What would you like in a new camera?

[miguelito]

Thanks for the credit Alex but Matt Pacini
was the first one to mention the "orientable
viewfinder", I just never quoted him on it.
Sorry Matt.


miguelito

[ekoe]

the concept matt pacini explains, 'vista8', was the original design and intent of super8mm. it was initially intended as a horizontal format; one perf at the top-center of each frame and one perf falling on the frame-line. i think designers must have realized this did not effectively streamline neither equipment nor the cost of film and decided to simply modify the existing regular 8mm format.
i'm happy with the format, but i'd like to see a quiet, manual exposure with ttl, crystal-synch'd, interchangeable lens, ground-glass, 50-220 degree variable shutter, rampable, backwindable s8 camera that accepts 200' loads has a built in ccd for video tap out and built in intervalometer. 'would you like a tripod with that order, sir?'
-ekoe.

[Nigel]

I don't need an orientable viewfinder. I also think that the 7008 Pro is a quiet. I don't know what its db range is but it is well within the sync sound range.

I also don't want Video Taps or any of the other bullshit that is will just add bulk and novelty.

[Alex]

Years ago, I hooked up Super-8 Sound with my technical consultant...and he made 10 sound blimps for Super-8 Sound for the 7008.

I doubt the camera can be used indoors for sync dialogue, it seems to be too loud without blimping.

-Alex

[Nigel]

Then there is always the option of---ADR.

I ain't scared of it. Good Luck

[Rigo]

Hi Alex, I?ve read many of your posts, and I?ve learnt from many of them. But I?ve searched averywhere the word blimp and I still don?t know what it means.

By the way.. what S8 camera would you use to shoot a feature? How would you take the sound of the gear off in a interior dialogue?

You seem to me a great guy.

[Alex]

Thank you for the kind words.

Blimp is actually a covering made from either metal or sound deadening material that goes around the camera and "deadens" the noise the camera makes.

I really like the Canon 1014-XLS, and it's a pretty quiet camera.

You might get away with just putting a blanket around the camera to help deaden the noise the camera makes....

...and of course, excellent "booming" (aiming the microphone near the actor with an actual boom-stick) of the actors is important.

-Alex

[MovieStuff]

Actually, the Fujica ZC1000 has so many of the features already mentioned, like interchangeable lenses, metal pressure plate, digital (mechanical) frame counter, electronic shutter release, infinitely variable shutter, SUPER slow motion, single frame, cool balanced grip, synch switch for system sound, etc.

Noisey, to be sure, but I modified one for a colleague years ago to take 200 foot super 8 loads. What a honey of a camera. Too bad they aren't avaiable anymore.

Roger Evans

[Basstruc]

Actually , Mr Beauviala ( the friendly boss of Aaton compagnie ) is a huge fan of small format .For exemple, he is the one who gave a change for the super 9,5 mm format .I've to talk with him for a thesis i'll do next year & i'll ask him about maybe a super8 camera .
Matt

------------------

[trevorbr]

I sent an email to Aaton making my case for a new, professional super 8 camera. I sarted of by complementing the Aminima. I think this caused confusion because of the way I worded the email. I basically said how about an Aminima for super 8. I guess it seemed that I was suggesting an Aminima modified for super 8, not exactly what I meant.
They essentially said that the developement costs would push the camera in the realm of 16mm in terms of cost to the consumer.
I guess my emphasis on the cost efective benefits of super 8 film itself were not relevant. A functional Aminima package would probably run $40.00 to $50.00 for small scale productions (maybe two mags?).
I should have been more clear. The person who replied cited the creation of 200' daylight reels by Kodak as a "will never happen..." duh! At most there would be a need to have a "mag" type conection to accomodate 50' or 200' loads. A high quality, professional oriented (read quiet and modern) camera to fully exploit the benefits super 8 has to offer both financially and aesthetically is what most of us desire.

I do hope that if the super 8 collective squeeks loudly enough, more manufacturers will listen.

$40,000.00 to $50,00.00 for a super 8 camera? You might sell one. But $5,000.00 to $15,000.00, there is still enough money for a production budget rather than having a nice camera you can rent to someone elses production. I for one would rather cut cost and have a potentualy better super 8 film than a piece of trash 16mm.

Sorry for my big mouth

-trevor


[This message has been edited by trevorbr (edited July 30, 2001).]