A super 8 camera guide for beginners

When you find an old super 8 camera, it often doesn't have an instruction manual anymore. If you are not experienced with film cameras, it may be difficult to figure out how to use a certain camera. Here is a guide that tries to explain how these little babies usually work. It will help you to find the basic functions and tell you what they are there for. 

The basic principles of filming are always the same, but a camera can be designed in many different ways. That is why here are many examples and pictures: to help you recognize the functions your camera has (please be patient, the pictures take a while to load). The emphasis is on low and middle end cameras, because they are more common among the beginners than the more expensive high end models. 

With this information you should be able to start using your camera. More information about technical and artistic issues you may find by searching the links in the 'links' page of this site. 

If you want to comment on this manual, correct any information or ask any further questions, please email me.

Index

1. How do I know if it's super 8 or not?
2. Super 8 film
3. Lens
    3.1. Maximum aperture
    3.2. Zoom
    3.3. Focusing
    3.4. Macro
    3.5. Lens maintenance
4. Exposure setting
5. Viewfinder
    5.1. Diopter setting
    5.2. What you see in viewfinder...
    5.3. Range finder
6. The small holes in the side of the camera...
    6.1. Cable release
    6.2. Remote control
    6.3. Flash contact
    6.4. Sync out
    6.5. Microphone
    6.6. Earphone
    6.7. External power socket
    6.8. Movie light socket
    6.9. Tripod socket
7. Built-in conversion filter
8. Batteries
    8.1. Battery check
9. Other strange buttons you may find in a camera...
    9.1. Trigger lock
    9.2. Viewfinder closing button
    9.3. Fade
    9.4. Lap dissolve
    9.5. +/- correction
    9.6. Backlight control
    9.7. Interval timer
10. Frame rates
11. Small glossary of terms

Super 8 film format was introduced by Kodak in 1965. Until then 8 mm home movie cameras used a format that is called 'standard 8', or 'regular 8' or 'double 8'. It was 16 mm wide film that was shot once so that the other half was exposed, and then turned around to expose the other half. The film was then cut in two after processing. Standard 8 film has bigger perforation than super 8, and the size of the image is smaller. The sprocket holes of super 8 are positioned adjacent to the center of the film frame, in regular 8 they are in the corner of the frames. 

There is also another format that was introduced at the same time as super 8; it's called single-8. It was made by Fuji - a company that also made Fujica cameras (all of them using single-8 format). There was only a couple of other manufacturers that made some single-8 cameras, but the format existed successfully with super 8 until the end.

One way to recognize a super 8 camera is to look into the film compartment. Super 8 cameras use only super 8 film that is packed in a rectangular cartridge. Don't confuse it with single 8 format, that has a different kind of cartridge (higher and more narrow with rounded B-shaped back). There are two pins for cassette reels in single 8 and regular 8 cameras; super 8 has only one in the middle of the rectangular film compartment.

Film compartments of super 8 (sound camera), single-8 and regular 8 cameras.

  Normal super 8 cartridge (Kodak K40) and sound cartridge (manufacturing discontinued)

After a while a format called double super 8 (DS8) was introduced. The system was similar to regular 8 (16 mm film cut in half after processing), but the picture area was bigger. There were some DS8 cameras made at least by Canon, Pathé and Zenit. It was a less common format meant for semi-professionals, and the cameras were more expensive high end models. 

It should be noted that normal 16 mm film does not work with regular 8 or double super 8 cameras. Each format has its own different film.

2. Super 8 film

Film for super 8 cameras is still commonly available. Kodak is at the moment manufacturing two color films and two black&white films. More information on Kodak films can be found for example at http://www.kodak.com/US/en/motion/super8/ and at Frank Bruisma's home page: www.super8.nl . There are also other films available for example through www.super8sound.com , where they can pack movie films in super 8 cartridges. These custom films are, however, more expensive. There is a pre-paid mailer with the Kodak's most widely used  K40 film, that covers processing in Kodak's laboratory and the postage. Processing of other films must be paid separately. Consult your local film dealer or film laboratory for more information. Kodak films should be available in major photo shops, or at least you can ask them to order films from local Kodak importer. 

3. Lens

Lens is a very important and valuable part of the camera. Almost all super-8 cameras have a fixed lens that you cannot change. There are some exceptions, like Beaulieu, Leicina and Nalcom that have interchangeable lens.

In the front of the lens ring you can usually see numbers that tell the maximum aperture and the focal length of the lens (e.g. 1:1.8 / 10-30 mm).

Maximum aperture tells you the f-stop of the biggest aperture of the lens. In older cameras it can be as small as 2.8, while some newer ones may have as big as 1.1. Canon 310XL has the biggest maximum aperture of all: 1.0. The bigger the aperture, the less light you need for filming.

