new to super8, first aid

**David17** · August 19th, 2001, 06:46 PM

Hi Guys,

Since a few months, Fuji produces Single 8 SOUND, yes that's right, SOUND film again. Let's hope Kodak will start making Super 8 sound film again also, that would be great! They also make several other Single 8 stocks.

David

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**MovieStuff** · August 19th, 2001, 06:54 PM

No shit?

This is WAY cool. I always LOVED the Fujica ZC1000. Now THAT is a boss camera. Real pressure plate, c mount lenses, super slow-mo, digital frame counter, etc. Oooo-baby. Granted, it's not a sound camera, but perhaps there might be a resurgance in Single 8 sound. Kodak is a funny company. Maybe they'll respond to the Fuji threat by re-upping Kodachrome sound film.

The South shall rise again! wink

Roger

**Matt Pacini** · August 19th, 2001, 07:31 PM

I've never shot on sound film. How was the fidelity of it?
I wouldn't think it would be great, but how would you rate it to a good reel to reel? Or a pro cassette? Or minidisk?
The thing I would like to see, is the 200ft cartridges.
That would be cool! (I've never shot on these either, but damn, it gets tiring changing film every 2.5 minutes of footage!)
Matt Pacini

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**MovieStuff** · August 19th, 2001, 07:48 PM

The sound stripe is (was?) fine for recording voice. I even shot a garage band using my Elmo 1012XSL and it was great. Even the piano sounded fine. I mean, it's NOT CD quality, but you don't need CD quality for voice field recording. I think sound film would really be a shot in the arm for super 8. Camera noise is still a problem, but that can be attenuated. And, yes, 200 foot loads were a blast to shoot with.

Roger

**MovieStuff** · August 19th, 2001, 07:58 PM

Ah! I almost forgot. Here is something I used to do with my Elmo camera and my fullcoat recorder. The Elmo was converted by the Film Group to put out a 1f pulse. Instead of simply being a contact closure, it actually put out a recordable pulse. Very handy.

Anyway, when I needed higher quality sound than I felt the stripe would give me, I took the pulse out of the Elmo camera and fed it into the audio input of the camera, then I took the earphone feed out of the Elmo and went on to the "synch in" of the fullcoat recorder. This would not only allow me to run double system sound, but I could record the pulses on the stripe of the film.

Why?

Well, when I got my footage back, I could slave my fullcoat recorder to my Elmo motorized sound editor! I simply took the audio out of the editor and fed the recorded pulses playing back into the "synch in" of the full coat recorder. Worked great and meant I didn't have to project my footage to see it locked up with the audio track. Handy.

Roger

[This message has been edited by MovieStuff (edited August 19, 2001).]