that recordingheads and amplifiers are not part (or anoption) of the machine. Recordingcapability would have made this amuch better bargain and a much moreuseful machine.

A Super-8 picture module is avail-able for use with the six-plate ST 6000machine. The basic 16mm machinecosts about $8000.00 and the Super-8picture module about $1500.00. Thismodule is also equipped with amag/optical stripe reader for single-system film. Despite high qualitysound, there are no mixing or record-ing provisions on this table either.

KEM

KEM offers two possibilities for edit-ing Super-8 film. The first is in the formof a picture module (S2400.00) that willfit the KEM Universal. The second is

the KEM Rapid-S six-plate table withSuper-8/16mm interchangeable pic-ture heads.

The Rapid-S (costs about $8000.00plus $1500.00 for the Super-8 picturehead) is a very basic editing machine.One lever controls the running speed of0-100fps forward/reverse. The 24fpssync speed position is notched. Inter-lock in any combination is done viathree light indicator buttons. Thescreen is a very bright 8.5"x11.5" (thelargest around). Each track has its ownseparate frame counter and large inch-ing knob. The film transport is fairlygentle. Film capacity is 1000 feet on acore.

The sound is of very high quality.Again, it would have been nice if bothedge stripe and fullcoat recordingcapability had been designed in. Atpresent, the Super-8 picture modulesdo not have single-system soundreaders. KEMs are not available withSuper-8 fullcoat tracks.

Moviola/MagnasyncAt the moment there is nothing

definite. The company did not respondto inquiries about forthcoming Super-8editing equipment, but well-placedsources do indicate that a very finefour-plate flatbed, similar to the 16mmversion, is under development. Theability to record on edge stripe and onthe fullcoat track will be part of the de-sign. It will also be the first "heavy"machine to shun 16mm fullcoat in favorof a straight Super-8 picture/Super-8mag fullcoat arrangement.

It is interesting that these firms( Moviola possibly excepted) whopioneered the flatbed concept of edit-ing, are not willing to carry their de-signs to the logical conclusion. Namely,complete in-house postproduction forSuper-8.

Part of their approach must have todo with their own vision of Super-8'sfuture directions. Their view seems tobe cast in the mold of established16mm and 35mm production tech-niques, even though Super-8 is clearlycarving out a totally different niche. Aniche that is essentially based on thepremise "do it yourself".

Schmid:Two editing tables from Europe, the

Schmid and the Atema, do follow thein-house post-production systems totheir logical ends. The SchmidDiplomat II is given as an example.

The Schmid Diplomat II at$12,500.00 is fully equipped for bothSuper-8 and 16mm editing and mix-ing. Though available with Super-8 full-coat tracks, the most logical con-figuration would be 16mm mag headsand Super-8/16mm interchangeablepicture modules.

As a cutting table, the unit is set upfor rapid and simple threading of allheads. The picture, rather than dis-played on ground glass, is actually pro-jected on a small screen and gives amuch brighter and sharper image thanconventional tables. By moving a tilt-able mirror, the image can be pro-jected onto a larger supplementaryscreen for group viewing.

In addition to the 24fps sync speed,movement is variable from 1-110 fps.Like all horizontal tables, the varioustracks can be disengaged and runindependently. Editing sound quality isvery good, with little wow and flutter.The picture transport is designed to beharmless to film; enabling editing oforiginal film. The picture head isequipped with edge stripe playbackand recording heads.

If sound is to be recorded on theContinued on Page 1340

1303_ - . wuew LJAVOGIGICO 407C

A good deal of trial and error has led to methods of processingand printing Super-8 to achieve the optimum professional result

By MURRAY FALLEN

Since the inception of Super-8 in1965, there has been talk of filmingprofessional Super-8 originalproductions. One of the largest prob-lems, in Canada at least, was the lack ofSuper-8 lab services. There were theodd services available, such as mag-striping and the odd cartridge loadingcentre capable of loading only one typeof cartridge, as weli as one or twophotofinishing labs processing Super-8cassettes. However, it wasn't untilBellevue Pathe started its Super-8Division in 1969 that any hope fororiginal production in Super-8 waseven feasible.

Our initial goals were to providereduction printing from 16 to Super-8,sound and silent, as well as cartridgingand lubrication. We built a homemadeprinter consisting of a 16mm pro-jector, Ektar lens, and a double Super-8 Pathe camera modified to accept2,000 foot loads. The projector andcamera were electronically syn-chronized and the end results werehigh-quality Super-8 release prints.The resolution was extremely good (asa matter of fact, I haven't seen bettersince). The main problem with this set-up was the fact that the Pathe camerawas not designed for large volumes,even with our modifications. The resultwas that we had to take the cameraapart every hundred thousand feet orso to make minor repairs.

To provide sound on Super-8 wetook a Kodak M100 projector andmodified it to run in sync with the Am-pex equipment in our Sound Dept. Wewere fortunate in that the Super-8Division was part of the overall 16/35lab and were able to take advantage ofexisting equipment, such as sound andprocessing equipment. The soundquality was reasonably acceptable butwe did have a problem with the sync.Some cartridge projectors did not havethe normal 18-frame sound advance.Therefore, we had to set up specialsyncs for nearly each differentprojector. At the beginning we didn'teven have some of the projectors toproperly check out our sync and had toship out the prints, cross our fingers,and hope that the client wouldn't comeback screaming. It worked most of theti me.

We kept receiving inquiries aboutduping Super-8 original with promises

that we'd be millionaires if we put in theservice. I couldn't take it too seriously,since these potential clients wantedonly a couple of hundred feet dupedand even I know that a few more feetwas needed to make the first million.However, since we wanted to become afull-service lab, we would have to offera complete line of services for Super-8.

We had an old Depue black-and-white printer that was set up for print-ing double Super-8 black-and-white.Since we were not doing this type ofwork and there was no demand, it wasthe obvious choice to modify for Super-8 duplicating. The modifications wererelatively minor and, in no time, wewere in the Super-8 duplicating busi-ness, providing an excellent product.At first we were using 7389 colorreversal print stock and processingnormal. We found that there was quitean increase in contrast with someoriginals so we tried a few experimentsto help reduce the contrast. We endedup printing on 7389 and processing as7242. This apparently gives us a betteroverall reproduction.

Now that we had Super-8 dupesunder control we felt that we wereoffering a complete service. We couldmake internegs from dupes and go intorelease printing either from Super-8 or16mm, both sound and silent. We couldlubricate and load a variety of Super-8cartridges, as weli as striping Super-8original and duplicates. What more isthere for a lab to do?

Weli it wasn't two weeks after westarted duplicating that a client askedus about A and B rolls and title supersfor Super-8 original. After I stoppedlaughing at the absurdity of thisquestion, I thought to myself, "Whynot." I'm used to doing the impossible,so what's one more task? The firstproblem is what to use for black leadersince none was readily available. Afternumerous tests it was decided to fog7381, process and slit it. This film un-li ke 7389 was black enough to holdback the light in the printer and wecould produce it economically. Oncewe ironed out the problems of syncingup the A&B rolls it was just a matter ofdoing the job. We found that we couldsuccessfully print A&B rolls and super-i mposed titles over live action. Thetitles are shot on Kodachrome II, whitelettering over a black background,

preferably using Polaroid filters toobtain the optimum contrast, since theblack had to hold back the light of theprinter.

Now that we were offering acomplete laboratory service for Super-8 original production we claimed thatanyone could do professionalproduction at a much lower cost than16mm. We recommended the use of adouble Super-8 camera for a numberof reasons. The film is moreeconomical than cassettes, since eachroll contains 200 feet of Super-8. Onecan shoot for five minutes (at soundspeed) without having to reload thecamera. Since the camera has its ownaperture plate, higher resolution andsteadier pictures can be obtained. Dis-solves of any length are possible. Ekta-chrome Commercial is available forshooting and this stock gives the bestreproduction, especially when goingthrough an internegative. Both Ekta-chrome Commercial and High SpeedEktachrome can be developed by mostprofessional labs with or without forceprocessing.

We tried to stay away from ali typesof hardware, such as synchronizers.rewinds, editing benches, etc. How-ever, we did get caught up with editingbenches. We started building smallediting tables with Super-8 acces-sories. Since that was all that was avail-able at the time it served its purposeeven though we weren't really craz■about the end result.

Thank goodness othermanufacturers shared our optimism onSuper-8 and decided to build profes-sional high-quality equipment. Wecould now get back to the business ofbeing a Super-8 lab and reap all therewards (?) that go with it.

More and more people werebeginning to involve themselves withSuper-8 productions, but there was stilian important service missing. We couldnot do optical effects such as fades.dissolves, freeze frames, reverseaction, etc. Here we go again — tryingto develop a piece of equipment toproduce the desired effect. Since wehad to start from scratch, we wanted tobe able to incorporate ali the effectspresently available on 16mm (short ofmattes) as well as reduce slides directlyonto Super-8. Being a former ani-Continued on Page 1336

1306 AMERICAN CINEMATOGRAPHER. NOVEMBER 1975

At Bellevue-Pathe Lab in Toronto, Murray Fallen and his colleagues use a variety of standard and modified equipment toprovide many Super-8 printing services. (LEFT) A modified Depue single-strand printer is threaded prior to printingworkprints and Double Super-8 internegatives. (CENTER) A converted 16mm printer is used for release printing DoubleSuper-8 from internegatives. (RIGHT) Using a high-speed Double Super-8 projector, ali processed film is screened priorto slitting.

(LEFT) In operation at Bellevue-Pathe Lab, a HFC Super-8 panel printer makes high-speed Super-8 reductionprints at the rate of 200 feet per minute. (RIGHT) The Filmline processor is a positive processor for developingprints 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.

Many of Bellevue-Pathe's Super-8 prints are screened in continuous-loopSuper-8 cartridge projectors. Prints are lubricated in the machines shownhere prior to loading the cartridges for smooth running of the film throughthe projector. Ultra-sonic cleaners are used to remove dirt, grease andother materials from the negatives before printing.

A Super-8 slitter, manufactured by the Holly-wood Film Company, slits Double Super-8 tosingle strand. The Double Super-8 format offerslow-contrast color reversal (ECO) and negativestocks not yet available in Cartridge Super-8.

1308

By ROBERT 0. DOYLE

"Super-8 Video" is a new concept in video production,utilizing inexpensive Super-8 film cameras as the originalmedium, and Super-8 editing, studio, and transfer equip-ment in post-production. Four factors combine to makeSuper-8 Video the lowest cost video production method:

• Super-8 cameras, with built-in single-system orexternal double-system sound recording facilities, are theleast expensive means of original program production forvideo release or television broadcast. While there is anoticeable loss of picture quality, especially in the areas ofpicture resolution and image stability, the difference iseasily detectable only on broadcast monitors.

• Super-8 editing equipment, with its capabilities formultiple sound tracks, and straightforward physical editing(cutting) at an exact frame, is the least expensive and mostversatile means of editing an original production for video ortelevision.

• Super-8 sound studio equipment, with up to threesound tracks and a sync control track on an inexpensive buthigh-fidelity four-channel tape recorder, is the leastexpensive means of sophisticated post-production soundfor video or television.

• Super-8 television film chains, especially theextraordinary Kodak Videoplayer flying-spot scanner, arethe least expensive means of transfer to video, or directbroadcast of film. The $1350 Videoplayer replaces between$10,000 and $20,000 of conventional 16mm film/videotransfer equipment, and a new external sync version willsoon allow A & B roll transfers to video, with video specialeffects and live video camera inserts where desired.

Super-8 Video thus offers the video producer the lowestcost production and post-production techniques available,including color, sync sound, sound and picture editing, andmultiple sound track capability. Super-8 Video offers allthis, plus the extreme portability of three-pound camerasand lightweight cassette sync-sound recorders, or the newsingle-system Super-8 cameras that combine sound andpicture recording in a single unit. Super-8 cameras go any-where, operate on penlight or rechargeable batteries, andfil m in extreme low light situations (approximately 10 foot-candles) in full color.

TRANSFERRING SUPER-8 TO VIDEOTransfers of Super-8 films to video can be accomplished

The extraordinary Kodak VP-1 flying-spot-scanner can replace avideo camera and telecine projector in a Super-8 film chain, withmuch less capital investment. The video signal may be displayedon a monitor or taped on standard 3/4", 1" or 2" tape decks.

Several technical factors have combined to make Super-8 the lowest-costvideo production method — opening up a vast new field of possibilities

using conventional film chain techniques, since AC-syr-chronous telecine Super-8 projectors are now availableThis allows the use of image enhancers, electronic colo-correction, and other sophisticated video processincLaboratories that specialize in film-video transfers are nov,offering these services, notably the National Video Center ;rNew York City who have a Kodak TVM100A Super-Eprojector as a permanent installation in their telecine chain .

Alternatively, transfers can be made with the KodakVideoplayer, an inexpensive flying-spot scanner thatconverts Super-8 film to a standard NTSC color signal —525 lines fully-interlaced composite video, with separateaudio derived from the magnetic edge stripe or a fullcoatmagnetic film recorder running in double-system sync. TheKodak Videoplayer is so inexpensive that most videcproduction houses will acquire one just to keep open theoption of accepting Super-8 color sound film as a source a'material.

VIDEO EDITING OF SUPER-8 ORIGINALAlthough the double-system Super-8 sync editing

equipment available today is by far the least expensive wayto edit a Super-8 Video production, a video editor withaccess to sophisticated 2" quad editing equipment mayprefer to transfer the Super-8 original film and sounddirectly to 2" quad tape for video editing. This practice isrecommended by the Canadian Broadcasting Corporationstudy group that endorsed Super-8 as acceptable forbroadcast on Canadian television (SMPTE Journal, April1974).

An alternative to 2" quad equipment is SONY's new VO-2850 U-matic 3/4 inch Videocassette editing system. Thisrelatively inexpensive video editing system and a KodakVideoplayer (for inexpensive video transfers without tyingup a color camera) are an attractive low-cost combinationthat many smaller television stations and cable companieswill find fits well today's tight budgets.

However, video editing techniques are limited and wouldcramp the cinematographic style of most film editors, whomight prefer to cut Super-8 film despite its small size, andthen transfer to video.

HOW GOOD IS SUPER-8 ON TV?Super-8 image quality — assuming use of the finest

resolution film available in the Super-8 format, Koda-chrome 40, and assuming camera lenses of the highestoptical quality available — can achieve 100 lines permillimeter resolution. The Super-8 frame is 4.2mm high 10 ,,,5.7mm wide, giving a horizontal resolution in excess of 500li nes, which is comparable to the finest 2" quad videotapeequipment and to broadcast-standard resolution. B.comparison, the 3/4" videocassette (U-matic) recorder haEa horizontal resolution of only 240 lines, and the home vide:format of the future — Videodisc — is expected to have only;300 lines resolution.

There is, of course, a distinctive change in the vide:i mage quality whenever the original medium is film, rathe-than video camera or video tape. Characteristic differencesbetween film and video in their dynamic contrast range. a -

associated color shifts, produce the familiar "film" look. E.Ecompared to the "live video camera" look. But this look o'Continued on Page 1324

AMERICAN CINEMATOGRAPHER, NOVEMBER 1975

By CHUCK CYBERSKI

Super-8 has always been somewhatof a pipe-dream for broadcasterssuffering from the daily expense of16mm operations. But interest in thesmall format reached a peak in theearly seventies, when inflation began toerode 16mm budgets, and Super-8manufacturers introduced sophis-ticated new silent cameras, such as theBeaulieu 4008ZM2. In a survey of UStelevision stations conducted by Super-8 Research News at that time, 55% ofthe responding news directors voiced asolid interest in changing to Super-8 ifgiven new and improved systems suit-able for the job. Unfortunately for theformat, the call was premature. Themajor link in the Super-8 system, thesound cartridge, was missing and yearsaway. The opportunity quickly passed,despite the pioneering efforts of GeoffWilliamson (Wilcam) to manufacture aprofessional Super-8 sound camera.