Some low end cameras have only one focal length, but most cameras have zoom lens, meaning that the focal length can be changed. The zooming range tells the difference of the shortest and longest focal length. In our example the zooming range is 10-30 mm. You can say that it has 3x zoom, or 3:1 zoom. The zooming range can be as big as 15:1 (Bauer S715, and some interchangeable Angenieux lenses used by Beaulieu).

The zooming range is usually proportional to the price of the camera. Even model names often refer to it. Like Canons: 310XL (1.0/3:1 zoom), 518 (1.8/5:1), 1014 (1.4/10:1) and Minolta Autopak-8 -series (D4, D6, D10, D12). The first number of model names of Chinon, Bolex, Elmo and Sankyo usually comes from the zooming range. With GAF, Cosina, Carena and Bauer it can be either the first or last number.

However, the long zooming range is not always that necessary. You can do very well with shorter zoom, and ranges of, say, 4:1 to 6:1 will be long enough for most uses. Besides, the longer tele end is difficult to use hand held, and usually it is much more useful to have a proper wide angle than long tele.

Usually zooming can be done manually by rotating the zoom ring, that is situated in the root of the lens near camera body. Often there is a small handle or lever in it to make zooming easier and smoother. Some models (like Eumig Viennette or Chinon Dart) have a separate button or wheel on the side of the camera that mechanically adjusts the focal length.

Most middle and high end models also have a motor zoom (also known as "auto zoom" or "power zoom"). The zoom buttons are normally situated on top of the camera body, sometimes on the left side. The buttons are usually marked with T (as "tele"=zoom in) and W (as "wide"=zoom out). Unfortunately there is no definite order of the buttons, sometimes the "wide" button is in front, sometimes in back. In some models the zoom can only be used by motor, not manually (e.g Copal Eye 300). In many models motor zoom works only when the camera is running.

Many high end models have more than one zooming speed. The speed change button is usually situated near motor zoom buttons. There may be one button that says "Fast" or there can be a switch marked with one dot for normal speed and two dots for double speed.

3.3. Focusing

There are many low end cameras that have fixed focusing. With them you can't film objects that are near the camera. The closest focusing distance is about 2 meters depending on the camera and the amount of light. However, everything from that distance to infinity is in focus, and you don't have to worry about that anymore.

Fixed focusing cannot be used with long focal lengths because the depth of field becomes much smaller. Some Eumig models have a system called "Servofocus" that adjusts the focusing distance according to focal length and aperture changes, so that the focused area is always as long as possible. That helps to keep the closest focusing distance reasonable even with 3:1 zoom (like in Eumig Viennette).

Most super-8 cameras have proper manual focusing. The focusing ring is situated in front of the lens. Usually there is a distance table marked on it (in meters and/or feet), starting from the nearest focusing distance and ending to infinity sign. In some cameras (e.g. Canon 318M) the focusing is done by a button on the left side of the camera body. There are also cameras that only have some kind of switch for focusing near and far (see range finder to read more about manual focusing).

There are also some camera models that have auto focusing. Usually they have letters AF in the model name. You can also tell an auto focus camera by its appearance: there is a strange "box" over or under the lens, where all the focusing mechanics are installed. Auto focus cameras were made since 1978 at least by Bell&Howell, Bolex, Canon, Chinon, Elmo, Eumig and Sankyo.

                                                 Bolex 651 XL AF Macrozoom

Many newer middle and high end cameras have macro function. It means that you can focus on objects that are very near the lens. Without macro the smallest focusing distance is usually not less than about 1 meter.

Normally the macro function is attached to the zooming ring. In many cameras you must pull the zoom handle, or push a button in the zoom ring, and then turn the zoom ring over the wide angle position. Some cameras (like Minolta XL-401, Canon 318M, Eumig 880 -series) have separate macro button in the side of the camera. In some Bauer models you push the zoom ring forward to change into macro mode.

The focusing is then made by turning the zoom ring, not the focusing ring. Usually the zoom function is not in use in macro mode, i.e. you can't change the focal length and you have to physically move the camera to change the size of the image.

Macro button of Canon 814XL: Pull the button and rotate the zoom ring.
Bolex 583: Press the button and rotate the macro ring.

Some lenses have a threading in front. It is used to attach filters or tele/wide angle attachments.

If your camera has a lens cap, remember to use it. If the lens gets scratched you can't fix it or change it. There's nothing you can do. If your lens get scratched, you have to get a new camera!

Check your lens often to see if it is dirty. For cleaning, use only lens papers or cloths made especially for that purpose. Go to your local photo shop and buy them, they are not expensive and definitely worth it.

