More info on Kodak’s new Super 8 camera

Which you can read here at Petapixel:

https://petapixel.com/2024/02/05/an-excellent-breakdown-and-what-to-expect-from-kodaks-new-super-8

At $5500 I’m still going to leave this to the rental houses and universities (unless I decide to start my own rental house).  However, I think Logmar’s camera was supposed to cost that same price, which is why I didn’t freak out at Kodak’s price.  But Logmar’s could be so much better!  It will be interesting to see Logmar’s camera as it develops, supposedly it’s being manufactured now!

Good news and bad news with Kodak’s super 8 camera

Nearly 8 years ago Kodak announced that they were going to make a new super 8 camera.  The people who called it vaporware have been disproved, they’re finally announcing its sale on their website, and you can find the info here:

https://www.kodak.com/en/motion/page/super-8-camera

It’s been a while since we’ve heard anything about Kodak’s new super 8 camera: 2020 I think, when I read an interview with Spike Lee where he had used Kodak’s prototype to film a short during the COVID lockdown in New York.  In the meantime Logmar had an abortive attempt to produce their own version (the Chatham) which failed due to their business model (they were trying to secure enough preorders before they bought the parts they needed) and the price.  That price however, is about the same as what Kodak is planning to charge: $5500.  And at that price, I think I’m OK without one, I might as well get into Super-16.

While this is quite a bit higher than their original announced price, which if I remember correctly was going to be $400-700.  Even if it was $1500-2000 I could swing it I think, but I don’t know if I’m in for $5500, sorry.  I still think this will be a massive success, because this is obviously now targeted at more schools and professionals, who haven’t been able to obtain new equipment in decades.  Evidently universities are by law required to only buy new equipment so I don’t see why film schools all over the country won’t be interested, as well as professional cinematographers, rental houses, etc.

Word for word: The Negative Space – a Portrait of a Local Film Lab

The latest in a series of posts I’m writing for 35mmc.  Read the original here

The last decade and a half have been a rough time for people shooting film, watching Kodak in Chapter 11 Bankruptcy, the discontinuation of favorite film stocks, rising prices, and the closing of film labs around the world. For those shooting motion picture film and particularly small-gauge film, it’s been a bitter struggle. Thankfully, we hit rock bottom, survived, and I think things are a lot healthier now than in the early-mid 2010s. For those living in the USA there have been just a few places a budding filmmaker (or old pro) could send their small-gauge film for processing and scanning, most on the West Coast or the East Coast. For someone living in the middle of the country in the state of Colorado it’s not an ideal situation but Denver’s local lab closed its doors about 5 years ago (and they never did Super 8 anyway).

Thankfully a digital scanning house started up not long after that called The Negative Space, run by one of the people from the old lab.  My current workflow has been to send all film to California for processing then shipped to The Negative Space for scanning, and I’ve been extremely happy with the results.  There-and-back shipping turnaround time isn’t the best in the world, though Negative Space has streamlined the process now by offering to send your film out for you if you ship it to them undeveloped.  I like the price and that helps a lot.  Dropping off/picking up two projects at the time, I was able to visit the great place and they were gracious enough to let me take pictures too.  Of course that gave me some time to talk shop with the owner Nicki Coyle and learn more about the operation.

The company is small but growing and I take it they have an increasing amount of business these last few years.  If you buy enough Criterion Collection DVDs or blu-rays (and read the technical notes they include) then you might have come across the company Lasergraphics at some point as it is one of a few that make high-end scanners for motion picture film.  That happens to be the scanner Negative Space operates and the results are fantastic.  If you’ve never seen a 4K (5K? 6.5K?) scan of Super 8 film you’re missing out: the format will surprise you!

I had two projects at the time: a 16mm/Super 8 short film that I’d co-directed with a couple friends and some 8&16mm film shot by my boss’s dad around 50 years before. I wouldn’t have been able to take pictures of screens or film footage if these weren’t my own projects. Besides motion picture services, Negative Space will also scan 35mm still film on their Lasergraphics scanner. I was able to get ~5000DPI scans from this roll of Tri-X and while I’m unused to such large files it gives me a lot of real estate with which to work.

