The State of Super 8

David W. Scott

Super 8 filmmaking is alive! Super 8 has survived long after it was supposed to be eclipsed by Sony Portapak video, Betamax, VHS, Video 8 and MiniDV. Introduced in 1965 as the ultimate home movie format, Super 8 became the "gateway drug" for a generation of film addicts; addicts like James Cameron and Steven Spielberg who first made films with their parents' Super 8 cameras.

More than forty years later, a new generation of filmmakers are discovering Super 8, but a lot has changed since the 70s. The Super 8 aesthetic is no longer a poor cousin to bigger film formats: it is a legitimate aesthetic choice for all manner of filmmakers. Super 8 is being used in drama, documentary, mainstream features, TV productions and experimental films; it is used by new voices and established artists, from Neil Young's Greendale, to the festival successes of Ben Crowe's The Man Who Met Himself at Cannes 2005 and Cindy Stillwell's High Plains Winter at this year's Sundance. The Super 8 revival has been spurred on by some of the technologies that threatened to destroy Super 8 in the 80s and 90s: video and the rise of digital imaging.

New Super 8 filmmakers, raised on digital video, will have a few things to learn before they can create their first Super 8 masterpiece. Ironically, experienced Super 8 filmmakers may have just as much to learn because in the last couple of years there have been a lot of changes. Super 8 is no longer the common "home movie" format, with cheap and cheerful "processing-included" film available at every pharmacy. This article will look at the new film stocks and workflows that are making Super 8 into a more interesting and useful format than ever before.

The New Film Stocks: Reversal

Kodak's current Super 8 product reflects the people who are shooting Super 8 today. The reversal films are perennial favourites of art filmmakers, students and teachers of cinematography. They demand careful exposure, but can yield stunning results. Reversal film is a powerful teaching tool, as its smaller latitude makes it easier to judge a student's work. The film is projection-ready, making it economical and convenient to shoot and screen students' films as soon as they are returned from the lab. For some filmmakers, the greatest appeal of these reversal films is the "retro" look that they deliver.

Tri-X and Plus-X black and white reversal films are long-time stalwarts in the Super 8 portfolio, although they were recently reformulated to improve performance and be gentler on the environment. The big story in reversal film is the new colour Ektachrome 64T. As Kodak retired Kodachrome (K40), they replaced it with the Ektachrome 64. Kodak's goal was to replace Kodachrome with a modern reversal film that could be processed in the much simpler E6 chemistry. Ektachrome 64T was chosen as the closest match to K40: a tungsten balanced film, with a similar ASA, color saturation, hue and image structure. In practise, Ektachrome 64T is a bigger change from K40 than Kodak would suggest. It is aesthetically different (I suggest it's a big improvement over Kodachrome.) It is also not sold as a cheap "processing included" product and can't be sent to Kodak for processing.

So how does the new E64T look? Comparing it to Kodachrome tells part of the story: the E64T has improved rendition of skin tones. The colours are not quite as saturated, but more accurate. The useable exposure latitude is considerably greater than Kodachrome, and is less punishing of shadows and hot spots. Ektachrome 64 started life as a favourite of fashion and product photographers – and it shows. Skin tones are smooth and natural. Correctly exposed colours pop. Some detail is visible in shadows, even under extreme contrast situations like a snowy landscape.

It's recommended to use an external Wratten 85B colour correction filter to shoot E64T in daylight, though I found it wasn't always necessary. I couldn't discern much difference between footage shot with the camera's built-in 85 filter or an external 85B. The 200-degree difference in colour temperature would be easily correctable when transferring the footage to video. I recommend you shoot tests to see if you prefer one filter over the other.

The image is sharp, even though it is not high resolution. Close examination of resolution tests reveal that the Ektachrome 64 has considerably less resolving power than the new negative stocks. However, when viewed in motion, resolution tests of the E64T appear subjectively sharper than the lower-contrast negative films. Registration and image steadiness seem good with no jitter problems. I give the E64T high marks as a projection film. There are a few downsides.

