General
Tips Super 8mm
Hold the camera steady. Use a tripod whenever possible. One
of the largest factors contributing to professional-quality
pictures is steadiness.Remember that Super 8, with its small
frame is a "close-up" medium. There is a limit to the amount
of detail that the Super 8 frame can capture when compared
to larger film formats, and the comparatively small screen
poses some limitations, too. Often the most effective images
are those shot at medium and close-range. Be sure that your
camera's batteries are fresh to ensure proper operation of
the motor and built-in meter. If your camera has a "zoom"
lens, use it sparingly. When shooting interiors with limited
light and high-speed film, consider the use of a small "fill
light", even if your camera's meter indicated that you have
sufficient light for an exposure. This will add depth and
detail to your pictures.
Process your film promptly after exposure. Most Super 8 film
requires processing by independent laboratories. Contact your
local photo dealer or your Kodak representative for a list
of laboratories in your area.
How
To Insert The Cartridge
The Super 8 film cartridge fits into a movie camera only one
way. However, the manner of loading depends on the camera.
In all Kodak movie cameras, you insert the film cartridge
so that the notches face toward the front of the camera and
so that the cartridge label will be visible through the window
on the side of the camera. If you have a side-loading camera,
such as the one illustrated below, insert the cartridge at
the angle shown. Then press the back of the cartridge down
until it is securely seated. Never force a cartridge into
a camera. In the other camera illustrated, you just slip the
cartridge into the back of the camera. Be sure to read your
camera instruction manual for specific loading instructions.
Common
Problems
If film is black--absolutely no pictures:
-
lens cover not removed
-
malfunction of the camera's lens opening or metering system
If
film is very dark--with only faint indications of pictures:
-
insufficient light
-
a malfunction of the camera lens opening or metering mechanism
-
a weak or dead meter battery
-
something unusual in processing or manufacturing
If
film is almost clear--with only faint indications of pictures:
-
a malfunction of the camera lens opening or metering mechanism
If
the film is clear--no pictures whatsoever:
-
something unusual in processing
If
film has pictures - but no sound:
-
a weak or dead sound battery
-
a microphone-related difficulty--not plugged in, a loose
plug, a broken wire in the cord, or a defective microphone
- a
camera problem
If
the film appears to "jump" or "chatter":
It is the lack of sufficient lubrication on the film that
often causes unsteady projection. If the film is not lubricated,
some projectors can damage the film perforations. (Kodak film
is automatically lubricated during processing by Kodak.) Once
the perforations are damaged, lubrication will not solve the
problem of unsteadiness. Such damaged areas must then be either
spliced out or duplicated. Lubrication also helps prevent
drying and warping of film. For protection and long life,
film should periodically be cleaned and lubricated.
Making a Movie
The wonderful thing that distinguishes snapshots from movies
is MOTION. Sometimes people forget this when they are making
movies. There are some suggestions to help you make the most
of your movie-making.
CONTINUITY
As you make movies, keep in mind that you are really telling
a story. Like any story, your movie needs a proper introduction,
a body, and a conclusion - plus, continuity to tie all the
parts together. Continuity may come naturally when you film
the action as it happens in it normal progression, or it can
be created when you edit the film into logical order later.
Before shooting any movie story, it's good to write a plan.
Think of what you want to film to help complete your movie
story.
Telling stories with your movies is quite easy. You start
your movie with a natural introduction, follow the action
as it happens, perhaps with a few scenes specially acted out
for the sake of your story, and shoot a scene or two for the
conclusion.
Starting and concluding your movies need not be a major production.
You can use titles or photograph scenes that symbolize your
beginning and conclusion. A handy conclusion of a picnic story
would be a scene of junior fast asleep in the car after a
rigorous workout.
In a picnic movie, storytelling continuity could be achieved
by a short title shot of the park sign between the car-loading
introduction and the arrival at the picnic area, where mom
spreads the tablecloth on the table.
You can apply the movie-story format to all your personal
movies, whether they are of a family picnic, a vacation trip,
or any other event. Usually, you can make a good movie by
confining you filming to normal proceedings and doing an occasional
bit of directing of your own to keep the story moving along.
VARIETY
A few simple techniques can help you add a lot of interest
and variety to your movies:
Scene
Length
The nature of your subject should determine scene lengths.
Because you film different subjects doing different things,
varying the scene length almost comes naturally. You might
film a long scene for about 10 to 13 seconds - occasionally
up to 15 seconds if you're panning across a scene, or if you
think the scene requires it. A medium scene may last 8 to
10 seconds; a short scene, no longer than 5.