KDUB-TV, a small and relatively newUHF station in Dubuque, Iowa, clung tothe idea, though, and in the summer of

1972 the station announced its decisionto make a total commitment to Super-8for both news and commercialproduction. After shooting 85,000 feetof Super-8 the first year, the stationbecame the first in the country to provesignificant savings could be realizedthrough Super-8 — savings in excessof 50% in raw stock, chemistry, andequipment. Letters from over 35 coun-tries around the world were soonpouring into Dubuque, and more than adozen US stations initiated variousexperimental programs. However, aneasy and economical method ofrecording single-system Super-8sound was still missing.

In February 1973, the Wali StreetJournal leaked word that Eastman waspreparing a new Super-8 sound prod-uct, and that summer Kodak an-nounced the important missing link inthe Super-8 system, dubbing it theEktasound cartridge. The announce-ment of the consumer product wasfollowed shortly by a series of new

professional products destined fordistribution by 1975: the Supermatic 8processor, the VP-1 and VP-X video-players, the Supermatic 24 XL cameraand Supermatic 200 sound camera,and a rapid access news-film availablein both 50' and 200' Super 8 cartridges.

Now, to the satisfaction of many of itsdie-hard supporters, Super-8 hasstarted inching its way toward profes-sional acceptance by a growingnumber of TV stations, but its realprogress and potential have almostbeen totally obscured by another factorin television: ENG. ENG is the acronymfor "Electronic News Gathering", thepractice of using lightweight colorvideo cameras and video taperecorders to "film" news events, and insome cases electronically relay themback to the station for instant viewingby portable microwave, or even simul-taneous broadcast as in the case of theSLA shootout in Los Angeles.

In short, the classic film-tape debatehas suddenly erupted into a real-life

1

The extreme color blow-up below shows a split-screen comparison between unenhanced 16mm film (LEFT) next to an enhanced Super-8print. Both photos were shot from a TV screen. Enhancement makes the Super-8 appear sharper, though somewhat coarser and grapier. Theappearance of grain is normally increased with enhancement, but much of the high-frequency noise is lost in the home receiver. Electronici mage enhancement has been the single most important factor in bringing the Super-8 image up to broadcast standards.

struggle between the traditional 16mmfil m cameras and the new ENG videocameras, virtually eclipsing the profes-sional capability that Super-8 hasfinally attained. It's no exaggeration tostate that the future of the entire filmindustry in television is at stake in theENG movement; to measure thepotential of Super-8 in television todayrequires a very careful examination ofwhat's at the heart of the ENG-16mmdebate.

ENG porta-pak costs are very close to16mm SOF camera costs,operating costs (raw stock) are incom-parably lower than 16mm, even whensome of the video tapes are archived.Additional ENG bonuses are theelimination of processing with theinstant replay, and the capability of livetransmissions from the scene. Onepopular ENG unit has been the AkaiVTS-150; it's priced under $7,000 anduses relatively inexpensive 1/4-inchvideo tape which can be reused manyti mes. The hand-held camera weighsabout 6 pounds and is umbilically tiedto the 16-pound video recorder whichis carried by a shoulder strap. Therecorder is highly automated andtrigger-operated from the camera.After every "video shot" the recorderautomatically rolls back a few secondsand goes to a standby mode to wait forthe next shot. This allows the reporterto make automatic add-on edits right inthe field, much like the "editing in thecamera" technique used with film. Anelectronic iris selects the proper f/stopin the 6x zoom lens, and the smallelectronic viewfinder with its brighttelevision image doubles as a monitorfor instantly checking the recording.

Not surprisingly, the ENG movementis sweeping through the broadcastindustry with unprecedented interestand acceptance. Broadcasters attend-ing the 1975 NAB show (National Asso-ciation of Broadcasters) voted ENGequipment their number one priority onshopping lists, and stations like WCBDof Charleston, South Carolina, andKMOX of St. Louis, Missouri, gaveglowing reports boasting of their totalelimination of film. As one networknews executive told affiliate managers,The question is not whether you will

get into ENG, but when." The goat wasobviously 16mm.

In response to the challenge, Kodakrecently introduced their long-awaited"Video-film", designed to reduce bothprocessing time and chemistry costs.Cinema Products, the leading US16mm camera manufacturer, has beenoutpacing Super-8 manufacturers withsuch camera innovations as multipleLED exposure indicators, bright fiberoptic viewing screens, and built-in wire-

less microphones. But still, the scalesare tipping heavily in favor of ENG, andit seems quite certain now that 16mmfil m and equipment sales to TV stationshave reached their final peak.

Indeed, the future of film in tele-vision is at stake here, and the onlyformat capable of competing with theinnovations of ENG on a long-termbasis is professional Super-8. A land-slide of new professional products hasjust begun to hit the market, makingSuper-8 a match for ENG that shouldnot be overlooked.

The key that finally unlocked thedevelopment programs was the Ekta-sound cartridge. The new 50-foot cart-ridge closely resembles the silentversion, with the main differenceoccurring in the extended lower portionwhere there is a second aperture forthe record head and capstan/pinchroller assembly. Complete compa-tibility in the upper portion of the cart-ridge allows conventional silent cart-ridges to be used in the new soundcameras.

Both silent and sound versions of thecartridge possess a host of featuresattractive to news reporters. The mostbasic and obvious advantage can befound right in the black plastic cart-ridge: it's a handy light-tight, fog-proofcontainer for the film that allows instantloading under all conditions. The inertplastic also avoids a problem that hasplagued the lightweight 16mmcameras: blue spots on the film causedby magnesium particles (Cinema Prod-ucts recently sought to solve thisproblem by introducing plastic maga-zines for the CP-16).

In addition, both silent and soundcartridges contain speed notcheswhich automatically program thecamera for the proper ASA, and filternotches which control the Type 85 day-

light filter that is built into all Super-8cameras. The cartridge label providesa convenient means for identifyingnews stories shot in the field, and thecartridges can be handled roughly withno fear of loose film ends unravelingand fogging the day's work. Kodak iscurrently supplying four types of film inthe 50-foot sound cartridge: Koda-chrome 40, Ektachrome 160, Ekta-chrome EF 7242, and Ektachrome SM7244; the new multi-illuminant Type-GEktachrome and Ektachrome 7240video-film are under consideration.Available in the silent cartridge at thepresent are all of the above, plus Ekta-chrome 40 and Ektachrome Type G.

The real significance of the Ekta-sound cartridge lies in the newgeneration of compact sound-camerasit has fostered. Kodak operated a dis-Continued on Page 1324

The Kodak Supermatic 200 sound cameraaccepts the new 200-foot cartridge of pre-striped Super-8 film, as shown here. Thecamera also uses the 50-foot sound cart-ridge now widely in use.

TRANSFERRING SUPER-8 TO VIDEOOne of the areas in which Super-8 would seem to have a great futureis in the recording of events to be transferred later to videotape

By ALAN ROGERS

One of the areas where Super-8 hasa tremendous future is in recordingevents in color, silent or sound, whichwill then be transferred to videotape.

Today, for an investment of a fewhundred dollars, even a non-profes-sional can take excellent motionpictures with the highly automatedSuper-8 equipment that is readilyavailable, and the state-of-the-art oftransferring film to videotape makes itvery easy to release the production invideotape, either for broadcast tele-casting over the airwaves, or for use oncable television or other closed-circuitviewing.

Super-8 film as an originatingmedium for final release on videotapehas been facing the same "chicken-and-egg" problem as it faced in the filmprint areas. Here it was difficult to getlabs and other post-productionservices to invest in the equipment andrelated services to make prints ofprofessional quality and at competitiveprices until there was a high volume ofwork, and there could not be a highvolume of work until the servicesexisted!

The same situation pertains in thevideo end of Super-8 filmmaking today... most videotape houses withbroadcast-quality equipment able totransfer Super-8 film to 2-inch broad-cast-quality videotape do not haveenough of this business to warrantmounting a Super-8 projector per-

This color correction console at NationalVideo Center allows an infinite range ofcolor corrections in either 35mm, 16mm orSuper-8. The unit can make frame-by-framecolor and density correction of film goinginto and coming out of dissolves, where twopieces of film require correction of eachframe.

manently into their film chain. Conse-quently, the transfer of Super-8 tovideotape is usually a makeshiftarrangement and very often the qualityof the final transfer suffers greatly.

However it so happens that the threeexecutive officers of National VideoCenter, Robert Weisgerber, the Presi-dent; Alan Rogers, V.P. of Marketing,and Philip Mancino, V.P. of Engi-neering, all have an extensive back-ground in motion pictures as well as invideotape, which is unique for a videoservice company.

Because of their interest, experi-ence, and faith in the future of Super-8fil m and videotape, they have installeda Kodak TVM 100 Super-8 telecineprojector permanently in theirbroadcast-quality filmchain island.

They can transfer Super-8 film to anyformat of videotape, 1/2-inch, 3/4-inchvideocassette, 1-inch or 2-inch Quadvideotape. They can transfer the soundeither from the magnetic stripe on theside of the Super-8 film, from a Super-8fullcoat recorder (Super8 SoundRecorder) or from a 16mm mag track ininterlock.

Many television broadcasters andCATV operators have installed Super-8projectors in their telecine chains, oftenas a temporary lashup for occasionaluse. Others, avoiding the need formodifying existing telecine equipment,project the Super-8 films onto a smallwhite or gray screen to pick up theoptical images with a live televisioncamera that can be mounted intoposition on a dolly in their studio. If careis taken, you can obtain televisiontransfers in this manner, but the qualitywill be quite low.

The next step up in obtaining betterquality Super-8 film-to-tape transfers isto use a small Multiplexer unit where-by you can project Super-8 film directlyto a color television tube. With a unitli ke this you can put your televisioncamera into position when you want totransfer film to tape, and it can be takenout and used for other purposes therest of the time. This way you do not tieup a color TV camera the way youwould have to do if it had to be perma-nently fixed to the Multiplexer.

The telecine chain at National VideoCenter is a most complete and complexunit for transferring film to videotape. Ithas several film projectors and a 35mmstill photo projector feeding into the

unit, and has a high-quality videocamera dedicated to the telecine chainwork.

National Video recommends trans-ferring camera original Super-8 film to2-inch Quad Videotape, and then to doali the editing electronically, withscene-to-scene density correction andcolor correction.

Kodachrome 40 is the best film toshoot for maximum sharpness inSuper-8, even though it has inherentlyhigh contrast and is not a good film toshoot with if you want film prints to bemade. The density can easily be con-trolled electronically.

A problem in using Kodachrome isthat it is still considered an amateur filmby Kodak, and they develop it with lesscontrols than they develop their 16mmEktachrome films. The result is thatonce in a while you get a criticallyi mportant roll back with developingstreaks, water marks, dirt, or otherproblems which are not noticeable tomost amateurs, but which are ruinousto a person trying to use this format offil m for professional purposes.

Kodak does make a low-contrastEktachrome 7252 available in 100-footrolls of Double Super-8, and this filmdoes get developed in the same bath astheir 16mm Ektachrome 7252. While itdoes not give as sharp an image as thedye-structured Kodachrome, it is stillquite sharp and gives very good resultswhen transferred to videotape, where itwill only be shown on a 26-inch TVscreen at most.

A note of caution here to Super-8fil mmakers ... film shot at 18 fps CANbe transferred to videotape, BUTONLY with a flying-spot scanner video-player such as the Kodak VP-1 or VP-X.The problem is that, as yet, not toomany video houses have this unit, andif you have film shot at 18 fps and wantto transfer it to 2-inch Quad videotapefor broadcast use, it cannot be donewith any of the conventional high-qualify broadcast telecine chains! If indoubt, shoot at 24 fps ... for then youcan have it transferred by both the VP-1 or the conventional telecine cameras... the slight amount of film you save isnot worth the price you may have to paylater when you find you have a greatproduction, and a television station iswilling to pay good money for it, but itcannot be transferred!

If possible the Super-8 film shouldbe ultrasonically cleaned after all

Phil Mancino shows Zeida Cecelia-Mendez how the National Video Center Color Correctorworks. Her Super-8 footage of the International Dance Festival in Bulgaria, after transfer to2-inch quad tape with automatic density control, image enhancement and color correction,resulted in a final quad tape of high broadcast quality.

(LEFT) Alan Rogers, V.P. of Marketing for National Video Center, operates the video switcher, as the final editing and special effects are doneon the hour-long production of the International Ballet Competition in Bulgaria. It was shot on Super-8 Ektachrome with a Nikon R-10 cameraand transferred to 2-inch quad tape by NVC. (CENTER) Rogers operates the new Kodak Supermatic 200 Super-8 single-system soundcamera. The film shot was transferred to 2-inch quad tape, given electronic editing and color correction, plus a multiple sound mix, and endedup as a highly professional TV spot. (RIGHT) Bob Weisgerber, President of NVC, explains Super-8/videotape transfer to producer ZeidaCecelia-Mendez.

editing is finished, and as close aspossible before the time of the telecinetransfer. The startmarks for picture andSuper-8 mag tracks should be thesame as in 16mm and should be ineditorial sync. Splices should be of themylar type, like the HPI Quik Splices,as they are extremely thin and lessliable to cause the projector to jumpwhile being projected. This is particu-larly important because a video housecharges by the clock, and if the filmprojector jumps because of one of yoursplices, and the film has to be run backto the beginning, YOU PAY FOR THATTIME!

Many people run up unexpected ex-penses because they do not have theirSuper-8 film and sound materialproperly prepared for the videotapetransfer. It is extremely important toalways check with the video house thatis going to do the transfer and find outall their requirements and recom-mendations for the preparation of yourmaterial. This could save you hundredsof dollars and could also save you frommissing an all-important deadline.

One of the leading Super-8 produc-ers in New York City is Zeida Cecelia-Mendez. She is an ex-dancer who isnow producing television commercialsand documentaries for the Spanish-speaking markets in the United States.

This year she shot sixty Super-8 rollsof High Speed Ektachrome 160 with aNikon R-10 camera at the InternationalBallet Competition in Carna, Bulgaria.

Professional photographers using35mm and 16mm movie cameras werenot allowed to film this festival, but thefestival did allow it to be shot in "ama-teur" Super-8!

Zeida shot the whole festival with thehand-held Nikon and recorded soundwild with a small portable Sony taperecorder a one-person productionteam!

She had the film developed byKodak in Fairlawn, N.J. It was thenedited by the Super-8 Film Group ofNew York City (one of the country'sleading production and post-

production companies). They alsosynced up the sound track shot inBulgaria, mixed in new voiceovernarration, and also put in a new musictrack. The final sound was four-track,two music tracks to achieve crossdissolves, a sound effects track and anarration track.

They then took the edited Super-8fil m and mixed audio track (the latterbeing on fullcoat Super-8 mag stock) toNational Video Center, and it was alltransferred to two-inch Quad video-tape. She finished with a 60-minutequad tape of the highest televisionbroadcast-quality which was aired onthe National Educational Network inNew York in August.

There was a wide variation in thecolor and densities of the Super-8 film,but this was easily adjusted when beingtransferred to quad tape with the use ofthe automatic density unit on theNational filmchain, and with the use ofthe computer-controlled Color Cor-rector designed by National earlier thisyear.

Another very interesting Super-

8/video job that was done at NationalVideo Center was a 60-second com-mercial for the State Capital SavingsBank. It was shot the day before Christ-mas of 1974 on high-speed Super-8Ektachrome 160 by Gunther Hoos andMark Mikolas of the Super 8 FilmGroup of New York City. It was shot onSuper-8 film because the client onlycame to them the day before Xmas withthe final concepts for the commercial,and it had to be on the air 3 days later!