As you can see great time and care was spent cleaning up the old films and I shot quite a few exposures as that happened. Nicki has worked a lot with museums and archives to help preserve old/damaged films. It’s reassuring to know that your film is in experienced hands!

In the near future Negative Space will have their own full-service chemical processing lab up and running. Once that is done I will no longer have to send my film outside of Colorado. Next up for Negative Space is more still film services: ECN-2 developing and selling their own spooled 35mm motion picture film like Silbersalz, Midwest Film Co, and the old Seattle Film Works. I’m looking forward to trying some Vision 3 films without the characteristic Cinestill halation. Negative Space isn’t the only new lab/scanning house that’s started in the last few years but it’s certainly the closest to me and I’m proud to support them. It’s a good feeling knowing that I’m a small part of the new film resurgence!

Technical note: all images were taken with the Nikon F2A and the 35mm f/1.4 AI’d Nikkor K-series lens.  Film used was Kodak Tri-X 400.
Labs: Denver Digital Imaging.  Scanned by The Negative Space using a Lasergraphics Stanstation 4K scanner, finished by myself using Affinity Photo.
You can find my the sum total of my work at The Resurrected Camera or for my photo project work, my Instagram: @thefamouspdog.

Jeep tours 2018, Super 8 edition, Part II

More screenshots from this Summer’s film processing.  I do it as cheaply as possible but the costs do add up.  Leaving the film out of it the total for me was still somewhere around $600 for 30min of footage.

Great memories, though, and hopefully I will get that documentary made at some point.

Jeep tours 2018, Super 8 edition, Part I

This is the remainder of the Super 8 film that I shot, this was Summer of 2018 (plus one roll from last Summer) and I haven’t really used my movie cameras much since.  Processed by Spectra Film and Video, scanning by Nicholas Coyle Film and Video.

A collection of coworkers.

TBD

To be developed: ~40+ rolls of Tri-X (shot starting May 2020), 16 sheets 4×5 film (shot March 2020 or so), a couple rolls of E6 (shot October 2020), some random stuff I haven’t sent out yet like Rerapan (shot sometime in 2020), plus about 16 rolls of Super 8, which I did in fact send off recently (shot back in Summer 2018).

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Much to get to.  The black & white will take the longest because it’s pretty expensive unless I do it myself and I need to wait to get back into the school darkroom…

All this equipment…Tri-X edition

Shooting a couple rolls of Super 8 film back in April 2020 during lockdown.  So here is the time delay between the immediacy of the digital camera on my phone and getting film developed, getting around to scanning it, and finally getting to the order in the queue.  But hopefully it was worth the wait!

It was more to test out my cameras than anything, but if I put my mind to it I might be able to turn it all into an “experimental” short.

Is the F6 the last film Nikon?

Since 2014 I’ve seen a few unique film emulsions be discontinued, but I’m sad to see news that this time a film camera has been discontinued.  I remember seeing that news back in October, but reading Johnny Martyr’s thoughts has made me want to comment on this myself.

First of all I agree with a lot of what Martyr says; if we can’t be bothered to buy new and support the companies still making cameras, etc. new, then we can’t expect those said companies to still make them after a while.  I’ve had plenty of arguments over the last few months with people who would never consider buying a new camera (and these are wannabe pros), whether for still photography or motion and honestly these people are thinking poor, and not thinking professionally.  If I were making a living from all that then I wouldn’t be trying to get all my equipment dirt-cheap and using it until it breaks, I’d want something reliable and if that costs more, then I’d consider it a work investment.  That would make having the F6 worth having, I think, because it would last a long time, would come with a warranty, and would still be serviced by Nikon for years to come.