To get the right exposure to the film, the aperture must be set according to the amount of light. With film camera you can't see exposure changes in viewfinder as you do with video camera! There are three different combinations of exposure controls:

1. Manual exposure setting only. There is a couple of old low end cameras that have only manual exposure setting (e.g. Kodak M2/M12/M22, Bauer Mini and Russian Lomo 216 and 217 models). In these cameras the aperture control has symbols that tell you which aperture to use in sunlight or in cloudy day or in shadow. You get reasonable result by following the symbols. The exact exposure, however, is only achieved by using external light meter.

The exposure symbols in Lomo 216

2. Automatic exposure control only. Most low and lower middle end cameras have only automatic exposure control. It is easy to use, and it usually works perfectly well, but there are some conditions where the exposure is difficult to measure automatically. Usually this happens when the background is lighter than the actual object; for example when the object is situated in front of window, against clear sky, or in the middle of white snow. For these kind of situations many cameras have so called 'backlight control'. It can be used to correct the exposure during filming. Some cameras also have '+/- correction' button that can be used to adjust the automatic exposure lighter or darker than it would normally be. 

In some models there is a button that locks the aperture. You can first find the right aperture setting by aiming the camera to different light sources using automatic control, and then lock it to get the desired exposure and prevent aperture changes even though you don't have actual manual control. The button may be marked as 'memo lock', 'EE lock' or 'meter lock'.

The automatic exposure is usually measured through the lens. However, there are many lower and middle end cameras that have a separate window for light measuring situated over or under the lens in the front of camera body (even Canon 310XL and Chinon XL555 work that way). Due to parallax and the lack of zoom effect, the light measuring is not as accurate as with TTL-measuring. You must also be aware not to accidentally cover the light meter window with your finger. Separate light meter window is easier and cheaper to manufacture, and it doesn't reduce the amount of light coming to film, like TTL-measuring does.

Separate light meter windows in  Boots 2000 (by Bell&Howell), Capro 400 and Yashica Super-8 25

This small window in Eumig 881 is used to measure light in time exposure mode. Normally it measures light  through the lens.

3. Both manual and automatic exposure controls. All the high end cameras and many middle end ones have both kinds of exposure control. As said earlier, automatic control works well in normal situations, but if you want to get more professional look to your films, you should use manual controlling. It doesn't cause any 'pumping' of aperture when camera is moved, and you can have more control in different situations.

Manual exposure button is usually on left side of the camera body, and is marked 'manual' or 'man'. When exposure is set manually, the f-stop reading can be seen in viewfinder or sometimes in a meter beside the button.

Manual exposure button in Cosina ODL-758 and in Sankyo ES-33 with aperture scale

Professional photographers use separate light meter to measure the amount of light in different places in the picture area. But you can get good results if you use the automatic exposure control to measure the light (you can measure it separately from object and background) and then 'lock' the aperture by setting it manually to the desired position. Just remember to check the exposure every time lighting changes. It takes some rehearsing to learn how to make good exposures, and you may want to consult some photography guide book.

5. Viewfinder

Usually super-8 cameras have through-the-lens viewfinder, but in some older and less expensive models the viewfinder is separate. A separate viewfinder has more or less parallax. Also, you can't usually see the effect of zooming through a separate viewfinder.

Through-the-lens viewfinder shows zooming and the exact framing of the picture, just like the film sees it. The incoming light is divided by a semi-reflecting mirror after the lens before the film gate, so that part of the light goes to viewfinder instead of film. This should be taken into account if exposure is set manually and measured by external light meter. (Unfortunately the amount of reduced light is very rarely announced in the manuals. Apparently it can vary from very little to almost a full f-stop.)

Kodak Instamatic M2 with separate viewfinder window seen in upper right corner   

5.1. Diopter setting

Most middle and high end cameras have diopter setting for focusing the viewfinder for users eye. There are different ways of adjusting the diopter, but it is usually done by somehow rotating or moving the eyepiece. In most cases there is a locking ring in the root of the eyepiece that must be rotated counter-clockwise to loosen the eyepiece. Sometimes there is separate button that must be screwed looser before adjusting.

Canon 310XL has locking ring in the root of eyepiece, Zenit Quarz 1x8s-2 has a separate locking wheel.

Adjust the diopter by first turning the focusing ring to infinity. Then turn the zoom into extreme tele end. Aim the camera at some distant object and turn or move the loosened eyepiece until the image is as sharp as possible. Remember to tighten the eyepiece locking afterwards.

If you have a focusing prism in the finder or aperture settings or any other information marked, the following method is more accurate: Aim the camera at a light and white area, such as a clear sky or a piece of paper that fills the whole finder. Now look at whatever markings you have in the finder and adjust the eyepiece until they appear as sharp as possible.