Because of union holidays all the35mm and 16mm labs were closed,and the only way to have filmprocessed was to shoot in Super-8, andhave it processed by a smali non-unionlab that was open over the holidayseason.

There was no time to even try to get aworkprint made, and so they had to edittheir sound-track against the originalSuper-8 film. They edited in A & B roliand did a three-machine video mix atNational Video Center in order toobtain dissolves in the final tapetransfer.Continued on Page 1350

SUPER-8 LABORATORYSERVICES AND STOCKSContinued from Page 1270

Moonachie, N. J., is now supplyingTakita Printers, for Super-8 originalstocks, including Optical Printers,Contact Step Printers, and ContinuousContact Printers.

Most labs are processing Super-8 intheir 16mm processing equipment.Only recently have processingequipment manufacturers turned theirattention to special requirements forthe processing of Super-8 original, e.g.the Jamieson Compac Model S. IfSuper-8 film becomes widely used asan original production medium,especially outside the U.S., in thedeveloping countries, there will be anincreasing demand for Super-8processors.

Eastman Kodak has anticipated thismarket, and the need for rapidturnaround processing of Super-8 inthe U.S. for television newsapplications. They have announced anew fully-automatic processor and anew film stock intended for use with thenew ES-8 process.

The Supermatic 8 Processor can beloaded in daylight with any Super-8cartridge (50 foot, 200 foot, and special400 foot cartridges). The processedfil m, ready to project, emerges 13 1/2minutes later (50 feet). The machineneeds only sources of water andelectricity, and a drain. Chemicals areadded from prepared packages, andthe processor automatically maintainschemistry quality. When chemicals areexhausted, the machine disposes ofthem, cleans itself, and calls for newchemicals before it will restart.

The Supermatic 8 processor can atpresent process only a single emulsion,the new Kodak SM 7244, which is avail-able in 50 foot and 200 foot silent andsound cartridges. The price of theSupermatic 8 processor is $12,500.About 10-20 Super 8 cartridges per daywill amortize such a capital outlay, overa few years' period, by comparison withtypical commercial processing costs.

Since Kodak hopes that much Super8 film will be transferred directly tovideo using their new flying-spot scan-ner Videoplayer, the combination of theautomatic in-house processor andvideo as a release medium may limitthe growth of a truly large volumeSuper-8 business for motion picturelaboratories. ■

(ABOUT THE AUTHOR: Richard Lerman isan independent filmmaker, composer ofelectronic music and writer. He teaches atthe Boston Museum School of Fine Arts andis co-owner of the Super-8 Workshop, a filmschool and production house in Cambridge,MA.)

AMERICAN CINEMATOGRAPHER. NOVEMBER 1975 1315

AMERICAN CINEMATOGRAPHER. NOVEMBER 1975

SUPER-8 VIDEO — A NEW PRODUCTION CONCEPTContinued from Page 1308

fil m is the same whether the original film is 16mm or Super-8. With a crisp Super-8 original, with image enhancement asis generally used for 16mm film transfers, and withelectronic color correction, it is extremely difficult to distin-guish Super-8 from 16mm in off-the-monitor tests reportedin the SMPTE Journal, and shown in this issue of AmericanCinematographer in the article by Chuck Cyberski.

KODAK SUPERMATIC FILM VIDEOPLAYERS

The Kodak Super-8 Film Videoplayer replaces an entireconventional telecine film chain — including telecineprojector, optical imaging system, and color video camera— at a price about one-tenth the lowest-cost 16mm filmchain. It does this with a device known as a flying-spot-scanner.

The Videoplayer moves Super-8 film continuously (nointermittent motion) past an aerial image of a small TVscreen. The screen has no picture on it, just a gray raster-scanning pattern. The image of the screen is the same sizeas a Super-8 picture frame, and falls directly on the film. Ifthe image could be seen in microsecond time intervals, itwould appear to be a small spot (the image of the spotwhere the electron beam falls on the TV tube phosphor),raster scanning back and forth across the Super-8 frame.Thus the name "flying-spot-scanner". Three photo-multiplier detector tubes (Red, Green, Blue) on the otherside of the film measure the color of the spot from momentto moment and convert the result into a full NTSC standardcomposite color signal. There is no color camera.

The Kodak Videoplayer is an enormous engineeringbreakthrough that expands the options of a Super-8 filmproducer to include video distribution of his films as well asnormal projection. A combination of a Super-8 filmproduction system and a Kodak Videoplayer is the lowestcost independent video production system with color,editability, and extreme location portability.

KODAK FILM VIDEOPLAYER VP - 1

The VP-1 accepts Super-8 film, color or black/white,sound or silent, on standard Super-8 reels or automatic-loading Supermatic cassettes (400-ft. maximum — 20minutes). It operates at 24fps or 18fps, and converts theSuper-8 picture film into a standard color television signalthat can be displayed on an ordinary color televisionreceiver or a color monitor. Sound is derived from themagnetic edge stripe of a single-system film, or from Super-8 fullcoat magnetic film being played back in synchronismon a double-system sync recorder (Super8 SoundRecorder).

Kodak Videoplayer controls include still-frame capability,framing adjustment for still and running frame, a verticalsteadiness adjustment/blue/red tint control, and focus.

RF signal outputs are channels 2 or 3. A switch isprovided to select between the Videoplayer or the VHFantenna of an ordinary color TV set. Video signal output isfully interlaced (525 lines) NTSC composite video, with aseparate audio. These signals are suitable for display on acolor TV monitor, or recording on a videotape recorder.

KODAK FILM VIDEOPLAYER VP -X

The VP-X has the same specifications as the VP-1, exceptthat it has no RF-modulated output, and it is equipped toaccept external synchronization for use in broadcastsituations, or where a large video system is run on system-wide "station sync". The external sync inputs include burstflag, composite blanking, vertical drive, composite sync,

The Advent VideoBeam is a unique color television projection sys-tem that produces an 87" diagonal picture on a special Ektalitescreen. In conjunction with the Kodak VP-1 Videoplayer or video-cassette players, the VideoBeam can be an important part of an in-plant video distribution system, since a very large audience cansimultaneously view the program.

horizontal drive, and color subcarrier (BNC connectors).The outputs are composite video 1-volt peak-to-peakacross 75 ohms (BNC connector), and a 600-ohmunbalanced audio signal (RCA phono jack). Signal/rmsnoise ratio is a greater than 37dB. Horizontal resolution is240 lines (color). No time-base correction is required. Anumber of VP-X Videoplayers can be synchronized to oneanother using an external color sync generator, adistribution amplifier, and a phase shifter to control tintvariations between Videoplayers.

A video switcher or special effects generator can selectbetween the videoplayers, live video cameras, or video taperecorders with time-base correction, and the result can bedirectly broadcast or recorded on a master videotape.

Because the Videoplayers do not transport the Super-8fil m in frame-for-frame sync interlock with the external syncsignal (only the video raster scan is in sync), precise A & Brolling is impossible. The switch from the "A" roll to the "B"roll cannot be guaranteed to occur on a specific frame.Super8 sound of Cambridge is working on a servo-controlsync interlock system for the VP-X that will permit suchprecise switching between A and B rolls, and allow theswitch points to be programmed electronically.

Super8 Sound was among the small group of eightdealers selected by Eastman Kodak to receive the firstVideoplayer franchises. We modify all the Videoplayers wesell to include a standard 1/F sync pulse signal, suitable forsynchronizing a fullcoat magnetic film soundtrack. Thispermits highest fidelity double-system audio/videctransfers using the Super8 Sound Recorder. ■

SUPER-8 SOUND RECORDERSContinued from Page 1265

deck. The record-reproduce elec-tronics are available in monophonicand stereophonic versions. The Super-8 fullcoat head assembly is manu-factured by Crown to Super8 Soundspecifications. Each Lab Recorder issupplied by Crown biased andequalized for recording on Super-8 full-coat magnetic film, with calibratedfrequency response test charts.

The Super8 Sound LaboratoryRecorder consists of three components— the fullcoat transport, record/repro-duce electronics, and sync elec-tronics. A portable case is available,but the three components are designedfor rack-mounting in standard 19-inchracks.

With its one-hour running time, theLab Recorder can do transfers to thelongest available Super-8 film loads —1 200 feet. This length facilitatesdouble-system sync transfers fromSuper-8 to video with no need for inter-mediate stops on even the longest

slows down or speeds up the Recordercapstan speed (negative feedback).The changes made in the capstanspeed contribute no detectable wow orflutter. The error signal itself is dis-played on a visual sync indicator meter,so the operator can monitor syncconditions at any time.

Synchronism between the rate ofmag film sprocket holes and a "master"rate set by the external sync reference,(camera, projector, etc.) is accom-plished by matching up "masterpulses" from the sync reference to"slave pulses" from the mag filmsprocket holes one by one. Forexample, each frame of film exposed inthe camera has a correspondingmaster pulse derived from the 1/Fcontact switch in the camera. For eachmaster pulse there will be one, and onlyone, slave pulse coming from a magfil m sprocket hole passing the head ofthe Super8 Sound Recorder, when theRecorder is in sync.

Any speed "error" in the Super8Sound Recorder is detected andmeasured by a digital logic device

The Nizo S560 and Philips 2209 sync cas-sette recorder make an inexpensive andlightweight location rig. Camera andrecorder may be crystal-controlled with theaddition of external crystal boxes.

known as a "flip/flop". Each masterpulse turns the flip/flop to its "on" state,and each slave pulse turns the flip/flop"off". If the recorder is slow, as as-sumed, the average time the flip/flop ison will be increasing. The average "on"ti me of this flip/flop is an error signalwhich can be fed back into the motor ofthe Super8 Sound Recorder, creating aclosed servo "loop", with the followingproperty of stability at the correctmaster pulse rate:

IF the Recorder runs slow relative tothe master sync pulses, the averagevoltage from the flip/flop increases,speeding the Recorder up to thecorrect speed.

IF the Recorder runs fast relative tothe master sync pulses, the averagevoltage from the flip/flop de-creases, slowing the Recorder downto the correct speed.

It follows that the Super8 SoundRecorder cannot run at any speed butthat which matches slave pulses tomaster pulses. The Recorder is said tobe "slaved" to the external syncreference. If any small tendency to runfast develops, the servo sends a "slowdown" error signal back around thenegative feedback loop to the motor; ifany tendency to run slow appears,feedback of the error signal speeds upthe Super8 Sound Recorder.

Negative feedback and the principleContinued on Page 1328

The Uher CR134 recorder records extremely high-fidelity stereo sync sound on cassettes.The sound quality compares favorably with that of cassette recorders with Dolby noisereduction. The addition of a crystal sync generator makes possible sync use with crystal-controlled cameras.

video cassette.Super8 Sound Recorders are not

sprocketed machines. They interlockwith other sync equipment by servo-electronic speed control employingnegative feedback. The rate ofsprocket holes passing the magnetichead is sensed photo-electrically by ali ght-emitting diode and photo-transistor. This rate is compared towhatever sync reference rate is desired(camera, 60Hz pilotone, quartz crystal,AC line frequency, recorded syncsignal, projector, etc.). If the Super8Sound Recorder rate is too fast, or tooslow, an error signal is generated that

The XSD Recorder, based on the Sony TC153-SD cassette recorder with Dolby noisereduction circuitry, has internal crystal sync, as weli as the capability to synchronize withcameras equipped with the standard pilotone output. A companion XSD Resolver isavailable for transfers of the sync sound to 16mm fulicoat magnetic film.

ii (17.'iitit ,....„ ',___,- 0

Super8 SoundXSD Recorder ,

SPEAMFNVOIAMIE TONE

Super8 SoundResolver

Super8 Sound, Inc.

All T NUAL

CRYSTAL-SYNC SUPER-8Continued from Page 1267

non-sync use. In addition to cablelesscrystal-sync work, the recorder can becable-connected to pilotone cameras.Cables are available for standardTuchel (Arri,Bolex), Canon XLR(Eclair), and BNC (Beaulieu) connec-tions.

The 60Hz crystal pilotone appears onthe left channel (track 1) when the inputselector is on "mic" and there is noth-ing plugged into the left channel micro-phone input jack. A pilotone cableplugged into the left channel overridesthe crystal tone with the camera synctone. Level is adjustable to compensatefor a wide range of pilotone input vol-tages (.4V to 4V rms).

The XSD Recorder has Dolby Bnoise reduction encoding and decod-ing circuitry. Location tapes can betransferred to fullcoat magnetic filmwhile still encoded for Dolby noisereduction. Successive generations ofsound can also remain encoded, up tothe stage of mixing with another soundtrack. Dolby Noise Reduction Adap-ters are available for use at the mixingstage.

Resolving to Magnetic Film

The XSD Recorder has a built-incapability of self-resolving. The 60Hzpilotone signal can be matched to theAC 60Hz line frequency for transfers tomagnetic film on sprocketed syn-chronous dubbers. This requires theuse of the optional XSD Resolver Unit.Write Super8 Sound for a list of labsequipped with the XSD Recorder andXSD Resolver, and who can transfersound to 16mm or 35mm fullcoat mag-netic film. Transfers to Super-8 full-coat do not require the XSD Resolver,since the Super8 Sound Recorder canmatch its speed to the 60Hz pilotonesignal. An alternative method of resolv-ing is to transfer selected passages to aquarter-inch pilotone recorder, and

have your sound lab resolve fromquarter=inch.

The XSD Resolver is intended foruse by labs and production houses withAC-synchronous magnetic filmrecorders. The Resolver plugs into a110-125V AC 60Hz line source. Itaccepts the 60Hz pilotone from track 1(left channel) of the XSD Recorder, anddelivers a servo-electronic speed con-trol signal to the special speed controlinput jack of the XSD Recorder. Theoriginal 60Hz tone on the sync track ofthe Recorder is compared to the 60HzAC line source and the speed of theXSD Recorder is automaticallyadjusted to maintain sync.

A sync meter on the front panel ofthe XSD Resolver displays the synccondition. The automatic servo speedcontrol can be set so that transfers oftracks made with pilotone cameras willnot change speed in those sectionswhere the camera was stopped. Aspeed-range control adjustment isprovided on the front panel. With thisadjustment it is possible to capture andlock on original pilotone signals thatwere ± 10% from the nominal 24fps.Screwdriver adjustment is provided forstill larger speed corrections, ifnecessary.

XSD Recorder Specifications

Frequency response 30-15,000(Cr02). Signal/Noise ratio with DolbyOFF — 48db, with Dolby ON 53db at1 KHz, 58db at 5KHz. Wow and Flutter0.15% NAM RMS. Bias Frequency105KHz. Pilotone separation 36db.Crystal accuracy, ± 1 frame in 13minutes, -10°C to 40°C (50ppmstability over temperature range).Power DC 6V/8W (4D cells or NiCadbattery pack), AC 110V/12W. Size23.8cm x 37.8cm x 10.8cm (9-3/8" x 14-7/8°" x 4-1/4"). Weight, 5.4kg (12 Ibs)with batteries. Microphone input, 1/4"phone jacks. Line input/output, RCAphone jacks. Sync output nominal 1VRMS 60Hz, RCA phono jack. Low

Inner Space Systems' recently introducedModel PXS is a pocket-size, economical Cine-Slave for crystal-controlling modifiedcameras. Their Model PX, the same size, is acrystal oscillator suitable for recording a 60Hzpilotone sync signal on the track of any two-channel recorder.

i mpedance stereo-phone monitor out-put. Microphone sensitivity, 0.2mV atnoa. 60Hz standard pilotone syncpulse on cassette track 1 (left channel).Speed control input: special powerconnector to XSD Resolver. ■

(ABOUT THE AUTHORS: JON ROSEN-FELD and AL MECKLENBURG. Rosenfeldis a former physicist who joined the staff ofthe MIT/Leacock Super-8 project at itsinception. He holds the U.S. patent for theMIT Super-8 System. Mecklenburg was anengineering undergraduate at MIT when theLeacock project began, and worked withRosenfeld on the design of the system. Hehas made several films and worked assoundman on segments of "An AmericanFamily", some of which was shot on Super-8using the MIT equipment. Filmmakers them-selves, they bring a practical combination ofengineering and film production experienceto the design of Super-8 gear.)

