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Very silent film drive, to avoid noise coupling to microfone...
No plastic cardriges, transport system with advance and stop claw for most steady pictures....
Variable shutter with several positions and selectable camera stop/start when beeing closed/opened totally...
digital frame and footage-counters...
universal sync-in connector to lock the camera to crystal or other sync signals when required...
Free film-speed and stop setting...
Full motorized backwinding...
Auto- lap dissolve option with selectable times...
Long time exposure for night shots...
frame rates and viewfinder/mirror system as Beaulieu has...
free interchangeable lenses without collimnation problems, autofocus option....
body constructed in a way that it gets it?s support of the cameramans head bones, just like a still foto camera, to provide most steady shots... that?s more important than a cool handle...
Inbuilt wireless sync transmitter to match with a compatible sound recorder with inbuilt wireless sync receiver. Maybe minidisc with 3 tracks at one time (2 stereo, 1 sync) or cassette tape with 3 tracks and higher tape speed and DolbyC....
Or camera-inbuilt sound recorder of any kind, with sync signal recording on a 3rd track.
Sound recording selectable in "start-stop" mode (only recording during the shots) or continuously (also between the shots)...
Electronic/optical "stamp" to mark the sound tape/minidisc leader and one frame on the film roll with a reel-number, in order to match sound and film in an easy way afterwards... automatically with increasing number with each new film roll...
Pedro
[This message has been edited by #Pedro (edited June 26, 2001).]
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My dream Super 8 camera would be... (with a dose of reality, let's face it, you can't outfit a S8 camera like a Panaflex!)
Quiet camera.
Orientable viewfinder.
Crystal Sync.
Records edge numbers of some type on the film, like the Aaton code.
Removable lens, preferrably with Nikon mount (my favorite lenses!)
And here's the doosey: Vista-8!!!!!
Super 8, but the whole camera is flipped sideways, and the film drive is modified, so that you get a widescreen image, covering approximately 1.5-2 times what a current frame covers. It would be just a little smaller frame size as Super 16, so the quality would be almost the same.
The only drawback, is that a roll of film would last quite a bit less time than it does not.
I'm in the early stage of actually designing this.
Any feedback?
This is something I'm working on myself, I'd be interested in hearing the opinion from you S8-shooters out there. Would you like this, or not? It would be a huge frame size, compared to what we're used to, and would compete with 16mm and S-16 in quality, but for much less money as far as equipment goes.
the Aaton A-Minima STARTS at $16,000 without lenses or film loads. Those 200ft daylight loads are great, but they're like $750+ each!
Matt Pacini...
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I had a similar idea to increase the frame size, but it involved a design that would rotate the frame 90 degrees. Is this the same concept you are working on? This would require special transfer equipment would it not? Or could telecine facilities re-orientate the image?
I also was "inspired" to write Aaton on behalf of super-8 pleading for them to give it serious consideration for Pro developement. I know it won't do any good, but, if a wheel doesn't squeek it's not likely to be greased.
-trevor
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1) Dream Camera: Quiet! Quiet! Quiet! For the love of God these machines are loud. I actually spent three days building a sound-damping device for one of my back-up cameras.
2)Matt, I love the idea. Especially if I could get Cinemascope without the $6,000 lenses, brackets, matte boxes, etc., etc. In fact, while I can't remember what it was named, I seem to recall a system in one of my first cinematography textbooks that was set up just that way. One of the first widescreen experiments if I remember correctly. Anyone know what that was called. That's gonna bug me for a week now.
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Why don?t a ?Super super 8? format like Super 16?. I mean, recording the sound in MD, DAT or anoter format, and eliminating the sonud track in the film, we can pass from a 1,34:1 aspect format to a 1,5:1 aspect format!, without anamorphic lenses, easy blow up to 35 mm, and mantain the same film duration!!
Carlos.
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I would like to see an orientable viewfinder
on a super-8 camera.
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[QUOTE]Originally posted by Carlos8:
[B]Why don?t a ?Super super 8? format like Super 16?. I mean, eliminating the sonud track in the film, we can pass from a 1,34:1 aspect format to a 1,5:1 aspect format
Actually, Carlos, that's already what's been done to Super 8. There is no sound track (anymore) and there's only one set of perfs, so the frame size is a big as it can get, unless the image is flipped like I said.
I'm experimenting with Nikon Super Zooms, because they have fairly simple transports. The image would have to be flipped after telecine, but we're all editing in the computer anyway, so there are ways to do that digitally.
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<BLOCKQUOTE><font size="1" face="Courier, Arial">quote:</font><HR>Originally posted by miguelito:
I would like to see an orientable viewfinder
on a super-8 camera.<HR></BLOCKQUOTE>
Agree 100 million percent.
-Alex
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It sounds like most people are talking about a Beaulieu 7008 Pro.
I would like pretty much a 7008 Pro, with.........?????
I would like a 7008 Pro. It has it all.
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[QUOTE]Originally posted by Nigel:
"I would like a 7008 Pro. It has it all"
Except an orietable viewfinder, and it's noisy.
Those two things make it very, very far from "all".
