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Anybody know of a source for super8 fullcoat? Without it this item is pretty much useless (assuming I understand the operation correctly).
Could you get super8 leader sound striped and use that? That wouldn't be fullcoat. That would be edgecoat.
it comes with about 2,000 feet of unused fullcoat.
Where does it say that?
That's hardly a lifetime supply.
it looked so tough to me! Jerome, deaf filmmaker
What would you do with it and why? I can buy super 8 fullcoat at the corner store.....NOT! I mean seriously computers are way better for editing, adding effects, and everything, why would you want to bother with an antique?
Awright, let me get this straight: a bunch of people who shoot on a film medium that is all but obsolete - for which one must scramble to find resources which allow one to make a reasonable film (i.e. with sound and nice images) - these people are giving grief to a guy who is selling an all but obsolete piece of equipment, made to go with many of the cameras in this film format, which would allow them to have sync sound at a reasonable price?
Makes sense to me!
Happy XMas, Super 8 Friends!
"Wonder Twins Power, ACTIVATE! Form of... a Beaulieu 4008 ZM2!"
<BLOCKQUOTE><font size=2 face="Verdana, Helvetica, sans-serif">quote:</font><table border="0" width="90%" bgcolor="#333333" cellspacing="1" cellpadding="0"><tr><td width="100%"><table border="0" width="100%" cellspacing="0" cellpadding="2" bgcolor="#FF9900"><tr><td width="100%" bgcolor="#DDDDDD"><font size=2 face="Verdana, Helvetica, sans-serif">Originally posted by cal godot:
a guy who is selling an all but obsolete piece of equipment, made to go with many of the cameras in this film format, which would allow them to have sync sound at a reasonable price?</font></td></tr></table></td></tr></table></BLOCKQUOTE>
Not exactly Cal,
What I don't think most people understand is the fundamental difference between the Super8Sound
Fullcoat Recorder I and what they later called the Mag IV Recorder.
In essence the Recorder I was based on actual changes in speed by the camera. It reads the data
coming from the flash contact and then speeds up or slows down the fullcoat when necessary in order to keep the fullcoat in sync with the film.
The Recorder IV is the same, but it does not speed up or slow down. What it actually does is send
information to a meter on the front of the recorder that registers if the fullcoat is going to fast or slow, thus requiring someone to manually change the speed of the fullcoat. To manually change the speed there is a knob on the front allowing you to do this.
My point with all of this is that the Recorder IV is not a giant leap in technology from the Recorder I. In fact I'd say it's a step back. Sure the recorder (Uher 4000) itself may work better than the recorder (Sony TC-801b I think) used to make the Recorder I, and they added a few extra handy features, but the functionality we all want the recorder for it not there anymore. With the Recorder IV they have added back in another possibility for human error, rather than remove it like they did with the first version of the product.
If you want one of this I'd buy the versions that control the sync digitally, not manually. I think the end result of using a Mag IV with a non-crystal sync camera is . . . well a bad ending. Okay, that's all I have to say about that.
Something new for me to learn. I used digital sync sound and that work well on my edit system. Tell me if I am wrong about it. Jerome