The Super8 Sound XSD Recorder with XSD Resolver. The XSD Recorder has a built-in capa-bility of self-resolving. The 60Hz pilotone signal can be matched to the AC 60Hz line frequency fortransfers to magnetic film on sprocketed synchronous dubbers. This requires the use of the op-tional XSD Resolver Unit.

DEVELOPMENT OF SUPER-8Continued from Page 1283

screen. A facility of this kind has a num-ber of attractive features — it can be setup in the studio where the programproducer or director has direct controlof Super-8 film inserts in the same wayas all the other studio facilities; per-haps even more important, the rearscreen projection concept can be ex-tended easily to provide multiple pro-jection facilities and optical mixing ofthe projector light beams. With such anarrangement optical effects such as lapdissolves and superimposed titlescould be produced with only a singletelevision camera.

To simplify and speed up theprocessing of Super-8 camera film,especially for television news pur-poses, Eastman Kodak has introducedthe Kodak Supermatic 8 processor, de-signed for operation in an officeenvironment. Features of this highlyautomated, compact processor in-clude cartridge loading of the film, easyoperation, simplified handling of liquidconcentrate chemicals, and a dry-to-dry time of 131/2 mins. This machine isdesigned to process the new KodakEktachrome SM film 7244.

In the early stages of Super-8development, attention was concen-

trated mainly on meeting the needs ofthe anticipated mass market for lowcost prints with magnetic sound tracksand projectors to handle thesematerials in the simplest and most con-venient manner. It was expected thatthese prints would be made by opticalreduction from 16mm or 35mmoriginals, and that there would be littledemand for printing from Super-8originals. Many motion picture labora-tories have facilities for printing fromSuper-8 originals, including the in-sertion of simple optical effects, andwhere prints are needed for dis-tribution, this is the obvious route totake. Within the past few years signifi-cant improvements have been made inthe films needed for the print process,and the equipment being used to makethe prints. One factor limiting progressin this direction is the pressure to keepcosts for prints as low as possible,while unfortunately the amount of timeneeded to make one or two prints froma half-hour Super-8 film is likely to ex-ceed that for a comparable 16mmoperation.

Some film users look to Super-8 as ameans for reducing production costs.In fact this is a short-sighted attitude totake. While it is true that, minute-for-minute, Super-8 is far less expensivethan 16mm, this is by no means its

most important feature. Super-8 is anew medium, and we have yet to learnhow to exploit this new medium mosteffectively. The concept of low-costmass-production for home and schooluse is a most alluring prospect, but itdepends for its success on the accept-ance by the public of the Super-8 filmformat as a communications and enter-tainment medium. Until there is ademonstrated large-scale demand forSuper-8 prints by home and educa-tional users, the mass production anddistribution concept cannot be fullyrealized.

The cartridge projector incompati-bility referred to earlier has no doubtbeen a major factor in limiting thegrowth of the Super-8 release printmarket. Significant technical strideswere taken by Eastman Kodak andvarious film laboratories to lower thecost of Super-8 prints, includingmethods for mass producing Super-8prints, complete with magnetic soundtracks, at 40 times sound projectionspeed. This was accomplished byoptical reduction of a 16mm colororiginal to produce four rows of Super-8 frames on a 35mm internegative, andthen making the prints on a special35mm material with four rows of Super-8 perforations and four pre-stripedContinued on Page 1334

AMERICAN CINEMATOGRAPHER. NOVEMBER 1975 1321

DOUBLE- AND SINGLE-SYSTEMSUPER-8 SOUND CAMERASContinued from Page 1261

most cassette recorders.Five or six other camera

manufacturers have now built single-system cameras and it appears likelythat most will eventually do so. Thesecameras are much more sophis-ticated than the Kodak Ektasound,and some, like the Beaulieu, areclearly aimed at professional Super-8applications. Some run at 24fps,accept 200-ft. sound cartridges, havemanual gain control, headphonesound monitoring, and advancedlenses.

Cinema Beaulieu 5008S SoundCamera

The Cinema Beaulieu 5008SSound Camera is in many respectsthe standard against which all otherSuper-8 cameras, silent or sound, aremeasured. It has the finest Super-8lens of any camera, the magnificentC-mount Angenieux 6-80mm f/1.2(T/1.4). The well-known Schneider 6-66mm Macrozoom lens is alsoavailable as an option at a much lowercost. The 5008S is both a single-system (stripe) sound camera and adouble-system sync camera, since ithas both pilotone generator and 1/Fsync contact switch accessories. Ithas been made quieter running(about 3dB) than the 4008 and has amuch improved handle structure, butits run switch is difficult to operatecompared to the 4008. The long tele-photo and the awkward controls de-mand that this camera be used on achestpod or tripod, to produce steadyi mages.

The 5008S is strongly rec-ommended for TV News operations,as a prime camera in beginningsound filmmaking classes, and as themost generally useful Super-8 cam-era.

As a sync sound recorder, theBeaulieu 5008S is superb — actuallysuperior to the Scipio and Philips2209 sync cassette recorders in mostrespects. The viewfinder exposureneedle switches over to become a VUmeter needle for precise manual gain

• adjustments. Automatic gain controlis also included. A high impedanceheadphone (200061) is necessary formonitoring. Sound specifications:Three inputs — microphone (.15mV),50-500061, line 1 (3mV, 100K61), andli ne 2 (30mV, 500K61); Monitor output(subminiplug, 1.5K61 impedance);Frequency response, 50-12,000Hz±1.5dB; Weighted Signal/Noise Ratio,57dB (amplifier electronics only);

Wow and Flutter, 0.4%; Bias, 60KHz;Distortion at maximum 0.75%; OVU-10dB below track saturation.

The Kodak Supermatic 200 SoundCamera is an improved version of theKodak Ektasound camera made byEastman Kodak's Motion Picture andAudiovisual Markets Division. It runsat 24fps, accepts the 200 ft. soundcartridge, has manual gain control,and headphone sound monitoring.Like the Ektasound cameras, it isnoisy and has a relatively low qualitylens.

The inexpensive Sankyo XL4OSSound Camera list price is less thanthe Kodak Supermatic 200's, yet it has24fps speed, 200-ft. sound cartridgecapability, and its f/1.2 lens has a 4-to-1 zoom and macro focusing. Intests at Super8 Sound, the Sankyowas found to be the quietest runningSuper-8 camera of any yet meas-ured.

Bolex has put their longest zoomlens (8-to-1) on a single-systemsound camera called the Bolex 580.They also have an XL version of thecamera with a 5-to-1 zoom lens, theBolex 550XL. Unfortunately, both ofthese cameras run at 18fps only.

There are many other single-sys-tem sound cameras on the market,and they are described in theaccompanying data table. Many moreare in the works at various manu-facturers. We saw prototypes of sev-eral at Photokina, '74. For example,Anton Wilson described the Agfa-Gevaert Movexoom 10 Sound camerain his article in the December, 1974,American Cinematographer.

Some Comments on Cutting Single-System Super-8

Cutting single-system film withsound on the magnetic edge stripehas the drawback that the sound andpicture are displaced from oneanother by 3/4 second (18 frames).An editor/viewer with a mag stripereader is essential with single-systemfootage to make the best cuttingdecisions.

The Minette is the brightest andsharpest Super-8 viewer on themarket. Teeth are in the standardposition at the rear for proper editor-ial wind. A built-in pressure platekeeps the image in focus even whennot winding. A single-system soundreader attachment is available for theM inette.

The Elmo 912 is a single-systemviewer, with a larger but dimmerpicture than the Minette S-5. Teethare at the front and the viewer istherefore not compatible withstandard Super-8 synchronizers.

Accessories are available for count-ing frames and cleaning film.

Several manufacturers haverecently introduced tape splicers thatleave a space in the area of themagnetic edge stripe, allowing cut-ting of single-system original film. TheGuillotine splicer (a plastic version ofthe best-known professional filmsplicer) cuts sprocket holes and cutsa shortened piece of tape on thesound track side, to avoid coveringthe magnetic edge stripe. Two recent-ly introduced splicers use preparedsplices and apply them fullyautomatically so that fingers, editinggloves with little hairs, dust, etc.,never get near the sticky side of thetape. The HPI Quik-Splice SuperSplicer and the less expensive HervicMinette Tape Splicer work this way.

Filmmakers should realize that it'svery difficult to get intelligble soundwhen pulling Super-8 film by hand.No one as yet manufactures amotorized sound editor/viewer, butsingle-system versions of the Super8Sound Editing Benches, the MKMEditing Tables, and the Super-8Research Associates Post-ProductionConsoles are available. These allowboth single-system and double-system editing.

It is also possible to edit single-sys-tem by eliminating the 18-framesound and picture separation with adisplacement recorder. The MoserDisplacement Recorder will pick upthe sound from the 18-frame ad-vance position and rerecord it on theedge stripe in "editorial sync"(i mmediately next to the correspond-ing picture). When picture is cut, theaccompanying sound is also cut. Afterediting, the Displacement Recorderreplaces the sound on the edited foot-age at the normal 18-frame advanceposition for projection or transfer tovideo.

If you want to keep in touch with therapid pace of new introductions ofSuper-8 equipment, write to Super8Sound, Dept. JBM, 95 Harvey Street,Cambridge, Mass., 02140 for copiesof the Super8 Sound Catalog ($2),and the Reference Book Super-8($15), a comprehensive compilationof original manufacturers' literatureand data sheets on Super-8 cameras,recorders, and post-productionequipment. ■(ABOUT THE AUTHOR: JULIEMAMOLEN is the National Sales Managerof Super8 Sound, Inc. Her backgroundwas in computer systems and design ofthe Wide-Area-Telephone-System atAT&T. She and Bob Doyle have studied allthe sync sound Super-8 cameras on themarket and have designed variousintegrated production systems based onmost of them.)

1322 AMERICAN CINEMATOGRAPHER, NOVEMBER 1975

SUPER-8 IN TELEVISIONContinued from Page 1311

The Kodak Supermatic 8 processor, announced November 1, 1974 by Eastman KodakCompany, features cartridge loading of the new Kodak Ektachrome SM film, 7244, in 50 and200-foot cartridges, as weli as in 400-foot darkroom-loaded cartridges. The processor has adry-to-dry time of 81/2 minutes. Developed film is wound onto a reel at the opposite end of themachine and is ready for projection.

closure program to manufacturersseveral months before the official Ekta-sound announcement, and as a resultof that, Beaulieu of France was the firstmanufacturer to deliver a truly profes-sional Super-8 sound camera.Beaulieu's lead came in part from hisown research which the company hadbeen conducting on the Super-8 soundproblem for several years.

The Beaulieu 5008S Super-8 soundcamera carries an impressive set ofmanufacturer's specs: a frequencyresponse range of 50 to 12,000 Hz+ 1.5dB @ 24 fps; distortion at lessthan 0.75%; a signal-to-noise ratio of57dB (amplifier electronics only), andwow and flutter below 0.4%. Angenieux'scontribution to the camera was arecord-breaking 13-to-1 f/1.2 powerzoom lens. Coupled with the camera'smirrored shutter that delivers all of thelens light to the film, the 5008S givesamazing results in 6 foot-candles withany high-speed Ektachrome stock.

The electronics in the 5008S allowtotal automation in sound filming ifdesired. At the flick of a switch a servomotor swings into action to control theiris, and an automatic level controlrides gain on the audio. Of course,manual exposure and audio control arealso possible, and in these modes thecamera's viewfinder needle acts asboth a VU meter and exposureindicator. As with all cartridge soundcameras, the solid-state amplifier isbuilt right into the camera, and allowsfor a choice of input levels, in additionto a monitor output for earphone orheadphone. Like earlier Beaulieumodels, the camera can handle an ASArange of 10 to 400, but running speedsare understandably limited to 18 and 24fps for sound filming. One of the firststations to begin using the newBeaulieu for TV news reporting was

KHGI in Kearney, Nebraska.Another company that has been

closely involved in the development ofSuper-8 magnetic sound since 1965 isEumig, an Austrian electronics andmanufacturing firm that is well knownfor its sound projectors. Earlier thisyear Eumig introduced their new soundcamera, the 30 XL. Eumig has tradi-tionally favored viewfinders filled withinformation indicators, and the newsound camera is no exception: a greenLED is used to indicate audiomodulation, while a red LED is used towarn of possible underexposure. Off tothe right of the viewfinder screen is amoving arrowhead which indicates filmadvance; this arrowhead turns to abright red approximately 20 secondsbefore the 50-foot cartridge runs out,allowing a reporter to plan ac-cordingly. Still another viewfinderinnovation is the filter indicator (sun-li ght or tungsten bulb) which lights

momentarily at the beginning of eachshot to remind the cameraman of whattype of light he has the filter set for.Features like these, and the camera'sauto-exposure system and automaticlevel control are what make Super-8such an attractive, fool-proof tool forgathering news under adverseconditions. And the camera's price(approximately $350) makes it ideal fornews stringers.

The Eumig's single running speed of18 frames per second raises the age-old question of the quality of this slowerspeed. The 18 frames per second ratetranslates to a linear stripe speed of 3inches per second — still substantiallyfaster than the 1-7/8 inches per sec-ond of the Phillips audio cassette.David L. Carr of Eastman Kodakrecently delivered a technical paper tothe Society of Motion Picture and Tele-vision Engineers documenting theContinued on Page 1352

(LEFT) Film chain at KDUB shows the Kodak TVM100A Super-8 TV projector used with an RCA color TV camera. The projector's automaticthreading 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 SUMMITContinued from Page 1280

everybody came up with his own little treat — a real HowardJohnson's menu — chicken tetrazzini, beef almondine, tunaa la neptune, turkey supreme, prunes. Of course, regard-less of the label, everything tasted the same, but this wassomehow reassuring.

Before the sun went down I jammed the Bolex tripodbetween two rocks and set up a time-lapse shot toward12,326-ft. Mt. Adams, fifty miles to the south. The sun set asdirected, and the shot was superb.

Our climbing schedule called for a 2:00 A.M. wake-up onSunday, with a 3:00 A.M. departure. That meant "getting or-ganized" at 10:00 P.M. Saturday night. Since we planned toreturn via the same route the next day, we were able to stashali the unnecessary equipment — which amounted to fif-teen exposed cartridges.

The periodic roar of avalanches somehow kept us awake.To pass the time I pulled out my little black book (lighter andmore portable than the American CinematographerManual) and showed Jeff some facts and figures. He wasasleep instantly.

Super 8 16mm

* 100 minutes raw stock with processing $ 240 $ 720* One-light workprint with edgenumbering $ 300 $ 360* 20-minute timed A & B answer print with sound $ 130 $ 240

TOTAL: $ 670 $1320

A cursory glance at these figures reveals the real costadvantage of Super-8 is in the raw stock and processingstage. This means with selective workprinting I can take theshooting ratio up to immodest levels without spending lotsmore money. (Though not to the obscene eighty-to-one35mm shooting ratio of JONATHAN LIVINGSTONSEAGULL.)

Another money-saving possibility is to transfer theoriginal footage directly to videotape and use that as a work-print. One method of accomplishing this is the following:View the original footage once and record on a shot log theexact content and length of all takes. Sync up all the soundfootage very carefully in one pass through an editing tablewith a seconds or footage counter. The sound footage isthen played back double-system for videotaping. Add adigital clock that reads out in seconds in one of the lowercorners of the screen and you have a reference between thevideotape and the seconds and/or footage counter on theediting table.