5.2. What you see in viewfinder:

There is usually some additional information shown in the viewfinder. You may find some of these:

Film transport signal. In most cameras there is a sign in the finder that shows when the film is running. It is usually something that blinks or moves during filming. It can be a hole that is opened and covered, a blinking light or a little moving needle. When the film ends, the signal stops moving. (Of course it may be another way round: a light that starts blinking when the film is ending. You must just run the camera and see what is happening). Some cameras have even a film counter that shows the length of unexposed film in viewfinder.

Film end sign. Sometimes there is another sign that tells when the film ends or is near end. It can be a light that turns red or starts burning or a needle that comes from the side of the finder. 

Underexposure warning. Very often cameras that have auto exposure warn you when there is not enough light. You can test it by turning camera first into light and then into dark. It may be a red light or a needle coming from one side of the finder. If you have an aperture pointer there may be a red area that shows when the light is too low, or at least you can see when you are using maximum aperture.

Overexposure warning. More rare, but aperture scale has usually overexposure area marked.

Aperture pointer. Most middle and high end cameras have an aperture scale visible in the finder. It has a pointer that shows the current aperture setting. When you are using automatic exposure control it shows you when there is not enough or too much light. It is most necessary if you set exposure manually. Sometimes the aperture scale is shown inconveniently in the side of the camera body, like in Minolta XL-401 and in some Sankyo models.

Manual exposure signal. Some cameras have some kind of signal reminding you that the exposure setting is switched on manual. Again it can be a light or a needle in the side of the finder. Many times it is the same signal as is used for underexposure warning.

Conversion filter signal. Sometimes there may be a signal reminding you of the position of the built-in conversion filter. Usually it shows when the filter is off i.e. camera is set for indoor filming with tungsten light.

Scene timer. In some cameras made by Chinon there is an interesting "scene timer light". It is usually orange light that lights up the moment you pull the trigger, and goes off after 8 seconds. This is because - according to the camera manual - in order to achieve professional results "it has long been recognized that the minimum timing for any sequence is about 8 seconds". We must remember that the usual problem with home films was that people tend to shoot very short sequences in order to save film. That made it very disturbing for the house guests who were forced to watch family home movies. Of course this is not a problem anymore with us, the MTV generation...

Macro indicator. Some cameras (for example Canon 310XL) have an indicator reminding that macro mode is in use. In 310XL it is a yellow sign in left upper corner of viewfinder.

Shutter opening. If the camera has a variable shutter, there may be an indicator that shows the current opening.

Sound monitoring. In sound cameras there is usually a light that shows when the sound level is too high. In Chinon-made cameras it is usually a green flickering light. If the light is constantly lit the recording level is too high.

The viewfinder of Chinon 60 XL:
1. Scene timer
2. Film transport signal
3. Recording signal
4. Under exposure warning
5. Film counter pointer
6. Over exposure warning zone

------

The viewfinder of Eumig 23 XL:
A) Aperture pointer
B) Over exposure warning zone
D) Recording signal
E) Film end signal (turns red when film ends)
F) Film transport signal
G) Under exposure warning

Many middle and high end cameras have some kind of range finder to help focusing. Remember, that if there is no range finder (so called "aerial focusing") you cannot tell the focus by the viewfinder image, even though you would think so. Even though the object may seem to focus sharp when seen through viewfinder, it may be very blurred on the film. This is another important difference between video and film camera. So never trust the viewfinder focus if there is no range finder! The distance must be measured or estimated by eye and set manually according to the distance markings on the lens.

With range finder you can focus accurately. Focusing is easier if you zoom in to the object first, because when focal length is longer, the depth of field is smaller and the effect of focusing is more clearly seen. There are different kinds of range finders:

1. Split image focusing. The most common range finder type. Usually a round area in the middle of viewfinder. The area is split in half. Focus by aiming at the object. Zoom in to a line or simple form in the object so that it crosses the split in the area. When the object is out of focus, the line is not continuous. Turn the focusing ring until it is.

2. Micro prism focusing. A round area in the middle of viewfinder that is filled with small, usually triangular, prisms. Zoom in to the object so that you can see some line or clearly visible form through the prism area. Turn focusing ring until the area looks sharp.

3. "Dual beam" or "Dichroid" -focusing. A special focusing system used mainly by some Sankyo, Eumig and Bell&Howell models. When the picture is not in focus you can see blue or yellow "ghost image" depending on which way you should focus. When the focus is right this color image disappears.