Even more than the F6, the new camera I really wanted was the Kodak Super 8 camera probably made by Logmar, that has still not gotten past the prototype stage.  I’ve heard a few references to it this year, evidently Spike Lee’s COVID music video was shot with it, but Kodak lent him a few prototypes for that.  Of course talking online to people about that camera is an exercise in futility, because how dare I suggest they invest $2000 in a brand-new camera instead of spending $50 on the ‘bay for an untested pile of junk.  I suppose that the last time I talked about the camera I wasn’t too thrilled with the price either but the more I think about it the more it doesn’t seem like too much if it’s well-designed, reliable, and will last a good long time.

But while I mourn for the passing of the last film SLR, I can’t bring myself to mourn for the Nikon F6, mainly because I never really wanted one.  Evidently Canon was making the EOS-1v until just a few years ago, and no one really noted that being discontinued, but then knowing that the two last SLRs date to the turn of the millennium and were the kind of fully-automated high-tech gizmos that I’ve been avoiding most of the last decade has a lot to do with my ambivalence.  Leica’s high-tech pinnacle, the M7, was introduced and discontinued about the same time.

It should also be noted however that Leica introduced something of a throwback around the same time, the M-A which is totally free of all electronics (and also still makes the M-P which has an integrated light meter).  Personally, I see this as Leica listening to what consumers actually want, and that is a solid, reliable mechanical camera (and evidently demand for film bodies is exceeding supply).  While I agree with a lot of Johnny Martyr’s sentiments, I think that if Nikon went the route of reintroducing a non-battery-dependent mechanical camera, there would probably be a lot of people interested in buying one brand new!  I know I would be one of them.  I’ve tried researching just what the Nikon FM3a cost when it was sold new, evidently in 2001 when it was first released around $800 ($1200 in 2020 dollars), but possibly it was only going for $600 by 2006 ($800 in 2020 dollars).  To buy a NOS FM3a today would cost $1200-1500 but there are people doing it.  So if there are people willing to pay that much for a camera that hasn’t been made in 15 years, are there enough people that would be willing to buy one brand new from Nikon if they brought it back?  For $1500-1800 (maybe a little bit more)?

Because that’s what I want to see happen: I want Nikon to replace the $2600 F6 with a reintroduction of the FM3a (at $1800) and I think they could find a customer base willing to buy them.  Heck I think that even if the camera cost as much as the F6 did there would still be lots of people interested, that is half the price of a Leica body.  And also I mentioned it before but considering the 50th anniversary of the F2 is next year, what a brilliant time to think about bringing that camera back!  Nikon did after all make limited edition reproductions of the S3 in 2000 and the SP in 2005; they could do it again.  (Also Nikon, if you’re reading this, make film scanners again too!)

But if the F6 is all there is and now Nikon will be all-digital going forward, there are still lots of things we can buy brand new, from minor accessories to manual focus lenses.  I bought a few accessories myself nearly a year ago.  And I think my New Year’s Resolution will be to buy at least one brand new AI-s Nikkor lens.  Because this very well might be a case of “Use it or lose it.”  Of course the other possibility is that Nikon had a stock of brand new accessories, lenses, bodies, etc, and really stopped making all that stuff many years ago, and we’re just now getting down to the last of the stock.  In that case Martyr’s original article might have helped the F6 end just that much sooner by increasing interest and demand…

Jeep tours 2017, Super 8 edition, Part II

Cast of characters from the Cowboys & Jeeps days, early on in my career as a rough and ready tour guide.  Some of these jokers are still with us, others have moved on or are currently convalescing.

Again these are cropped to a 1.66:1 aspect ratio, Nicholas Coyle Film & Video scanned the film for me in 5K.  These are right out of the box HDR scans with a one-light pass.  Next step will be to get into DaVinci Resolve and color grade everything, though I still have 11 rolls of Super 8 from 2018 that I have yet to get processed and scanned.  There are still many interviews yet to conduct, and everything was shot silent so I need to get a lot of sound effects also.  This documentary is taking a lot longer than my last film; I suppose I want it to be a worthy successor.