This means handling the original three times, but I'vefound that the amateur "projection" stocks, 160 and K11 aretough to scratch. The real advantage of a videotape work-print is the fast forward and reverse capability, and theability to make practice edits without cutting anything. I viewthe videotape numerous times to become intimately familiarwith every shot, and then edit electronically to a master deck— usually a Sony 3650. Theoretically, the original Super-8can be conformed by someone who has never seen a frameof footage. For example, the first shot on the edited video-tape is a long shot of Mt. Rainier. The digital clock readouton the tape says 01 01 12 and advances to 01 01 25 beforethe first cut occurs. The editor would then put the 01 roll offil m on the table, go in until the counter reads 1 minute, 12seconds (or its footage equivalent, 24 ft. 00 frames), and clipout the next 13 seconds (or 4 ft. 24 frames). The secondscene on the edited tape is Jim Mitchell signing out at theranger station — readout 03 02 27 to 03 02 42 — youguessed it. Pull out roll 03 and so on.

This editing system works and was primarily developedby Al Fisk of South Seattle Community College. As a matterof fact, many of the ideas, camera, and recorder tech-

niques referred to in this article were "developed" by Al.A couple of years ago Al had the foresight to purchase

one of the original Hamton/MIT/Leacock Super-8 system s.He felt the cost savings in raw stock and processing wouldpay for the system in one year. Al has put together a verysubstantial film and sound studio for student use at the col-lege and is very generous with his time and expertise, andthe school's equipment. Occasionally he will be a Sherpa ifyou throw in a little extra Budweiser.

Back to Rainier. Our summit attempt began promptly at3:00 A.M., and, luckily, we didn't have a footcandle of lightuntil about 6:00. Every hour Jim would rest and talk aboutthe importance of pacing, water intake, sunburn protection .and the symptoms of altitute sickness. Fortunately, Jeff andI are normally lightheaded, pale, lethargic — so we just keptcranking with the Nizo and Sony.

We got to see a real live rescue just below the summit. Ahelicopter landed at 14,000 ft., adjacent to a crevasse wheretwo injured climbers had just spent 56 hours. I was waitingto see local news crews jump out so I could throw their CP-16's, Angenieux's, power packs, body pods, and lightmeters down into oblivion. Instead it was a few of the super-professional mountain rescue people who make "impos-sible" saves time after time.

The pilot's walkie-talkie did strange things to our Ham-ton/Sony sync recorder. Here we are filming a life and deathdrama on the top of the world and all the recorder can do ispick up Wolfman Jack down the coast.

This apparently excited Jeff. We ran to the summit to getthe arrival of the climbers and shot twelve minutes ofecstatic, exhausted people slapping and taking pictures ofeach other. Jeff chose this time to get the final twelve-minute gap on the tape. With the earlier six minutes of blanktape, his contract was fulfilled, and he was now asking f , rresiduals.

This seemed like a good time to move to single-systemshooting. I was tired of focusing anyway, so I pulled out theEktasound 130. Given their limitations, the 130 and 140really do a good job. I'm waiting anxiously to get my handson the new Supermatic 200 with its 24 fps professionalsound speed, auto-exposure override, and 200-foot load(10 minute sound, 13 minute silent).

Jim Mitchell was pointing out all the landmarks from thesummit —Mt. Hood, Mt. St. Helens, the smog whereTacoma was supposed to be, and the parking lot 9,000 ft.and 10 miles below. Noticing my cameras, a gentlema nwaving madly at Mt. Adams approached and offered me acheck if I would sign a piece of paper (money talks at thataltitude in those conditions).

The next thing I knew it was Wednesday morning and 1had signed a contract to film a Mt. Adams climb the comingweekend.

"Jeff, do you remember that sunset shot we got of Mt .Adams from Mt. Rainier?"

"Beautiful shot!""We've got a chance to get one going the other way."Jeff was up, grabbed his salmon pole, garbled some -

thing about Sherpa fishing rights, and hasn't been seensince.

Twenty yards from the parking lot Al Fisk turned to me —"You"You forgot something."

Hallucinating about helicopters, Ding Dongs, and four-figure budgets, I stumbled to the car and squeezed the extraBuds into the cooler. ■

(ABOUT THE AUTHOR: AMBROSE SALMINI is a filmmaker withMcKinley Productions in Seattle, Washington. He is also theorganizer and current pre p itorganization trying to stimulate the distribution of small-format[Super-8 and Video] productions in the United States.)

1326 AMERICAN CINEMATOGRAPHER. NOVEMBER 1975

FALLCLEARANCESALEDEMONSTRATORSAll items like new and carry full newequipment warranty:Arri 16SB, motor, battery .............. $2995.00Canon Scoopic 16M camera .......... 1295.00Angenieux 12/120 zoom lens

w/finder ................................ 1895.00Frezzolini MC-571 sound camera,

battery .................................. 2495.00Frezzolini LW16 sound camera,

battery .................................. 3495.00Magetic recording heads for Auricon, CP or

Frezzi ..... 395,00B & H 400' 16mm magazines ..... 100.00Phomar 30V battery belt ..... 349.0017/70 Angenieux lens, Arri mount ..... 395.0017/85 Pan Cinor zoom, Auricon long

finder ..... 475.00Zeiss 12.5 to 75 zoom lens, Arri

mount ..... 595.00Arri-16BL, 12/120 Ang., 400' Mag. 6995.00

USED EQUIPMENT SPECIALS:Frezzolini MC-571 DC sound camera,

battery .................................. 1995.00Auricon CV conversion, takes Mitchell

magazines ..... 995.00Auricon 600 Special, 1 magazine ..... 995.00Auricon 600, 1 magazine ..... 795.00Auricon Super 1200 camera, 1 1200'

mag ....................................... 1395.00Arri 16S, motor battery, 17/70 Pan Cinor

zoom .................................... 1795.00Arri 16S, motor, battery, 3 lenses, mat

box ....................................... 2195.00Arri 35mm IICGS, sync gen. 2 ground glasses,

variable motor ....................... 2995.00Arri 35mm II, 2 400' mags, 3 lenses, mat box,

var. mot. ..... 995.00Arri 35mm I, 3 lenses, variable motor, mat box,

2/200' mass ..... 695.00Eyemo 35 cameras, all types,

lenses ..................... from ... 175.00Kodak Cine Special cameras from ... 295.0012/120 Angenieux lens, Arri mount . 995.0017/70 Pan Cinor, Arri mount ..... 295.00Arri & C mount lenses, all sizes - teli us your

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Write or phonefor further Information.

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PHOTOMARTCINE EQUIPMENT SUPPLIERS6327 S. ORANGE AVE., • ORLANDO, FLA. 32809

11 11 ••1111111111111118111111•111111•611•11••B

Phone (305) 851 -2780

11.Owner (if owned by a corporation, its name andaddress must be stated and also immediately thereunderthe names and addresses of stockholders owning or hold-ing 1 percent or more of total amount of stock. If not ownedby a corporation, the names and addresses of theindividual owners must be given. If owned by a partnershipor other unincorporated firm, its name and address, as wellas that of each individual must be given). A.S.C. HOLDINGCORPORATION, 1782 North Orange Drive, Hollywood,California 90028.

12.Known Bondholders, Mortgagees, and other SecurityHolders owning or holding 1 percent or more of totalamount of Bonds, Mortgages or other Securities: None.

13.For optional completion by publishers mailing at theregular rates (Section 132.121, Postal Service Manual). 39U.S.C. 3626 provides in pertinent part: "No person whowould have been entitled to mail matter under formersection 4359 of this title shall mail such matter at the ratesprovided under this subsection unless he files annually withthe Postal Service a written request for permission to mailmatter at such rates."

In accordance with the provisions of this statute, I herebyrequest permission to mail the publication named in item 1at the reduced postage rates presently authorized by 39U.S.C. 3626.

(Signature and title of editor, publisher, businessmanager, or owner):

Herb A. Lightman,Editor

14. For completion by nonprofit organizationsauthorized to mail at special rates (Section 132.122, PostalManual). (Check one): The purpose, function, and nonprofitstatus of this organization and the exempt status forFederal income tax purposes: Have not changed duringpreceding 12 months; Have changed during preceding 12months; (if changed, publisher must submit explanation ofchange with this statement.)

11. Extent and nature of circulation. A. Total No. copiesprinted (Net Press Run): Average No. copies each issueduring preceding 12 months, 18,500; Actual number ofcopies of single issue published nearest to filing date,18,400. B. Paid circulation: 1. Sales through dealers andcarriers, street vendors and counter sales: Average No.copies each issue during preceding 12 months 3,922;Actual number of copies of single issue published nearestto filing date, 3,993. Mail subscriptions: Average No. copieseach issue during preceding 12 months, 13,684; Actualnumber of copies of single issue published nearest to filingdate, 13,799. C. Total paid circulation: Average No. copieseach issue during preceding 12 months, 17,606; Actualnumber of copies of single issue published nearest to filingdate, 17,792. D. Free distribution by mail, carrier or othermeans: 1. Samples, complimentary, and other free copies;Average No. copies each issue during preceding 12months, 444; Actual number of copies of single issuepublished nearest to filing date, 500. 2. Copies distributedto news agents, but not sold; Average No. copies eachissue during preceding 12 months, 0; Actual number ofcopies of single issue published nearest to filing date, 0. E.Total distribution (Sum of C and D): Average No. Copieseach issue during preceding 12 months, 18,050; Actualnumber of copies of single issue published nearest to filingdate, 18,292. F. Office use, left-over, unaccounted, spoiledafter printing. Average No. copies each issue duringpreceding 12 months, 500; Actual number of copies ofsingle issue published nearest to filing date, 108. G. Total(Sum of E & F - should equal net press run shown in A);Average No. copies each issue during preceding 12months, 18,550; Actual number of copies of single issuepublished nearest to filing date 18,400.

I certify that the statements made by me above arecorrect and complete.

(Signature of editor, publisher, business manager, orowner):

Herb A. Lightman,Editor

SUPER-8 SOUND RECORDERSContinued from Page 1318

of servo-control are thus able toreplace the brute force synchronismachieved by mechanical sprocketdrives, and without the flutter thatresults as sprocket teeth pop in and outof sprocket holes. A comparison with16mm fullcoat magnetic film recorderswill reveal how much simpler and moreelegant are the so-called "electronicsprockets" of the Superb SoundRecorder.Sprocketed Magnetic Film Recorders

For some purposes it is essential tohave mechanically sprocketed drivesfor fullcoat magnetic film dubbers.Multi-Track-Magnetics of Closter, N.J.is now offering Super-8 versions oftheir R 1 0 7U Dual-Lock re-corder/reproducer. The machine isavailable with a half-track fullcoatmagnetic head assembly (compatiblewith the SuperB Sound Recorder)and/or an interchangeable edge stripemagnetic head assembly. The edgestripe head assembly is relieved in thepicture area, and can be used by labsto transfer sound to striped film from afullcoat track on an interlocked repro-ducer.

Simple mechanical interlock isavailable for multiple units in the samerack mount. Selsyn electrical interlock(single phase or three phase) isavailable for labs with a selsyn dis-tribution system. In this manner Super-8 projectors can be interlocked and runforward and backward in sync with theSuper-8 dubbers. Another projectorinterlock method is by flexible shaftfrom the R107U to the main drive shaftof the projector (24fps - 1440rpm), butthis requires custom modification of theprojector.

Cassette Sync Recorders

Cassette tape is the least expensiveand most convenient method availableof recording location sync sound. Cas-settes are easily labeled with dates,locations, take-numbers, etc. They canbe permanently protected from acci-dental erasure or reuse by punchingout the record-protection tabs. Twohours of cassette tape are packed intothe same volume as 2 1/2 minutes ofSuper-8 film.

Any 1/F sync cassette recorder iscompatible with more than forty Super-8 cameras equipped with a once-per-frame (1/F) sync contact switch orinternal pulse generator (Nizo). Thecamera-recorder sync cable requires aminiature built-in pulse generator thatconverts the camera's 1/F switch into arecordable voltage. Alternatively, theContinued overleaf

STATEMENT OF OWNERSHIP, MANAGEMENT ANDCIRCULATION. (Act of August) 12, 1970: Section 3685,Title 39, United States Code)

1. Title of Publication: AMERICANCINEMATOGRAPHER.

2. Date of Filing, September 26, 1974.3. Frequency of issue: 12 Times a Year.3A. Subscription price .. $9.00 a year.4. Location of known Office of Publication: 1782 North

Orange Drive, Hollywood, California 90028.5. Location of the Headquarters or General Business

Offices of the Publishers: Same as 4.6. Names and addresses of Publisher, Editor, and

Managing Editor, Publisher: A.S.C. Holding Corporation,1782 North Orange Drive, Hollywood, California 90028;Editor: Herb A. Lightman, Same as above.

1328 AMERICAN CINEMATOGRAPHER. NOVEMBER 1975

I

and it is described in the article oncrystal sync Super-8 equipment by itsdesigners, Al Mecklenburg and JonRosenfeld. It cannot record sync soundwith 1/F sync pulse cameras.

Back in the laboratory, original synccassette sound should be played backon the same sync recorder as was usedin the field. The sync tape recorder isconnected to the Super8 Sound Full-coat Recorder by a (SYNC) ResolverCable. This cable carries the 1/F (orpilotone) sync signal recorded in thefield, and feeds it to the servo-controlspeed-matching circuitry of the Super8Sound Recorder. The Super8 SoundRecorder will change its speed tomatch any variations in the originalcamera speed, plus any variations inspeed of the sync cassette tape play-back. It will record one frame of full-coat magnetic film for each frame ofpicture originally taken, and withoutletting camera or recorder speedvariations affect the sound fidelity.

We strongly recommend the use ofan audio equalizer during transfers toSuper-8 fullcoat magnetic film,especially with the Scipio and 2209recorder which have a relatively highlevel of tape hiss. This is also true oftransfers from a magnetic edge stripeof a single-system original film.

Once sound is on fullcoat magneticfil m, any sophisticated post-produc-tion sound technique can be accom-plished:

Sync Transfers: Fullcoat magnetic filmto quarter-inch tape; Quarter-inch tapeto fullcoat; Fullcoat to magnetic edgestripe.

Sync Recording: Voice-overs; Nar-ation; Sound effects; Music tracks, etc.can then be edited into sync.

Rerecording: Dubbing dialogue in syncwith original dialogue; Dubbing in syncwith loops of picture.

Multi-Track Recording: Multiple full-coat recorders in sync (with one full-coat strand for each track); Multipletrack quarter-inch tape recorders insync with one or more fullcoatrecorders.

Mixing: Souna mix with picture; Mixwithout picture (blind); Loops of soundfor room tone, wind, traffic effects; Discrecordings of library effects.

MULTIPLE-TRACK RECORDERS

Multiple-track tape recorders, usedin conjunction with the Super8 SoundRecorder, allow voice-overs, narration,sound effects, and music tracks to beadded alongside sync dialogue or on-location sound effects tracks.

Mixes of up to three sync tracks arereadily achieved on quadraphonic four-

AMERICAN CINEMATOGRAPHER. NOVEMBER 19751332

channel tape recorders (one channelcarries sync pilotone). One Super8Sound Recorder is used to play-backan edited "A" fullcoat track of syncmaterial. The Recorder provides a60Hz pilotone signal in sync with the"A" track's sprocket holes. This signalis recorded on track 4 of the 4-channelrecorder while the audio is recorded onchannel 1, say. Alternatively, the 60Hzpilotone signal could have been pre-recorded, and the Super8 SoundRecorder would "self-resolve" to matchspeed with that pilotone signal.