4. Ground glass focusing. Not often seen in super-8 cameras, but at least Beaulieus, some Bauers and russian Quartz have it. It means that the viewfinder glass is not clear, but has kind of grains in it. This results that when object appears sharp in the viewfinder, it really is so. (Remember, if the glass is clear you can't tell the real focus by eye, so don't confuse Ground glass with "aerial focusing")

Always remember that with any kind of range finder it is very important to have the diopter setting right! Otherwise focusing doesn't work.

Some cameras made by Bell&Howell have a kind of 'semi-automatic' focusing called focus-matic. There is a distance scale in the side of a camera body, and a horizontal line in the middle of viewfinder. You keep the little button beside the scale pressed down while you measure the distance of an object by aiming the camera so, that the horizontal line is in the place where the ground and the object meet (e.g. to the toes of the person you want to be in focus). Then you release the button and the scale will be locked. You can now read the right distance from the scale and turn the focusing ring accordingly.

Focus-matic focusing: The scale with a little metal ball showing the distance and a horizontal line in middle of viewfinder.

There are often some socket holes in the side of the camera. They don't always have markings, so sometimes you have to conclude which of the following purposes it might be for:

Many cameras have a cable release socket. It is a little round hole with threading inside, and it is situated down in front of the camera body or on one side. You can use a standard cable release (that can be bought in any photo shop) to trigger the camera. It is normally used when making animation with single frame exposure in order to not to move the camera accidentally.

In some cameras there are two sockets for the cable release. One is to run the camera at normal speed and the other to expose single frames. They are usually marked as 'c' (continious) and 's' (single), or 'r' and 's'. For example Eumig Viennette and Bolex 233 have signs '-' ('line' for continious shooting) and '.' ('dot' for single frame). Some cameras have no markings at all, so you just have to guess and try.

Cable release sockets in Noris 6000S and in Bolex 233

There are also some models that have a cable release socket only for single frame shooting. For example with Canon 318M you can take single frame exposures only with a cable release.

6.2. Remote Control

Many newer cameras have a little round socket for a small jack plug. That is for electronic remote control that can be used to trigger the camera. Some remote control devices may also have more complicated functions like interval timer. The remote control socket is usually marked with 'remote', 'R.C.', 'RC' or may very often be not marked at all.

6.3. Flash contact

Flash contact socket triggers the flash light while doing single frame exposures. It is a standard socket that can be used with normal still camera flash devices. It looks like a round hole with a smaller hole in the middle, and is usually marked with a flash symbol (if marked at all).

Remote control socket and flash contact in Eumig 881

Some cameras give out sync pulse in order to record synchronized sound with specific tape recorders. The sync socket is a bigger round area with a small hole in the middle and eight even smaller ones around it. It may be marked with 'sync', 'sync out', 'ton' or -again- be not marked at all.

  Flash contact, sync out and remote control in Carena 738                                       

6.5. Microphone

Sound cameras very often have a socket for additional microphone. It is a small round jack plug socket, slightly bigger than the one for remote control. Often the microphone and remote sockets are side by side, so the remote can be connected to microphone, and camera be triggered with the microphone power switch. Microphone socket is usually marked with 'mic'.

       Microphone cable with remote control connected to it (lower plug)

Some Kodak Ektasound cameras have two microphone sockets: one for normal sound level and another for reduced level.

The earphone socket is similar to the one for microphone, and is usually marked with 'monitor', 'moni', 'mon' or 'earphone'.

  Remote control, microphone and earphone sockets in Bolex 583

6.7. External power socket

Some cameras are able to use external power sources. The socket may be a jack plug (a slightly bigger than for remote control and same size as for microphone and earphones), any other socket type used in power adaptors, or it may be a customized socket. There may be markings such as 'D.C.' or 'DC 9V'.

  Power and earphone sockets in Chinon 60 XL                                                            

Most cameras have a socket for a movie light on top of the camera body. It is a round 1/4" hole with big threading, usually with a pin coming out in the middle. The pin is used to turn the conversion filter off when the light is attached for indoors filming.

                     Movie light socket in Canon 1014 Electronic

Some cameras have a similar hole without a pin in some other (less visible) part of the camera. That is used to store a specific screw that can be removed and attached to the actual movie light socket in order to turn the built-in conversion filter off when you light with other artificial lights that are not attached to camera. These cameras have no other means of switching to indoor filming.

6.9. Tripod socket

This is a similar 1/4" socket than for the movie light, but is situated under the camera and doesn't have a pin in the middle. As the name implies, it is used to attach the camera to a tripod stand. Almost every camera has it. The socket fits to a standard tripod that is also used with still photo cameras.

There are also movie lights that have an arm that can be attached to the tripod socket instead of the movie light socket.

