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Topic: Regular 8mm Sound???
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Paul Adsett
Film God
Posts: 5003
From: USA
Registered: Jun 2003
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posted January 08, 2018 02:17 PM
Like Maurice, I had a Eumig P8 projector with the Phonomat tape synchronizer mounted on the back. It worked very well for music and commentary, but as Maurice points out, not good enough for lip sync.
Here is the gorgeous looking CirseSound standard 8mm stripe sound projector from 1959. The 56 frames sound advance on this machine became the standard design for all future 8mm sound projectors.
I am sure Joe is right about the superior print quality of some 8mm prints versus their super 8 counterparts. But, all things being equal, super 8mm prints of course have to be superior to 8mm prints.
For home movies though, as Alan has mentioned, a lot of people myself included, feel that reversal film shot in an 8mm camera looks better than super 8mm camera film, due to the precision of the all metal 8mm camera gate compared with the Kodak plastic super 8mm cartridge, and the superiority of prime lenses versus the zoom lenses fitted to Super 8mm cameras.
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The best of all worlds- 8mm, super 8mm, 9.5mm, and HD Digital Projection,
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Panasonic PT-AE4000U digital pj
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Thomas Dafnides
Expert Film Handler
Posts: 247
From: St. Louis, Missouri USA
Registered: Dec 2009
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posted January 08, 2018 09:53 PM
Fairchild made their line of Cinephonic 8mm standard sound cameras since 1959 as stated. These were of more robust construction quality than any Super 8 sound camera.
It is a shame that Kodak did not clue Fairchild into the development of Super 8 because in January 1965 (the same month Super 8 was annouced). Fairchild showed a new professional studio 200' sound standard 8mm camera with their revolutionary Hall Sensor recording system at Photokina. This camera as I recall was more impressive looking than any Super 8 sound camera that came later. The camera had the silhouette of a classic Hollywood Mitchell camera . I do not believe the camera ever went into production because of Super 8. If Kodak had revealed to Fairchild their Super 8 plan development , we would of had a 200' Double Super 8 sound camera in 1965. But, of course, then Fairchild would of had the lead in Super 8 sound camera production. Later in 1973, when Kodak introduced their Super 8 sound camera, it featured the Fairchild Hall Sensor recording system which they bought the patent rights for.
Also, in January 1965, Viewlex introduced an industrial Standard 8mm sound projector with large 800' or 1200' reels for educational classroom use. Only a few of these were manufactured because of Super 8.
[ January 09, 2018, 09:17 PM: Message edited by: Thomas Dafnides ]
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Simon Wyss
Film Handler
Posts: 78
From: Äsch, Switzerland
Registered: Apr 2009
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posted January 11, 2018 03:49 AM
Eumig’s Mark S line was begun in 1966, the projector was made for both 8-R and 8-S film.
Before you had a number of projectors that were linked to a tape recorder by means of a synchronizer. The designations went from Synchromat to Sonorizer and the like. In that group we have Paillard-Bolex, Nizo, Noris, Eumig, Meopta, Zeiss-Ikon, Pathé, and more. Quarter-inch magnetic tape offers HiFi sound whereas 8mm COMMAG (combined with the film magnetic stripes) always deals with a very stiff material and a narrow track width.
One little group of equipment existed for the SEPMAG principle. The most prominent is the Siemens & Halske 800 that runs Regular-Eight film and identically perforated magnetic film parallel.
An interesting fact is that equal lengths are transported when we look at Regular-8 film at 25 f. p. s. and magnetic tape at 3¾ i. p. s., the perforation pitch being 0.15".
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Clive Casey
Expert Film Handler
Posts: 112
From: Barrow-in-Furness, UK
Registered: Dec 2017
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posted January 11, 2018 11:53 AM
When I started with 8mm back in the 60s, I used to hire standard 8mm films from a library called Filmland, I think it was based in London. Derann took Filmland over so I used to hire standard 8 from Derek. I went to the shop in the 60s, It was on Stourbridge Road then. In the back room they had a 16mm projector set up with a flexible drive running to 2 8mm machines to transfer the sound.
Super 8 came out and Derann started super 8 as well as standard 8. If my memory serves me correct, they had a lot of trouble in the early days with scratching. I think this was due to the early projectors not having a feed sprocket. I think Derann nearly pulled out of super 8 and concentrated on standard 8, but I could be wrong, as they certainly went into super 8 in a big way later on. Those were the days, what a shame they are probably gone forever.
Regards to all,
Clive
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