Now a "B" track of edited syncmaterial is put on the same Super8Sound Recorder. It is started by abloop tone at the sync start of track "A",and self-resolves to match the pilotone,allowing the "B" track to be recordedon channel 2, say. This can be repeatedwith channel 3 and a third sync track, orchannel 3 can be used to add a wildnarration or other wild material.

The three channels are then mixedback to a fullcoat composite mixedmaster track on the same Super8Sound Recorder, again synchronizingwith the 60Hz pilotone control track.

The four-channel recorders mostsuited to this work have independentrecording channels and the capabilityto record straight across from a pre-recorded track, while listening to thatpreviously recorded track in sync withthe track being laid down via the rec-ord head (and not through a separatemonitor or playback head some dis-tance away, which would introduce adelay.) Such machines are describedas having "Syncro-Trak" (SONY) or"Simul-Sync" (TEAC).

MULTIPLE FULLCOAT RECORDERSSince any number of Super8 Sound

Recorders will run together in sync withthe AC line frequency, any number oftracks can be mixed, and recorded ona master track recorder also running insync. The Super8 Sound Recorders arestarted simultaneously in sync by usingan AC Common Start Box or a Photo-Start/BeepStart device, whichresponds to a beep tone, and releaseseach recorder at the same instant.

With an AC synchronous projector oran AC synchronous editing table thesemixes can be done while watching thepicture in sync. If your projector onlyhas 1/F sync capability, you can stillrun up to six Super8 Sound Recordersin sync with it by using special multiplerecorder sync cables.

Post-synchronous sound, e.g.dubbing dialogue or replacing lineswhich are unusable in the original re-cording, can be accomplished with twoSuper8 Sound Recorders with orwithout picture. ■

DEVELOPMENT OF SUPER-8Continued from Page 1283

sound tracks. In this way the timeneeded to turn out a 100-ft. Super-8print could be reduced to 7 or 8 sec-onds, compared with conventionallaboratory procedures requiring 10 to20 minutes.

Despite these efforts, a ten-minutecolor sound Super-8 film print from amajor studio (e.g. Walt Disney) sells forabout $30. When we compare the pro-jected price of $10-$15 for a feature-length film on the new Videodiscsystem to be introduced in 1976, thereis room for concern for the wide-spread use of Super-8 as a releasemedium.

On the other hand, there is the quitedifferent — one might almost say theopposite — concept of original pro-gram production with Super-8cameras. This concept is much moreattractive, especially for those con-cerned mainly with putting ideas on filmin an independent manner. With thisobjective, ideas can be made tomaterialize for others through theaudio-visual medium. The pictures canbe shown either by direct projection ona screen or as television picturedisplays. Distribution can be achievedeither with film prints or by means ofvideotape or videodisc copies.Assembly of programs can be effectedby physical editing of the originalcamera films or by electronic meansduring transfer to videotape or byvideotape editing.

Low-cost Super-8 cameras are somuch less expensive and more flexiblethan portable color video cameras, thatit seems likely film will retain a competi-tive edge over videotape locationfacilities for the indefinite future. Thereis a great deal of interest today in themore glamorous video equipment,especially at television stations whereportable electronic-news-gatheringequipment is putting many filmcameramen out of work. No doubt theleading news operations will continuetheir commitment to the electronicapproach, but when smaller operationsand independent video producers ingovernment, education, and industryexamine the comparative cost ofSuper-8 location and editingequipment, the cinematographictalents of the film cameramen and filmeditors will no doubt be back indemand.

If cinematographers are to makeserious use of the new gauge, theymust understand its shortcomings aswell as its advantages. It can neverequal the image quality of 16mm. Oneneed only look at one-quarter (actually

AMERICAN CINEMATOGRAPHER. NOVEMBER 19751334

be! airCOrnea & hi1i

SUPER -8 CAMERAS SUPER -8 PROJECTIONBeaulieu 4008 ZM 8x64 .................... Used $ 519.00 Heurtier ST42 stereo proj ............... Demo $ 800.00Beaulieu 4008 ZMII 6x66 .................. NewBeaulieu 4008 ZMII 6x66 ................. UsedBeaulieu 4008 ZM3 8x64 ................... New

$ 969.00$ 749.00$ 595.00

Heurtier ST42 dual play .................. DemoHeurtier P-6 24B .............................. UsedHeurtier Sound base for P 6 24 ....... Used

$ 600.00$ 139.00$ 189.00

Beaulieu 4008 ZM3 6x66 .... New $ 699.00 Heurtier ST42 w/arc lamp, good forBeaulieu 4008 ZM3 6x66 .................. Used $ 549.00 projection up to 100' (originalBeaulieu 2008 8x64 .......................... Used $ 289.00 cost $5,500) .................................. Used $2900.00Beaulieu 5008-S w/6x80 Ang ............ New $1669.00 Bolex SM8 sound projector .............. New $ 440.00Beaulieu 5008-S w/6x66 Schneider.. New $1339.00 Bolex 18-5L Super-8 projectorBeaulieu 5008-S w/6x80 Ang ........... Used $1400.00 (50 cycle) .................................... Demo $ 119.00Beaulieu 5008-S w/6x66 Schneider.. Used $1100.00 Bolex SP80 ....................................... New $ 430.00Canon 1014 AZ electronic ................. New $ 499.00 Bolex SM8 w/extra speaker ............ Used $ 299.00Canon 814 AZ electronic ................... New $ 319.00 Silma S-99 dual 8 proj. .................... New $ 99.00Bolex 550 XL sound camera ............. New $ 339.00 Silma Bi Vox sound projector ........... New $ 329.00Bolex 580 sound camera ................... New $ 339.00 GAF mod. 1488 dual-8 proj ............... New $ 52.50Canon AZ 512 AL electronic .............. New $ 269.00 GAF 3000 sound projector ................ New $ 199.00GAF 250SS-XL sound camera ........... New $ 229.00 Bell & Howell 1744 zoom sound proj.. New $ 289.00GAF 605SS sound camera ................ New $ 249.00 Bell & Howell 1641A double feature. New $ 89.00GAF 805SS sound camera ................. New $ 289.00 Elmo ST 1200 mag ............................ New $ 339.00Kodak Ektasound 130 ....................... New $ 159.00 Elmo ST 1200 mag/opt ..................... New $ 399.00Kodak Ektasound 140 ....................... New $ 229.00Kodak Ektasound 160 ....................... New $ 299.00Beli & Howell 1230 A Filmosonic XL.New $ 229.00 TRIPODSSanyko XL-40S sound ...................... NewMinolta XL 400 ................................. New

$ 309 . 95

$ 189.00 Miller Sup. 8 head .......................................Miller Model "F" head ................................

$ 119.00$ 250.00

Miller Model "F" w/slip pan unit ............... $ 310.00Miller Model Pro Head ................................ $ 360.00

SUPER -8 EDITING Miller Model Pro w/slip pan unit ................Miller Legs model "F" w/ball .....................

$ 421.00$ 222.00

Guillotine Super-8 splicer .......................... $ 16.00 Miller Legs model Pro w/ball ...................... $ 239.00Bolex Super-8 tape splicer ........................ $ 24.00 Bolex Tripod w/Adj. column,Maier Hancock 8, Super-8, 16 splicer ........ $ 289.80 ball joint, pan head $ 160.00Minette Super-8 tape splicer ..................... $ 6.95 GITZO TRIPODS: Quality European madeHervic/Minette S-5 editor ................ New $ 85.00 Write for Brochures and Prices-Hervic/Minette sound attachment

for above ....................................... New $ 28.00Hervic/Cinekon Dual-8 editor ........... NewSuper-8 editing bench, 3-gang

$ 31.95 METERSmotorized synchronizer, foot pedal, Luna Pro light meter w/case ............. new $ 90.00S-5 Minette, speaker box (original Spectra Combi-500 w/case ............... used $ 109.00cost: $600.00) .............................. NOW $ 300.00 Spectra Professional .......................... new $ 119.00

HFC combination 3-gang/16mm/1 Spectra Professional w/pointer lock .. new $ 129.00gang/super-8, synchronizer,speaker box ................................ Demo $ 300.00

Spectra Color Meter .......................... newMinolta autometer Spot att. kit ..................

$ 499.00$ 100.00

Specialties Design editor Super-8 Minolta 1° Spot ........................................... $ 310.00motorized w/3-gang sync ............ Demo $ 400.00 Sekonic L28C w/case .................................. $ 49.00

Spectra 3-color meter w/case .......... used $ 269.00

BEAULIEU RECORDERSBeaulieu 16 News camera

w/12x120 Ang. w/doublesystem module ........................ like new $4000.00

Uher 1200 recorder w/Neo-pilotsync, ni-cad batteries, charger,case, microphone .................... like new $ 999.00

Beaulieu 16 News cameraw/12x120 Ang. w/single

Stellavox SP7 w/Neo-pilot .............. DemoStellavox AMI 1-5 Channel

$1899.00

system module ........................ like new $5000.00 mono/stereo mixer ...................... Demo $1689.00

MAIL & PHONE ORDERS PROMPTLY FILLED• Payments: We accept Certified Checks or Money Orders.Personal checks cause delay. To use your Bank Americardor Mastercharge, send card number and expiration date.20% deposit required for all C.O.D.'S. • Shipping Charges:extra. Please send est. chgs. Excess will be refunded. Allshpg. chgs. not paid will be billed COD. MM. $3.00 shpg.chg. • Prices are valid when submitted for publication butmay change without notice. Quentines are limited.

927 WESTWOOD BOULEVARD

LOS ANGELES, CALIF. 90024

(213) 477-9569-1213) 879-9616

one-third) of a 16mm projected imageto see the quality available. But whenSuper-8 is used as an intimate, close-up medium, taking full advantage of thelong lenses and low light level facilities,it can create a sensitive involvementand a cinema as exciting as 16mm or35mm, since all the technical facilitiesare readily available at relativelymodest cost to accomplish the fullrange of cinematic techniques -complex editing, multiple sound tracks,optical effects, etc.

The stage has now been reachedwhere applications considerations canbe given first priority. Movie makers,amateur or professional, can now makeuse of either double or single-systemcameras for original Super-8 produc-tions complete with sound, inexpen-sively and unobtrusively. With hisbattery-driven hand-held camera, theSuper-8 filmmaker can go anywhere,even in potentially hostile situations,with assurance that he will be taken forjust another amateur, filming for fun.With careful pre-planning and as muchin-camera editing as possible, a Super-8 film half-an-hour in length can bemade for less than $100 direct costs.

Super-8 is so simple andinexpensive that it is within easy reachof almost anyone who has the urge tocommunicate visually with others. Butlearning how to communicate effective-ly is much more difficult to achieve.Super-8 makes the learning processsomewhat easier, since the filmmakercan more easily retain personal controlof how the medium is used. Super-8favors this kind of attitude, since noth-ing need stand between the filmmakerand his audience - what he sees in thecamera viewfinder he can show on ascreen or on a television receiver.

The young generation learning filmtoday should know that their en-thusiasm will be the key to demon-strating that Super-8 need not be con-sidered "sub-standard". They muststudy the techniques of professionalcinematography, and they must studythe technical capabilities of Super-8;then they must go out and show us howbest to exploit the newest communi-cations medium - professional Super-8. ■(ABOUT THE AUTHOR: RODGER J. ROSSis an internationally recognized author andlecturer. He is a film and television consult-ant to Eastman Kodak Company and theCanadian Broadcasting Corporation. WithJohn Lant and Karl Kruger, Ross publishedin the SMPTE Journal (March, 1971) theoriginal recommendation for what is nowKodak's 200 foot single-system soundcamera, the Kodak automatic processorwith the rapidly processable new film stock7244, and the Kodak Videoplayer. Ross isthe American correspondent for the BKSTSJournal.)

AMERICAN CINEMATOGRAPHER, NOVEMBER 1975 1335

SUPER-8 EDITINGContinued from Page 1303

fullcoat tracks, the cutting heads areremoved and special high-qualityheads and additional guides areinstalled. The new configuration,though more complex than before,reduces any noticeable wow and flutterfrom playback and recording.

Single-system film (Super-8 or16mm) can be transferred to a fullcoattrack, edited as double-system andtransferred back to stripe.

The table incorporates a very high-quality mixing console and frequencyequalizers. Consequently, three trackscan be mixed directly to the magneticedge stripe or (since the picture headalso accepts fullcoat) to a master track.Since each 16mm fullcoat strand canalso be recorded with edge and centertrack, conceivably, six tracks could bemixed simultaneously.

Of additional interest is a 35mm clearfil m band that runs in synchronism withthe tracks. This film band passes over alight well and may be used to marksound cues for mixes without picture.

It is expected that the Schmid will beavailable in the U.S. by year's end.

Inner Space Systems, Inc. (ISS)The ISS approach works equally well

for 16mm or 35mm film in that fullcoatis not required (though it can be usedon suitable recorders). Instead, theediting of the sound track can beaccomplished directly from the original1/4-inch recording via an electronictransfer to a master 1/4-inch tape onanother recorder. Since both recordersare electronically locked in sync withthe projector, absolute frame-for-framesync is maintained.

The basic requirements for editingwith this system are an ISS modifiedprojector, any number of modifiedrecorders with solenoid-operatedpause controls, Cine-Slave for eachrecorder, and a matching Sensit boxfor each recorder.

The projector is modified to producesync pulses and to respond to lightreflective tape tabs. These tape tabsprovide cue pulses to start or stop therecorders.

The Cine-Siave unit is basically asynchronizing device capable of sync-ing any one device to any other. TheSensit box is the control unit for theautomatic, near-instantaneous start-ing and stopping of ISS modifiedrecorders during editing. It alsogoverns the recorder operation whilethe recorder is slaved to the projectorvia the Cine-Slave synchronizer.

To view rushes with this system. areflective tape tab is placed on the

1340 AMERICAN CINEMATOGRAPHER. NOVEMBER 1975

slated film frame. Then, the audio slateon the recorder is cued up. Thyprojector is turned on. Then as the tap'tab passes the gate, the Sensit activates the recorder on that frame an(the Cine-Slave will hold them in sync.

Since the sensors at the film gate ansuch that one scans the left and theother the right half of the film frame, bualternating from right to left, the tab.are used to turn the recorders on or ofat specified frames.

It is this ability to stop and starinstantaneously that enables the electronic editing of original sound withoucutting tape.

For basic editing, a projector, tworecorders, two Cine-Slaves, and twoSensit boxes are required.

The basic editing procedure is afollows. First, tape tabs are placed athe slate marks of the film using, let';say, the left sensor. Then at the locatiorwhere a cut is desired, an additionstape tab (on the opposite side from theslate tab) is attached. At the tail of thescene (again opposite from head tabanother tab is attached.

Then as the film is run, the first tat(slate) activates the recorder and thesecond (scene head) stops it. At thepoint the tape is marked.

Then, the second recorder (masteris put into the recording mode and theoriginal sound tape is cued up at thepreviously marked start mark. The projector is turned on and run up to speedAs the first tab passes the sensor, bollrecorders are started. The originarecorder plays, as the master recordsAs soon as the first tab is passed, themaster recorder Sensit is switched t(the stop mode. This causes therecorder to stop when the second tatpasses the projector gate. At this poina frame-for-frame transfer in sync othe desired sound segment has beermade. The tabs remain on the film tdindicate splice points.

Subsequent cuts are transferred andcued up in the same way. The editedsegments are accurately and noiselessly butted with one another.

After the basic sound track has beerassembled in this manner, the film iscut in the conventional way and guidedby the tape tabs. After this the editedsound track can be run in sync with thepicture and final cuts and adjustment:are made.

When the editing workcompleted, a start tab can activate synctransfer of the edited track to the film':edge stripe.