Practically all super 8 cameras have a built-in conversion filter that makes a correction to color temperature in daylight filming. This orange 85 or 85A type filter must be removed in indoors filming (when artificial, tungsten-balanced lights are used). There are many different ways to remove the filter - some of them are very awkward for some reason.

In many cameras there is an easy and logical system: simple button or switch with two positions. One is marked with sun symbol or text 'Outdoor', and the other with a light bulb symbol or word 'Indoor'. When filming in daylight, you keep the switch in 'sun' position and the filter is used normally. If you use artificial light as your main light source, switch to 'light bulb'.

       Filter switch in Zenit Quarz 1x8s-2 and in Canon 310XL      

If the camera has a movie light socket, there is usually a pin that automatically removes the filter when movie light is attached to camera. This is normally used even if there was a separate filter switch.

Some cameras don't have separate switch, but you must use the movie light socket to remove the filter. This is done by using a specific plug that comes with the camera and is normally attached to some other place in camera. Usually it is a plastic screw, that is stored somewhere in the bottom of the camera. This is a rather inconvenient solution, and the plug can easily be lost.

Canon 814XL has a red plug in the bottom, Chinon 60 SMXL small black one. Copal Eye 300 has a big black one, and GAF 102A has 'movie light plug' written on its movie light plug. In Carena XLM 8300 you can remove the backlight control button and use it as a movie light plug.

A somewhat similar system is used by many Bell&Howells, Kodaks, and some Eumigs and Yashicas. Instead of normal movie light socket, they have a slot on top of the camera used for the same purpose by special movie light brackets. To remove the filter, a plastic or metal slide or 'filter key' is inserted to the slot. Sometimes the slide has another 'storing slot' somewhere else in camera. These slides get lost even easier than the threaded plug.

Some Bell&Howells have the filter key stored in the backside of the camera,
from where it can be moved to the movie light slot

Eumig 881 with a plastic filter key. 
Sankyo ES-33 with a different approach: filter is removed by lifting up a lid in top of camera.
In Eumig Viennette the filter key is turned 180 degrees and put back to the slot to remove the filter.

8. Batteries

With a couple of exceptions, all super 8 cameras are motor driven. Usually they accept normal 1,5V AA or AAA batteries, 2 to 6 of them. Older cameras also have a separate power source for light meter, normally a small mercury battery. These are sometimes hard to find - some of them are not manufactured anymore - and you may have to do special tricks to get the light meter work, like use two smaller batteries or use wire as filling. Consult your local photo dealer with any battery problems.

Mercury batteries: PX-13 (1.3V) and PX-14 (2.7V)

The light meter battery compartment is usually covered with a round threaded metal plate. Sometimes it may be hidden in the motor battery compartment, or in the film compartment.

Light meter battery compartment in bottom of Cosina ODL-758 and hidden in cassette compartment of Cosina HDL-765

8.1. Battery check

Practically every camera has some kind of battery check system, that has a check button and a light or a meter to show the batteries are alive. If the camera has two batteries, there may be two indicators in the checking system. Other is usually marked 'm' or 'motor' and the other with 'e', 'CdS' or 'meter'. Mercury batteries last a long time, but remember to check them from time to time. The light does not tell you how much the battery still has power, and the meters are not always reliable, so keep a new set of batteries at hand every time you go filming. Remember to remove batteries when camera is not used for a while. Leaking batteries may oxidize the battery compartment in a few weeks time.

         Battery check in Carena 738: a button for both sets of batteries       

    Battery check meter in Power 500 

The film starts rolling when you pull the trigger. Many cameras have a button that locks the trigger to prevent accidental filming. The button is usually marked 'lock' and 'run' or simply 'R' and 'L'. Sometimes this button also works as a power switch and turns of the auto exposure control and other circuits, so it is wise to keep it in 'lock' position when the camera is not used.

There may also be a position marked 'RL' or 'Run lock'. It that position that the trigger stays pressed and camera keeps running even if you take your finger of. Camera stops by pressing the trigger again.

The trigger lock of Bolex 563 XL

Some cameras that have a single frame triggering are equipped with a button that closes the viewfinder, so that no light can leak to film that way when eye is not pressed against the eyepiece. This is useful when doing animation or using interval timer with a fixed camera. 

Closing button is situated somewhere near the eyepiece, on top, side or back of the camera body. Sometimes it is marked with 'o' and 'c', or 'open' and 'close' but many times it is not marked at all.

To close the viewfinder: button on top of camera (Minolta XL-401), in back (Bolex 583) and on the side (Eumig 881). The big picture is Chinon 1070: Closing button on the right side of the viewfinder. Under it are battery check buttons marked 'exp' (for light meter battery) and 'mot' (for motor battery). Notice the original Chinon eyepiece that is made of deteriorating rubber and has usually melted away by now...