For a slow speed film, the E64T is fairly grainy. Filmmakers looking for a "retro" effect will like the grain, and everyone else will probably be a little disappointed. The grains themselves are quite noticeable – as a tungsten-balanced film, E64T has larger blue grains to capture the limited blue light under tungsten lighting. Colour rendition is good when processed with the recommended E6 chemistry, but some labs will be processing E64T using their existing VNF process. The results can create an overall blue cast, especially on footage captured in daylight. The cast will be most noticeable in shadowy areas and darker parts of the image. I recommend making sure your lab uses the E6 process for any important processing of E64T. Finally, you need to find a lab to process the film. Kodak does not offer processing-paid film or mailers and won't process E64T for you.

Unlike Kodachrome, local labs in many countries are processing E64T. The Ektachrome tests conducted for this article were processed by Exclusive Film & Video of Toronto who specialize in small format reversal film. If a similar lab is not operating locally to you, it's easy to send your film to a lab that handles Super 8. Refer to Kodak's online list of labs located near you (see sidebar for more resources). It may also be possible to drop your film off at a department store or drug store for processing. Many of these chains had lab agreements for K40 processing, and are continuing to send the new E64T to the same labs. Simply fill out the drop-off envelope, checking the box for "E6" processing and noting in the instructions that this is "Super 8 movie film – process E6 – via Qualex – no video transfer". In Canada, chain stores with Qualex contracts (e.g. PharmaPlus, etc.) have their film sent to Dwayne's lab in the US for processing. American chains like Target will also handle your Super 8 processing via Qualex. The advantage of using a chain store for processing is shipping cost: the store sends it to the lab for you. The disadvantage is the slow turnaround and missed opportunity for you to build a relationship with a local lab.

The New Film Stocks: Negative

For a more contemporary look, with tighter grain, huge latitude and accurate colour reproduction, Kodak offers two professional negative stocks. Vision2 200T (7217) and 500T (7218) are the exact same motion picture stocks offered in 16mm, 35mm and 65mm formats. For the first time, Kodak is selling Super 8 stocks that are the pinnacle of motion picture engineering development. According to Kodak, the majority of Super 8 is shot by low-budget professional filmmakers. Those are the folks most excited about the new negative stocks for use in commercials, music videos and documentaries.

Comparing the negative stocks to the reversal stocks is incredible. Vision2 200T and 500T make it seem like a veil has been lifted off your eyes. The 200T is extremely fine grained. The 500T shows more grain while still delivering incredible detail. The enhanced exposure latitude helps create the detail. Subtle gradations of light and dark are captured over a broad range of exposures. Testing revealed good shadow and highlight detail in frames that ranged from F2.8 to F16.

The freedom afforded by a 500 ASA stock opens up whole new venues of available light shooting, even at night. The grain structure is similar to what we are used to in much slower Super 8 films. The images have surprising depth and latitude while retaining some of the characteristic look of Super 8. Colour rendition is accurate and subtle. Testing done at night in Dundas Square (a public square surrounded by billboards and video screens) demonstrated the film's ability to get a good exposure on night exteriors and not blow out the vibrant colours of billboards in the background. The effect is stunning – shooting with slower films (especially reversal) usually means that only highlights or well-lit foregrounds will emerge from the blackness. The 500T negative reveals the entire palette of the night time landscape, in a depth that was previously impossible. 500T is nearly as good as the human eye at seeing in the dark. If your shooting style requires working with lower light levels, there is no replacement for this stock.

The truly revolutionary Super 8 film is the 200T. The fine grain and enhanced latitude creates images that look more like 16mm film than Super 8. This is a whole new look for Super 8 and is sure to inspire a wave of renewed interest in the format. Naturalistic colours and vivid detail are combined with a "fast-enough" ASA to be a very versatile film. With daylight and some lighting of nights and interiors, 200T can be used in most circumstances. 200T rewards you with images that are finely detailed with minimal grain. The 200T has a wide latitude that is very forgiving, but slight overexposure can result in an even tighter grain and brighter colours. Both the 200T and 500T benefit from a half-stop overexposure, with no deleterious effects on the image. Careful overexposure combined with grain-reduction in the video transfer can create a very slick image.

There is a caveat for all of these new film stocks: Not all Super 8 cameras will correctly auto-expose these films. During the final decade of Super 8 camera production, many cameras only accepted 25/40 and 100/160 ASA film. At the time, this wasn't a problem, as the only films available were 40 and 160 ASA. New film, offered in speeds other than 25/40 or 100/160, will confuse many of these cameras. The only real solution is to use an external light meter and set the camera exposure manually.