It is obvious that this editing methodrequires many projections of the filmConsequently, workprinting is a musand original film editing out of thequestion. There is no Super-8 pro

AMERICAN CINEMATOGRAPHER, NOVEMBER 1975 1341

jector made that won't scratch the filmafter a few passes.

If a mix is desired, one Sensit box,one Cine-Slave, and one recorderwould be required for each sync track.Again activated by the tape tab, theserecorders would run in sync with theprojector and could be patchedthrough a mixer. The mixed audio trackcould then be transferred directly to theedge stripe of the film or to anothersynced recorder for a master track. Themix would be done to picture.

The advantages of this system lies inits economy and quality, if not in speed-iness of operation. No question aboutit, it is a slow process. However, thesame Cine-Slave that synced the pro-jector to the recorder can also be usedto sync the camera to the recorder dur-ing a shoot. Unless you are using full-coat recorders rather than 1/4-inchmachines, you never get involved withfullcoat at all. Consequently, the soundshould be better.

Individual components are priced asfollows. Cine-Slave units about$350.00. Sensit boxes $125.00 to$330.00 depending upon recorder.Projector modification about $165.00.

Editor-Viewers:

Out of the fifty or more viewers madefor Super-8 use, only a very few canreally be trusted with original film.Viewer design seems to follow the per-verse notion that the ability to see thepicture is unimportant and that no onecares whether or not the film getsscratched.

Based on our experience, thefollowing viewers are acceptable: theMinette S-5, the Hahnel VB-214, theElmo 912, the HKS projecto editor.They all cost around $100.00.

The Elmo and the HKS can be fittedwith an optional 18 frames offset soundhead/amplifier for single-system edit-ing. Frame counters and cleaningattachments are also available. TheHKS actually projects the image on asmall boxed-in screen and gives aboutthe sharpest picture. The Hahnel withits V film guide provides a very sharppicture and is a snap to thread. It is verygentle on film.

The Minette S-5 has been the realworkhorse of Super-8. Super-8 Sound,Specialties Design, and Super 8Research, all have incorporated thisviewer into their editing systems. It iseasy to understand why. The viewer iswell balanced with most of its weight onthe bottom. Coupled with rubber feet.this makes it rock steady. Unlessgrossly misused, the Minette neverdamages film. It has a very bright andvery sharp viewing system that is easilymodified to accept the Phillips 10-watt

1342 AMERICAN CINEMATOGRAPHER. NOVEMBER 1975

quartz lamp for even greater bright-ness.

For some reason, Super-8 viewersare designed to punch out the edge ofthe frame to indicate cuts. There is noway to use grease pencil because thegates are ali enclosed. Some system ofless permanently marking frameswould be welcomed. Of course punch-ing the edge is still better than per-forating the middle of the frame, assome viewers do.

All viewers allow frame adjustments,focus, and inching. Of course, most ofthe controls for these adjustmentsrequire watchmakers' hands. They areincredibly small and, in someinstances, inconveniently placed.

Splicers:

There are almost as many Super-8splicers as there are cameras. Only avery few, however, are worth anything.

The best cement splicers are theBolex and Hahnel. Both make low visi-bility and low noise splices. Each end ofthe film is bevelled so that a well-madesplice is not much thicker than the filmitself. This is very important if the film isto be striped for sound. Splices madewithout bevels suffer dropout at everysplice. They also chatter horribly whenthey pass through the projector.

Both splicers can be used to spliceA&B rolls, though the Bolex must havethe regular 8mm guide pins removed.Neither splicer is heated, but the Bolexcan easily be modified with a 10-watt/1500 ohm resistor. Both splicersalso grind rather than scrape the film.This causes film dust to scatter all overthe place and creates a cleaningproblem. After about 50 splices, theBolex film cutter blade gives out. Afterthat a razor blade must be used. Bolexabout $57.50. Hahnel about $49.95.

The Maier-Hancock model 816-S is aformidable splicer with a clean scrap-ing blade and 100°F heated block. It isthe best, fastest, cleanest, and easiestsplicer to use in preparing Super-8A&B rolls. Because it does not makebevelled splices, its use for projectionor sound-striped film is limited. Thesplicer converts for 16mm use.$350.00.

Other professional hot splicers forSuper-8 are made by the HollywoodFilm Co. and by Harwald.

Tape splicers are abundant. Thecheapest and most useful for bothpicture and fullcoat is the $20.00 Guillo-tine. This splicer uses unperforatedmylar tape. It is a wraparound splicecovering two frames and does notcover the sound stripe. Cost per spliceis less than 'IC. It is most useful for workprint because the splices are easilyunmade. A metal semi-pro model is

AMERICAN CINEMATOGRAPHER. NOVEMBER 1975 1343

available for $39.95 and an even morerugged pro version for $275.00.

For fullcoat splicing, we load thesame $20.00 plastic model with 3/8-inch opaque audio splicing tape. Thistape is highly visible on the fullcoat andstrong enough to be taped only on thebase side of the fullcoat. Cuts are com-pletely noiseless.

An excellent new tape splicer is theHPI and uses T-8X perforated quick-splices. It covers four frames and isvery strong. The splicer is unique inthat it cuts the film, positions it,removes the paper backing, andapplies the splice to both sides of thefil m. Very little handling occurs, reduc-ing the chance of trapping dirt underthe splice. It is good splicer for originalprojection or for Super-8 to Videotransfers. The splicer costs about$30.00 and splices run about 2.5C each.

Other useful tape splicers are madeby Fuji Photo and by Eastman Kodak.

If you are working with polyester-base film and you don't want to tape-splice, the only option is the Metro-Kalvar portable ultrasonic splicer. Itcosts $1500.00 and does not work verywell on acetate-based films.

Synchronizers:High-quality Super-8 sync blocks are

manufactured by Ediquip, Inc., Holly-wood Film Co., Inc., and Magna-sync/Moviola Corp. The synchronizersare constructed the same way as their16mm and 35mm brothers and costabout the same.

The following options and configur-ations are available, though not fromeach manufacturer. Available are: 1-6gangs, various gangs may be declutch-able from the others, front or rear-fac-ing sprocket placement, soundreaders, front and rear footagecounters, 24fps sync motors, frameindicater plates, timers, and gearing forSuper-8/16mm combinations.

Miscellaneous:Although most Super-8 flatbeds are

designed to be used with film reels,some can also handle film and fullcoaton cores. To wind the film on the coresrequires a tight wind. Hollywood FilmCo. makes one and Leon Flohl of NewYork City custom builds them. Splitreels to handle the cores are also avail-able from Hollywood Film Co. and fromComprehensive Service, Inc.

Neumade Products Corp.manufactures brass shaft adapters toadapt Super-8 reels for the standardprofessional rewinds. They also make asingle hub footage measuring machinefor Super-8 film.

16mm film bins are not suitable for

1344 AMERICAN CINEMATOGRAPHER, NOVEMBER 1975

Super-8 unless their film hanging pinsare exchanged with thinner ones toaccommodate the smaller super-8sprocket hole. Only one firm offers afil m bin suitable for Super-8 (as well asfor 16mm and 35mm). The Roto Bin,manufactured by the Communicators,Inc. uses non-magnetic clamps to holdthe pieces of film and fullcoat. Thoughvery handy with its magnifying glass,illu minated drum, and rotating filmcarousel, the Roto Bin is also quiteexpensive: $395.00. The company isplanning to market a more austeremodel in the near future.

Super - 8 Magnetic Fulicoat:

Like it or not, Pyral Super-8 fullcoatis the only quality fullcoat readily avail-able in the U.S. It seems a little strangethat more options don't exist; particu-larily since virtually all Super-8 editingsystems rely on it.

Other brands do exist (usuallycheaper), but beware before you stockup. The dealers won't tell you whomade the stuff, and it's been our exper-ience that most of these off brands areinferior to Pyral. The main problem hasbeen frequent and severe dropout.Some others completely gunk up therecording heads.

A gripe with respect to Super-8fullcoat is its price. Granted that not asmany feet of it are in use as 16mm, butis that enough reason to charge twiceas much as 16mm mag? In somecases, dealers are charging $45.00 fora 1200-foot roll. According to acompany spokesman, Pyral is whole-saling Super-8 fullcoat at the sameprice as 16mm and by 1976 they expectto reduce the price significantly. Fairprices in quantities of 10 1200 ft. rolls ormore should not exceed $28.00 perroll.

Most likely 3M will manufactureSuper-8 fullcoat in the near future. Itwili be a completely new formulationwith higher quality than Pyral. Hope-fully the price will be lower as well.

Super -8 Edge Numbers:

With all of this wonderfully sophis-ticated hardware, it seems that pro-fessional editing of Super-8 film hascome of age. Almost. There is still oneproblem crying out for a solution. Thatis effective coding of original, workprint and fullcoat.

True, a fairly large amount of Super-8 is cut in the original. However, thebest results still require work printingand subsequent conforming of theoriginal. Currently only three labsacross the country offer edge-numbersfor original and work print. No one isable to code Super-8 fullcoat.

Even the edge numbers available are

AMERICAN CINEMATOGRAPHER, NOVEMBER 1975 1345

not the best that could be. Theygenerally follow 16mm spacing (too farapart) and, in some cases, the yellowink has been known to bleed or splashinto the frame area. What's more, theservice takes forever.

If someone out there is looking tomake an investment, he should designor sponsor the design of a Super-8edge-numbering machine for routinelab use. The machine should be able toclearly and cleanly code single-strandSuper-8 original, work print, and full-coat. The spacing should be about 20frames.

Conclusion:The editing of Super-8 film and

sound has reached a very sound andpractical level. Many systems exist;some mimicking 16mm practice andothers following totally uniqueapproaches. In many instances, theediting systems provide a flexibility ofuse not found in the 16mm world. Theability to adapt the editing machines tomultitrack sync sound mixes isprobably the most outstandingexample of that trend.

All of the hardware is well past proto-type and much of it is already in fielduse. New dramatic innovationsprobably won't appear for a while, asmanufacturers refine and improve theexisting systems.

It is hoped that film makers using thisnew equipment will not suffer passivelyif problems develop or they find cer-tain aspects of the systems trouble-some and inefficient. All criticisms,comments and suggestions should beforwarded to the manufacturers. Theyneed this field data badly. Manu-facturers actively solicit this feedbackfrom all equipment users. ■(ABOUT THE AUTHOR: GUNTHER HOOSand his partner Mark Mikolas founded theSuper-8 Film Group, a New York productionhouse that works in Super-8. He haspublished many articles on Super-8,including a special report on Super-8 atPhotokina '74, and is a co-author withMikolas of Handbook of Super-8Production, scheduled to be made availablevery soon by United Business Publications,the publishers of Video Handbook.)

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1346 AMERICAN CINEMATOGRAPHER. NOVEMBER 1975

DECADE OF PROGRESSContinued from Page 1254

cameras in use in this country.For all of these people, there ar(

many choices to make after they decid(to originate in the Super-8 soundmedium. What equipment do the ∎need? Which film should they use',How should they record sound andedit?

To answer these questions, innecessary to define the mission. Wherewill the film be produced, and particu•larly, what will the lighting conditions beli ke?

Is it important to record sound orlocation or would it be more effective tdadd a narration, music and perhapseffects later? Of course, you shouldalso know in advance how the film wilbe used.

Many cameras provide a choicebetween recording 18 or 24 frames peisecond. The first will lower film ancprocessing costs by 25 percent andwili also make it possible to compressthe action shown during a specifidamount of time. These can bei mportant considerations. Howeverfirst make certain that you will be usinga projector which operates at 18 framesper second if your playback medium isgoing to be television.

Other features to look for whenselecting a Super-8 camera include: Isit lightweight and easy to hand-hold? IIit's cartridge-loading, can it be usedwith existing-light films such as KodakEktachrome 160, Ektachrome EF 7242and Ektachrome SM 7244 films? Doesit have a built-in type A filter, which willbe needed for switching from exposureunder tungsten light to daylight? And,finally, the availability of a zoom controlis very desirable for producing small-format films with a professional look.

There are currently several camerasnow capable of recording single-system sound on prestriped film,including the Kodak Supermatic 200sound camera. The Supermatic 200camera operates at either 18 or 24frames per second and can be usedwith both 50- and 200-foot-capacityfil m cartridges.

The main question that brings up iswhether or not you will be filmingevents which might require you torecord film and sound at 24 frames persecond without interruption for up to 10minutes at a time? If so, the Super-matic 200 camera can provide thatcapability, along with the flexibility ofalso using the 50-foot cartridge whenthat is desirable. When you are con-sidering this, remember that these are

AMERICAN CINEMATOGRAPHER, NOVEMBER 1975 1347

cartridge-loading cameras which takeonly seconds to reload.

That's one of the major productionadvantages of Super-8 filming. There ispractically no setup time, and there isalso a great deal of mobility. Each ofthe three existing-light films mentionedearlier have a recommended exposureindex of 100 in daylight (using a type Afilter) and 160 in tungsten illumination.All of the films are available, both silentand prestriped, in 50-foot cartridges;however, only Ektachrome EF 7242 andEktachrome SM 7244 films can be pur-chased in 200-foot cartridges, silentand prestriped.

The film speed combined with thefast f/1.2 lens and 230 degree shutterangle on the Supermatic 200 cameramakes it possible for producers to workwithout the aid of artificial illuminationin most situations. Furthermore, theautomatic exposure feature willgenerally provide for a uniformly well-exposed end product. The main thingto watch out for in this last regard isbacklighting. For example, light comingin from a window in the backgroundcan fool an automatic exposure meterand result in a badly underexposedforeground. The manual override onthe exposure control wili allow you toadjust for backlighting.

Another thing to keep in mind is thatyour film will most likely be shown on acomparatively small screen. As aresult, an establishing long shot, whichcould be very effective in the 16mm for-mat, could result in such tiny images inthe background that they would beindistinguishable on a small screen.

The cure is simple. Work in closeand focus on an image that will fill upthe screen. You can still produce avisually interesting movie byoccasionally panning slowly, using yourmanual zoom control (the Supermatic200 camera has a 9mm to 21mm zoomlens) and by frequently changing theperspective of your camera to thesubject. Most of your editing can bedone right in the camera.

Your choice of films will be dictatedmainly by your plans for recordingsingle-system sound and also by thesources of film processing mostavailable to you. In most parts of thecountry, Ektachrome 160 film, whichwas first introduced to the amateurmarket, can be processed within 48hours. Some of the photofinishersequipped to machine-process this filmmight also be willing to negotiatespecial arrangements for making evenfaster deliveries.

Ektachrome EF film 7242 (tungsten)is most commonly used in the 16mmformat for newsfilm work by corn-

1348 AMERICAN CINEMATOGRAPHER. NOVEMBER 1975

mercial broadcasters all over thenation. Many of these broadcaststations will provide high-quality fastservice to outside customers, and thisis a big advantage to filmmakers work-ing with this product. Many com-mercial laboratories already areequipped to process this film in thelarger format, so fast service shouldn'tbe a problem anyplace.

Sometimes, however, you may wantaccess to the processed film in a matterof minutes. When you're using a filmsuch as Ektachrome SM film 7244 (typeA), this immediacy is possible with theKodak Supermatic 8 processor.

This compact processing machineaccepts 50- and 200-foot cartridges offil m and can be operated in room lightby practically anyone. Using the Super-matic 8 processor, you can have a 50-foot roll of film ready for viewing within15 minutes after loading the un-processed film into the machine.

There also are other alternativesregarding the selection of film. Fotexample, some smaller televisiorstations using Super-8 film rely uporthe slower but much sharper and finer-grained Kodachrome 40 film (type A) ofKodak Ektachrome 40 movie film (typeA) for producing commercials. Both ofthese films have an exposure index 0125 (using a type A filter) in daylight anc40 under tungsten illumination.