9.3. Fade

Many higher end cameras have a fade function. It means that picture can be gradually faded in from black or vice versa during shooting. When you want to fade in, the fade button is pressed in before you start shooting, and released at the moment you want the fade to begin. To fade out, you press the button during filming at the moment you want the effect to begin.

Usually fade button is clearly marked with text 'fade'. In some Chinon cameras there is a flash-like symbol with letter 'F' in the middle.

9.4. Lap dissolve

Some higher end cameras have a possibility to make lap dissolves. It means that you can make a soft, gradual change from one shot to another. It is done by making a fade out, then rewinding the film to the start of the fade, and then filming the next shot with a fade in. Lap dissolve button makes all this automatically: just press the button where you want the dissolve to start, and keep filming until camera automatically stops. It then rewinds the film, and when you start filming the next shot, it makes the fade in. Usually button is marked with text 'lap dissolve', 'overlap' or 'dissolve'.

This is the symbol of lap dissolve button in some Bolex and Eumig cameras

9.5. +/- correction.  

This function can be used to adjust automatic exposure 1-2 f-stops lighter or darker. It is usually situated in one side of the camera body and marked with + and - signs, some times with numbers too. Remember to return the button back to normal position after using it.

+/- correction in Zenit Quarz 1x8S-2, in Cosina ODL-758 and in Eumig Viennette              

9.6. Backlight control 

Backlight control is used to correct exposure in situations where the background is lighter than the actual object. It opens the aperture for 1-2 f-stops. Usually it is a press button situated on the right side -some times on left side - of the camera and marked 'Back light', 'BLC' or 'B.C'.

Backlight control button in Bolex 583                                Backlight contro buttonl in Canon 514 XL-S

In Canon 310XL backlight is compensated by pulling the red slide up. In that position it lets less light through the light meter window, so the automatic exposure control will open the aperture accordingly. 

9.7. Interval timer

Some higher end cameras have a function that takes single frame shots automatically at certain intervals (so called 'time lapse' shooting - remember the rotting animals in Peter Greenaway's "Zoo"?...). 

The length of the intervals can be changed. The range is usually from about 1/3 second to 60 second intervals. There are many different ways of how the timer works and some of them are a bit complicated so you just have to try different combinations:

Chinon XL555: simple system, just turn film speed button to '1' (single shot) and select the desired interval with the timer button, that shows the length of the interval. Camera starts clicking immediately.

Minolta XL-410: Put middle button to 'intervalometer' , then select the interval time with the button on the right. There are no times marked, so you just have to experiment to find the right interval. The range is about 1/3 to 80 seconds.

Bolex 583: Turn film speed to '1', then choose the interval with 'timer' button (7 time intervals to choose from). After that you have to put the trigger lock to 'R.L' position and pull the trigger so that it stays pressed down.

The Bauer 209 XL, for example, has a button that must be put to 'remote' position after adjusting the interval time in order to get the camera running. 

When you are using interval timer, it is best to set the exposure manually to eliminate flickering. Remember to close the viewfinder if you are not watching through it. 

The normal frame rate of super 8 camera is 18 fps (frames per second). That is the frame rate of your camera if there is no separate button where to select other speeds. Many sound cameras use also a frame rate of 24 fps, that improves the sound quality.

However, many middle and high end cameras have a wider range of running speeds. Very often camera has a slow motion, that usually varies from 32 to 54 fps. Some cameras have a separate slow motion button that can be used during filming. It is usually situated in root of the handle, or on the side of the camera body. Normally it is marked 'slow motion' or 'sm' or with the number of the speed used.

Sometimes there are frame rates that are slower than the normal speed, usually 8-12 fps, that can be used to achieve the effect of accelerated motion. These slower speeds may also be useful when you are filming fixed objects in low lighting, because they have longer exposure time (see shutter).

Many cameras also have a frame rate that is marked as '1'. That does not actually mean a frame rate; it's the single frame exposure function. It means that when you pull the trigger, camera exposes one frame. That function can be used doing animation or time lapse filming. The exposure time with single frame exposure is usually the same as when filming 18 fps, but I strongly advice you to test it before filming any major animation using manual exposure. 

11. Small Glossary of terms

Aperture. In order to get the right exposure you must control the amount of light coming to the film. This is done by setting the aperture. The aperture values (or "f-stops") are: 1, 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 18, 25 and so forth. 1 is the biggest opening, 1.4 is half of that, 2 is half of 1.4 etc. So the smaller the number, the bigger the aperture, and more light is allowed through.