There are fewer lab choices for Super 8 negative, but the number is growing. In Toronto, Niagara Custom Labs offers Super 8 neg developing. They processed the negative film tested for this article. Having a local lab makes shooting the negative stocks just as convenient as shooting reversal. If there isn't a lab near you, you can find one on Kodak's list of labs.

More stocks yet?

The range of available Super 8 film doesn't stop at Kodak. Over the years, many other companies manufactured Super 8 film. Today, some enterprising companies are custom-loading the world's most popular film stocks into Super 8 cartridges. Spectra Film & Video offer the Fuji Velvia 50D reversal film. Wittner-Kinotechnik offer a few choices under the WittnerCHROME label, including repackaged Ektachrome 100D, Kodachrome 40 and Velvia 50D. Pro8mm have built their business on repackaging Kodak and Fuji films for Super 8. If you are willing to pay a premium and have your film developed by the labs that sell it, the total number of stocks available goes from 5 to over 30.

According to Kodak, serious consideration is being given to offering Vision2 50D (7201) colour negative film in Super 8. This is an extremely fine grained, daylight balanced stock that would maximize the resolution and minimize the grain in the small Super 8 frame, continuing the revolution started with the Vision2 200T. There has been considerable demand for this film from experienced Super 8 shooters.

Also rumoured to be under consideration is the Ektachrome 100D daylight reversal stock. This stock would be a popular addition to the Super 8 portfolio. Feedback from users shooting custom loaded cartridges of 100D has been good, noting strong colour rendition and low grain. Offering a medium-speed daylight reversal would provide a complete portfolio for the reversal filmmaker, including film schools and direct-projection enthusiasts.

Both of these daylight stocks avoid the problem of large blue grains inherent in tungsten film. They would not require filtering for daylight exposures, allowing them to be exposed at the full ASA rating of the film. If notched correctly, these films could also be used in all of those cameras that only accept 25/40 and 100/160 films.

Super 8 in the 21st Century

Single-roll filmmaking, with only in-camera editing, is the simplest way to make a film in Super 8. This doggedly lo-fi approach has a newfound audience and many new practitioners. It is cheap and immediate, making a virtue of two of Super 8's characteristics. In-camera effects and "wild" soundtracks are the order of the day. Festivals around the world have embraced the idea of screening single-roll films, made one shot at a time, in sequence, with no editing. The most famous series is Flicker, running in many cities including Toronto and Halifax. Also in Toronto is Rick Palidwor's Super 8 Circus, which brings in a band to provide impromptu accompaniment for the films. The single-roll films mix the conventions of silent movie and performance art. The viewing experience is thoroughly analog, full of randomness and happy accident.

Once you decide to edit your Super 8 film, there are more options available than ever before. Super 8 editing uses modern workflows that are no different from any other film format. Telecine, direct-to-disc scanning, Digital Intermediates and nonlinear editing are all part of the vocabulary of Super 8 editing. There is no longer a need to fuss with tiny tape splices and even tinier sound-on-film striping (unless you want to.) You can shoot a Super 8 film, post in high definition, craft a 5.1 surround sound mix, and record back out to 35mm celluloid.

The most common path for Super 8 filmmakers starts by making a video transfer (telecine) of the Super 8 film. The telecined footage is edited, producing either a finished master, or an edit decision list so that the film can be reassembled in another format. Super 8 films are often projected from video.

Super 8 telecine is better and cheaper than ever before. There are three options (and a million variations): high-end flying-spot telecine like the Rank Cintel; new discreet-frame transfer devices like the Sniper or WorkPrinter; or traditional film chain aerial-image transfers. Unless the transfer is only for making an offline edit, don't waste your time making your own "off the wall" transfer with a projector and a video camera.