Because of their relatively slowspeeds, you'll probably have to usesome sort of artificial illumination whenshooting indoors. This could be doneby simply handholding a tungsten-bal-anced spotlight. However, for optimumli ghting, three lightweight stands, eachholding a tungsten-balanced 650-wattbulb, can be used with great effect.Place two of the lights on either side 01your camera and the third to one sideand to the rear of the subject (out of theshooting frame, of course). This shouldgive you a well-lighted subject withoutshadows and with good depth of field.

Another thing to remember duringplanning is that you have a tremen-dous amount of flexibility in recordingsound on a magnetic track. Single-system sound should generally berecorded whenever you are filminginterviews. This technique can also beused when the cameraman's orreporter's on-the-spot observations arei mportant. For example, an insuranceinvestigator at the scene of an acci-dent might want to record his on-the-spot observations, as weli as otherpeople's comments.

Appropriate background sounds canalso add a great deal of authenticity to afil m. These, however, don't necessarilyhave to be recorded on the stripe at the

ti me of shooting. In fact, there is .a goodargument for recording backgroundsounds with a portable audiotapeplayer. This can facilitate mixinglocation background sounds withvoice-over narration recorded afterobserving the film.

Adding this sound track after the filmis processed is then a simple matter. Ifa prestriped film is used, you are readyto record as soon as the film isprocessed. If nonstriped film was used,a magnetic stripe can be applied bymany processing laboratories.

Then, it's as simple as loading thefil m into a Kodak Supermatic 70 soundprojector and transferring sound froma tape player onto the film's magnetictrack. A film can consist of a com-bination of single-system on-locationinterviews and a voice-over narration.

While there are various options toconsider in the making of a Super-8color-sound film, one statement can bemade with absolute certainty: Thedream has become reality. Super-8sound movies are a viable medium fortoday. ■

TRANSFERRING SUPER-8Continued from Page 1313

The sound was transferred in syncfrom a fullcoat Super-8 mag track.

Two hours after they walked in thedoors of National Video with theirSuper-8 elements they had a two-inchQuad videotape master of both a 60-second and a 30-second spot. Onehour after the two spots were ap-proved by the client, they had all theirtape dubs ready to send to the varioustelevision stations.

Another interesting use of Super-8fil m in the video field is where a tele-vision spot has been shot in videotape,and is so successful that the client oragency wants to have a Super-8 filmprint to show in rear-screen projectors.Since ali film transfers from videotapeare in 16mm, National first shoots inthat format and then has reductionSuper-8 film prints made. Since thefil m is only being shown on a smallscreen there are no television linesshowing, and it looks as if the TV spothad been shot originally on film.

National Video Center is offering aservice to its clients of renting the newKodak Supermatic 200 Super-8 single-system sound camera which operatesat 24 frames per second. Both 50-foot(2 minute) and 200-foot (10 minutes ofshooting time) are available for thiscamera.

With the use of this camera, adagencies can shoot on location such assupermarkets and do many testcommercials at very low cost. One such

1350 AMERICAN CINEMATOGRAPHER. NOVEMBER 1975

commercial was shot recently byNational Video Center to show thefeasibility of the concept.

Ten rolis of the 50-foot cartridgeswere shot in one hour on Koda-chrome, processed the next day byKodak, transferred to 2-inch quadvideotape the next day. That same daythe spot was edited on quad tape, titlesand special optical effects put in, and afinished 60-second spot was trans-ferred to both quad and a 3/4 inchvideocassette for ad agency personneland key clients to view before theyproceeded to shoot the finalcommercial with conventional video-tape color cameras.

Super-8 is not just a scaled-downversion of 16mm, which has becomethe mainstay of local TV film program-ming. It is a new medium with its ownspecial features. Experts feel that it willnot replace 16mm film any more than16mm film has replaced 35mm film, butit will definitely find more and moreuses in professional areas such as ineducation, cable television, small-market stations and remote stringeroperations, and many other areas ofmodern day life where an automatic,li ght-weight combination camera-recorder can be easily operated by oneperson.

To even an untrained eye, there is anoticeable quality-difference between afil m shot with 16mm and one shot withSuper-8 when viewed one after theother on a broadcast-quality film chain.However, where the Super-8 film is notgoing to be directly compared with16mm, an electronically enhancedSuper-8 production is more than satis-factory. Since a loss of resolution isonly noticeable in the higher picture-frequencies, one should avoid shotswith a great amount of detail and con-centrate on medium shots andclose-ups.

Super-8 film will eventually providean additional input to television fromsources such as amateurs, communitygroups, scientists, educational insti-tutions and industry, and Super-8equipment packages will be consid-ered by smali television program ori-ginating points as an alternate to othermeans (16mm or video) of gatheringand editing program materialsrequiring a much larger capital invest-ment for equal quality. ■

(ABOUT THE AUTHOR: ALAN ROGERS isthe Vice-President of Marketing at NationalVideo Center — the country's foremost labdoing Super-8-to-Video transfers. Rogerswas involved in 8mm productions for manyyears before helping form the NationalVideo Center, and was a founder of theProfessional Super-8 Institute in New YorkCity.)

AMERICAN CINEMATOGRAPHER. NOVEMBER 1975 1.1c1

SUPER-8 IN TELEVISIONContinued from page 1324

superior frequency response capa-bilities of the ferric oxide stripe over theferric oxide cassette under similarconditions. All of Eumig's HQSprojectors (High Quality Sound) arenow shipped from the factory withindividual lab graphs certifying themachine's frequency response to 12kHz at 24 fps and 10 kHz at 18 fs.Tests at KDUB have shown that the fre-quency response is more thanadequate for conventional news film-ing when proper sound recording tech-niques are used. Another importantfactor that has improved the status of18 frames per second in television isKodak's Videoplayer, which is capableof converting the 18 fs footage to the30 fps rate of the NTSC system with nonoticeable flicker or speed change. Theoriginal intent of the 18 fps rate wasgreater economy to the consumer, andthis bonus drops the raw stock cost ofhigh-speed color Super-8 sound filmdown to $1.25 a minute (vs $1.65 aminute @ 24 fps). The higher packingdensity on the film also shortens theeffective processing time.

Numerous other manufacturers nowhave 18 fs XL sound cameras on themarket, including Bauer, Bolex, Bell &Howell, Chinon, GAF, Elmo, andSankyo. In terms of lowest price, theKodak Ektasound 130 can be found indiscount camera stores for about $150.

While Polaroid continues to filepatents for various instant-processingSuper-8 systems, Eastman Kodakrecently began deliveries on anothernew professional product designedexclusively for Super-8: the Super-matic 8 processor. Well aware of theunpleasant mess and odor that oftenaccompanies conventional filmprocessors, Kodak set out to design atotally automated processor that couldbe easily operated by unskilledn., rsonnel. Originally slated for intro-uuution in 1974, the machine has beenheld up by Kodak's determination tomarket a near-foolproof product. Thepackaging of the Xerox-size machine isattractive, and the installation is likethat of a household washer (220 VAC,cold water, and a drain). The light-tightSuper8 cartridge is loaded directly intothe processor, eliminating the need fora darkroom. A roller transport is used;thus, there is no leader to threadthrough the tanks as in conventionalprocessors. The machine operates at10 feet per minute, producing acompletely processed 50-foot roll in13 1/2 minutes. One of the innovations onthe Supermatic 8 is its automaticchemistry control: an internal clock

1352 AMERICAN CINEMATOGRAPHER, NOVEMBER 1975

counts the footage in the cartridgesprocessed, and a sound alarm warnswhen the 5,000-foot mark is reached.Then at the push of a button, themachine flushes the depletedchemistry and starts a clean-up cycle.At the completion of this cycle an "ADDCHEMICALS" sign lights up, cuing theoperator to add the liquid con-centrates. Only four chemicals arerequired, and each concentrate comesin a different shape-coded size toinsure that the right bottle is poureddown the right hole.

The price of the processor is a hefty$12,500, but this figure is well in linewith comparable installations requiringexternal plumbing and supply tanks.ENG has its counterpart to theexpensive processor also: an electronicsignal processing device called a TBC(Time Base Corrector) which brings theENG video tapes up to broadcastspecs, also priced in the neighbor-hood of $12,000.

The Supermatic 8 is designed tohandle the new Ektachrome SM 7244fil m introduced by Kodak in 50 and200-foot cartridges. The film is notunlike the new Ektachrome 7240 video-fil m, in that both films are pre-hardened in manufacturing, eliminatingthe pre-hardener and neutralizer stepsin processing. The 200-foot cartridge isslowly starting to make its way to themarket. Kodak's Supermatic 200 andSankyo's XL 40S sound cameras aredesigned to take the cartridge, andBeaulieu is reportedly working on acamera to accept it also. Like the 50-foot cartridges, the 200-footer isconstructed of lightweight, disposableblack plastic. Two hundred feet ofSuper-8 yield 10 minutes at 24 fps and13:20 at 18 fs.

Some of the professional editingequipment required for using Super-8in broadcasting has been on themarket for several years now. Cementor tape splices may be used, althoughextensive testing at KDUB indicatedcement splices were to be preferred.Maier-Hancock has been manu-facturing a Super-8 hot splicer closelystyled along the lines of its 16mmmodel; Guillotine also makes com-parable professional tape splicers.

Good Super-8 viewers have alwaysbeen somewhat of a scarcity, andpractice at KDUB indicated that therewas virtually only one viewer whichcould be compared to the Moviscop forbrilliance, clarity, ruggedness, and filmhandling: the Minette, distributed bythe Hervic Corp in the US. While it ispossible for any handyman to mount amagnetic head on the viewer with an1 8-frame advance, Hervic has an-nounced that the Minette will soon be

.0

available with a magnetic sound-readerattached. Elmo and Bolex are alsomarketing Super-8 viewers with amodular sound head for single-systemsound editing.

There's no denying that the editingstage of Super-8 requires a lot of careand patience. Handling is not quite aseasy as 16mm, although one canbecome accustomed. The soundadvance is so close to the picture at 24fps (less than a second) that very cleansingle-system edits can be Made ifproper techniques are used inshooting. Cleanliness is extremelycritical, as dirt, dust, and film shavingsare very noticeable when the film isblown up on a large TV screen.Scratches automatically add to a poori mpression of the film.

At the point of transfer to video thebroadcaster has a choice of two routes;the conventional method has been touse a special TV projector equippedwith a 5-bladed shutter and syn-chronous motor. Both Eastman Kodakand Elmo are marketing suchprojectors. They are limited to runningat 24 frames per second, and must beprojected into a telecine chain for pick-up by a color TV camera. Telecinechains are standard equipment in TVstations, but oftentimes all of thenormally available "inputs" are used upby other types of Projectors (16mmfil m, 35mm slide, etc). Such was thecase at KDUB's installation. However,the problem was solved by adding afifth mirror to the chain. (Note:Engineers with the CBC used a similarapproach in the Montreal installation).

I mage enhancement is a criticalfactor in the conventional film chainapproach. Until recently, most filmchains were not equipped with en-hancers, so in many cases an externalenhancer is required when Super-8 isused. This device examines the tele-vision signal on a line-by-line and dot-by-dot basis to detect detail andincrease its contrast; the net effect is asharper picture. Photos accompany-ing this article demonstrate howenhancement can improve the Super-8i mage. The accompanying cartoonphoto(s) show a comparison of an un-enhanced 16mm print with an en-hanced Super-8 print (both photoswere shot from a TV screen). Enhance-ment makes the Super-8 appearsharper, though somewhat coarser andgrainier. The appearance of grain isnormally increased with enhancement,but much of this high-frequency noiseis lost in the home receiver. Electronici mage enhancement has been thesingle most important factor in bring-ing the Super-8 image up to broadcaststandards.

1354 AMERICAN CINEMATOGRAPHER. NOVEMBER 1975

The alternate approach to using a TVprojector is to use Kodak's new Super-matic videoplayer. This remarkabledevice defies adequate description,especially when one considers that itdoes the job of both the TV projectorand color TV camera, and yet costs lessthan either! Priced at an astounding$1,350, the videoplayer is capable ofmatching the color quality of color TVcameras costing as much as $35,000!As incredible as it sounds, the video-player is entirely capable of thisbecause of the approach used in thetransfer process.

Technically the device is called a fly-ing-spot scanner, and because of itsinherent advantages of perfect colorregistration and color uniformity, it'sused quite commonly in Europe forbroadcasting film. Until recently USbroadcasters have been unable to usethe approach because of incompati-bilities between the film frame rate (18or 24 fps) and the American NTSC tele-vision frame rate (30 fps), but , uniquetechnology perfected by Kodak withassistance from Sylvania has solvedthe problem. A look inside the 45-pound box will show a small 4-inch TVscreen which is used to illuminate thefil m instead of a conventional projec-tion lamp. The raster light is cool, sothere is no danger of heating or burn-ing the film as in conventionalprojectors. If one could examine the TVscreen in slow motion, he could seethat it is simply a "flying spot" of lighttransversing the screen line by line.When the traveling spot of light shinesthrough the film, it is picked up by threephotocells, each responding to one ofthe primary colors. The resultingphotocell signals are then combined toform the NTSC television signal.

The real technical accomplishmentin the videoplayer is the traveling rasterwhich allows the film to travel at acontinuous rate through the player. Toaccomplish this, a specially elongatedfil m gate is used, and complex syncsignals are employed to force the rasterto move and follow the film frame as itmoves through the gate, until the entireframe has been scanned or il-luminated. This process eliminatesnearly all film wear, and provides formuch quieter operation, but itproduces the side effect of frame jitterif the controls are not properlyadjusted. Both focus and steadinesscontrols on the player contribute toti ming the raster speed to the filmspeed so that minimum jitter occurs.

The video output signal of the playeris amazin.gly sharp — sharp enough toshow the grain clearly — and this is duein part to the horizontal image

AMERICAN CINEMATOGRAPHER. NOVEMBER 1975 1355

enhancement th at is included in themachine's electronics. An RF modu-lator is also built into the player,allowing it to be used with consumer TVsets when desired.

As mentioned earlier, the video-player is capable of transferring filmshot at either 18 or 24 fps; in fact, theplayer is actually capable of transfer-ring film shot at any speed if the properadjustment in the drive motor's speedis made. The first model introduced byKodak, the VP-1, carries a standardvideo output and can be used forbasic transfers to a quad tape machineor any other type of video recorder, butfor synchronous operation with the restof a TV station's equipment the secondmodel, VP-X, is required. Priced at only$1,250, this version contains a varietyof sync inputs in the back for drivingthe player in sync with other studioequipment.

This review of new products andtechnology is clear proof that profes-sional Super-8 has now arrived on thescene, and is ready for broadcasting.Two solid years of experience with theformat at KDUB have shown that withcare and quality control, the enhancedSuper-8 image can compete quite welias newsfilm. A side-by-sidecomparison will show the picture quali-ty of Super-8 very close to thatachieved with the 1/4-inch Akai system.Color porta-paks near the size andprice of Super-8 sound cameras areli ght-years away, and this simple fact iswhat will keep Super-8 alive as a viableoption in television. Competition fromENG and 16mm is going to be tough inthe future, but with automation andinnovation as the cornerstones of theSuper-8 system, professional Super-8is ready for the challenge of televisionnow. ■

(ABOUT THE AUTHOR: CHUCKCYBERSKI has been a long-time advocateof the Super-8 format as a publisher of thepioneering "Super-8 Research News". Hewas Operations Manager of KDUB-TV,Dubuque, Iowa from 1972 to 1974, duringthe start-up of the first all-Super-8 TV newsdepartment. He is now an independentwriter and consultant.)

1356 AMERICAN CINEMATOGRAPHER. NOVEMBER 1975