Color temperature. Different light sources have different colors. Sunlight is much bluer than light bulb, and on cloudy day the light is yet much colder. Even though your eye can't always tell the difference, your camera can. This color temperature is measured with Kelvin degrees: The colder the color is, the warmer is color temperature. Here are some examples (values are not exact):

Candle light (warm orange) 1850 K
100 W light bulb 2800 K
Normal tungsten movie light 3400 K
Normal daylight approximately 5600 K
Daylight, cloudy appr. 8000K

Super-8 color films are tungsten-balanced, so the right colors are achieved when filming with proper movie light. However, filming outdoors is possible with conversion filter.

Conversion filter. Every super-8 camera has a built-in conversion filter in order to allow filming both indoors and outdoors with the same film (see: color temperature). This little orange-red filter (named "85" or "85A") is situated inside the camera between the lens and the film gate. The color super-8 films are tungsten-balanced, so when you are filming outdoors, where the light is blue, the filter must be on. When filming indoors with artificial lighting it is not needed. The filter reduces the amount of light 2/3 f-stops, so it must be taken into account if the exposure is set manually. If you are using B&W film, the color temperature is not a problem, and usually it is best to film without the filter in order to maximize the amount of incoming light. However, B&W film has slightly different speed in different color lighting, so refer to ASA settings given in the film package.

Depth of field. The length of the area where objects stay in focus. Depends on aperture and focal length. In wide angle shot depth of field is longer than with tele lens, and when you open the aperture, the depth of field becomes shorter.

Diopter setting. Used to adjust the eyepiece so that people with different eyesight can see the viewfinder and the image sharply in focus.

Eyepiece. The place where you put the eye in order to see the viewfinder and the image through the camera. Usually made of rubber. Apparently Chinon used a kind of rubber that deteriorated during years. That is why most Chinon cameras don't have their original eyepiece anymore. Those that are left are partly melted to black sticky stuff that won't come off of your fingers.

Focal length. The "size" of the lens indicated in millimeters. The "normal" focal length of super-8 film is about 14,5 mm. It means that at this length camera sees the world pretty much like a human eye. Shorter length is called "wide angle". It shows much wider range, but an extreme wide angle can distort the image. The shortest focal length found in super-8 cameras is 6 mm, although some cameras (e.g. some models from Eumig and Bolex) can achieve 4 mm length with separate wide angle attachment. Longer than normal focal length is called "tele". It magnifies the image and brings it closer, but also flattens it, and makes the picture less steady. Longest tele found in super-8 cameras with fixed lens is 90 mm.

Parallax. The different framing of a picture seen through separate viewfinder. Parallax is especially big when shooting close-ups.

Shutter. A device that allows light to expose the film frame for a certain period of time, and then blocks the light while the next frame is transported to the film gate to be exposed. Super 8 cameras use rotating shutter that has a certain sector opening (except Beaulieus that use guillotine shutter). Normally opening is about 180 degrees, though some older cameras may have opening of 160 degrees and newer XL cameras even 230 degrees. Some high end cameras have variable shutter. The bigger the opening, the longer the time of exposure, and the less light is needed for filming. 

A 180 degree shutter. The black square in left is the film gate, which is now exposed to light. When the shutter rotates, it covers the gate for half of the rotating  time, so the exposure time with 18 fps film speed is 1/36 seconds. With 24 fps speed it would be 1/48 seconds, and with 9 fps 1/18 s.

Slow motion. An effect that is achieved when camera is running faster than the normal 18 fps (or 24 fps with sound cameras and projectors). Normally done by using frame rate of 32-50 fps. Some Beaulieus have even 80 fps slow motion. So the name 'slow motion' does not imply to the speed of film, which is actually faster than normally, but to the resulting effect, where motion seems to be slowed down when projected with normal speed. If the frame rate is smaller than the speed of projection, the effect - as seen in old silent films - is called 'accelerated motion'.

Sprocket holes. The small rectangular holes in the edge of film. Also called 'perforation'. Used to transport the film in camera and in projector. Super 8 film has one hole per frame, punched adjacent to the center of each frame.

Time exposure. A function where single frame can be exposed for a long period of time, usually up to 1 minute in order to film fixed objects in dark, or to achieve an effect where movements are very blurred. Time exposure filming can be done with some high end cameras made by Bauer, Bolex, Eumig, Leica and Nizo.

Time lapse. A method where single frames are exposed at long preset intervals, so that a slow movement (such as opening of the flower or setting sun) is sped up. 

Tungsten. The normal super-8 movie lights use tungsten bulbs that have a color temperature of approximately 3400 K. Tungsten-balanced films give right color reproduction when tungsten light is used (see also conversion filter). There are also HMI (Halogen Medium Iodide) movie lights that have daylight-balanced light (5600 K). However, they are very expensive and are used only in professional movie productions.

Copyright (c) 2004 Anssi Puisto

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