A carefully run film-chain transfer can offer good image quality. The film runs at projection speed and is captured by a video camera shooting an aerial image. A set of lenses allow the camera to capture the projected light without any intermediate screen or ground glass. Frames of the transferred film are slightly blurred, with single frames of film recorded over multiple fields of interlaced video. The result can be dreamy, but not objectionable when playing back at speed. Most film-chains can only transfer reversal stock. The exception is Photoplays run by long time Super 8 enthusiast Mitch Perkins. Perkins offers negative transfers of good quality from his custom-built film-chain device. The quality of any film-chain transfer always depends on the video camera being used. Perkins provides MiniDV transfers on tape or 4:1:1 DV files on hard disk drive from his 3-CCD Sony setup.

The revolution in low-cost, high-quality Super 8 telecine is attributed to the work of Roger Evans and his line of transfer devices. Available from www.moviestuff.tv, the Sniper and Workprinter devices are priced within reach of the serious independent filmmaker. The quality of transfer they provide is good enough to build a business on. Justin Lovell founded Frame Discreet and provides high quality reversal and negative transfers at a reasonable price with a customized Sniper Pro. The secret to the quality of transfer is in providing frame-by-frame transfers from film to video. Each film frame is digitally captured at the full video resolution. The system can produce progressive-scan movie files at any frame rate or add pull-down for playback at video frame rates. Lovell offers full colour correction of the transfer and can provide the results on tape or hard disk drive.

The top-end of Super 8 telecine is served by the big flying-spot scanners. At one time that meant Rank Cintel scanners; it now includes the Spirit Datacine. These machines provide film-to-tape services for the television industry; they often are equipped with powerful colour-correction facilities. Transfers are possible to different SD and HD formats, and even to 2K for true digital intermediate work. Hourly rates on these machines can be expensive, especially when the customer supervises the transfer. But more facilities are offering flying-spot scans of Super 8 material, with prices coming down (especially in the US).

With any of these telecine options, many filmmakers will opt for a MiniDV tape of the footage. This is convenient for editing, but doesn't get the best quality out of your Super 8 footage. Avoid compression artefacts in your finished film by transferring to DigiBeta, HDCam or uncompressed 10-bit video on hard drive. With simultaneous MiniDV dubs of your footage, you can still edit the offline video on any Final Cut Pro machine. This offline edit can then be conformed using the higher-quality copies to make a broadcast master or festival screening copy. With a good quality HDCam master, you have an almost-2K digital intermediate, perfect for transferring to 35mm. If 35mm transfers and HDCam onlines are out of your budget, don't sweat it. Super 8 still looks good on MiniDV and you can finish the entire film using an iMac and iMovie. You can take advantage of the most empowering aspects of digital video and still project a movie that looks like a movie. The irony is that, thanks to digital video, there is no reason to not shoot on Super 8.

The most amazing aspect of the Super 8 right now is the flexibility. There are perhaps more Super 8 film stocks available than ever before. There are more post-production options, many of them identical to the workflow for 35mm film and DV. You can pick up a thirty-year old camera at a thrift store for a dollar, and use it to shoot the same Vision2 stocks that blockbuster films are shot on. Or you can shoot a roll of reversal on an expensive crystal-synch camera and project it to an audience as soon as it is processed. This flexibility has given Super 8 new life in unexpected places: in commercials, Hollywood features, wedding films and music videos.

Super 8 is far from dead ... It's just getting started.

Fruit bowl and colour chart, under tungsten lighting. Each stock was exposed normally, and then overexposed by one stop. Note how well the negative stocks handle overexposure. Kodak recommends slight overexposure of the negative stocks to tighten up grain.
	200T (Kodak VISION2 7217) Exposed normally
	200T (Kodak VISION2 7217) Overexposed by 1 stop
	500T (Kodak VISION2 7218) Exposed normally
	500T (Kodak VISION2 7218) Overexposed by 1 stop
	E64 (Kodak Ektachrome 64T Color Reversal Film 7280) Exposed normally
	E64 (Kodak Ektachrome 64T Color Reversal Film 7280) Overexposed by 1
Mixed colour temperatures: cool daylight, sunset direct light, tungsten lamps.
	200T (Kodak VISION2 7217)
	500T (Kodak VISION2 7218)
	E64 (Kodak Ektachrome 64T Color Reversal Film 7280)
Low light shooting: Nightime available light at Dundas Square. Exposed for highlights.
	200T (Kodak VISION2 7217)
	500T (Kodak VISION2 7218)
	E64 (Kodak Ektachrome 64T Color Reversal Film 7280)