Suppose you're filming a group of Boy Scouts building a campfire.
You would probably start with a long scene to establish what's
going on and to record the parade of stick bearers. When you've
adequately covered this, you might film a medium-length scene
of one of the Scouts arranging the fuel in regulation campfire
style. Finally, you could film a short scene of a Scout's
hand applying a flaming match to the kindling. Because of
the simplicity of this action, a 5-second or shorter scene
is probably all you'd need to get the message across.
Scene length is also a handy device for emphasizing the type
of action you're filming. To accentuate fast action, include
many short scenes about 2 or 3 seconds long. For lazy, slow,
plodding subjects, you might take one or two scenes about
12 seconds long.
Most of your scenes will probably run from 5 to 13 seconds.
Too many short, 5-second scenes may leave your audience exhausted,
or a succession of scenes running longer than 13 seconds may
induce slumber. Strive for variety in scene length, with short
scenes following long scenes, and with each scene lasting
just long enough to contribute its special piece of action.
A 50-foot roll of super 8 or 8mm movie film is long enough
for an average of 20 to 24 scenes. Sometimes you may get fewer
or more scenes, depending on your subject material. When you
consider that each of the 20 to 24 scenes is a "moving snapshot,"
you really capture quite a bit on one roll of film.
CAMERA-TO-SUBJECT
DISTANCE
When talking about subject distance, it's important to also
talk about subject size. When your subjects are people, a
close-up is a scene taken from 6 feet or closer and intended
for a head-and-shoulders shot. However, a close-up shot of
something much larger, such as the Statue of Liberty, would
be filmed from a distance much greater than 6 feet. For most
of your home movies, anything filmed at a distance of 6 to
25 feet is a medium shot, with your camera covering a height
of about 6 feet. A long shot would be any scene filmed from
beyond 25 feet.
The important thing to remember is to intermix long, medium,
and close-up shots for variety. A good rule of thumb for your
filming is to start a movie sequence with a shot to establish
the action. The most common establishing shot is a long-distance
shot to show the whole setting, but it could also be a close-up
to show one aspect of the action. Then follow with a related
scene shot from a different distance. Keep in mind that close-ups
add variety, impact, and interest. So, use them often when
they're appropriate.
To know when to vary your filming distances, it's necessary
only to apply imagination and common sense. By including only
those parts of the scene you actually need, you'll automatically
change your shooting distances as your needs change.
For instance, consider how you might take a movie of Dad's
afternoon fishing trip. First you'd probably establish the
setting with a long-distance shot of Dad and the family dog
walking up to a choice fishing spot. The long-distance shot
includes just enough of the surroundings to identify the locale.
Then you might film a medium-distance shot of Dad setting
down his fishing tackle and his rod and reel. Follow this
scene with a close-up of his hands baiting the fishhook. A
close-up like this shows only the essential elements for that
scene. Continue with a medium-distance shot of Dad throwing
out his line, a long-distance shot of the dog and him waiting
for a bite, a close-up of the dog falling asleep, and so on,
until the close-up of the catch at the end of the day.
CUTAWAYS
In a cutaway, you simply leave the main action for a brief
scene to film something else that's related to your movie.
In the preceding example, we mentioned a close-up of the dog
falling asleep. This is a good cutaway. The camera left the
fishing itself and concentrated on the sleeping dog as Dad
waited for a bite. Cutaways like this, or of excited crowd
reaction and other sidelights at a sporting event, add interest
and variety to the main action.
SEQUENCES
To enrich the continuity of your movie story, make sequences
of related action. In a movie sequence you film a series of
scenes of the action instead of just one scene. The moviemaker
can film various aspects of the action from several different
camera angles and filming distances to help tell part of the
movie story in an interesting way.
CAMERA
ANGLE
For even more variety in your movie story, shoot from different
camera angles. You might shoot head-on for a medium shot,
and then move in for a close-up, but at a new angle. Whenever
you change filming distance, you should also consider changing
the camera angle.
If you're making movies of activities within a relatively
small area, it's often a good idea to change your viewpoint
to accommodate the changing scene. Shoot from either side
of your subject, or change from one side to the other if it
gives you the best angle to show what is important to the
story. However, when making a movie across an extended area,
best results are usually obtained if you don't vary your viewpoint
form one side of your subject to the other. For instance,
if you're making a movie of a hike in the woods, it's a good
idea to show your subjects always traveling in the same direction.
This makes the sequence flow in a logical manner. After your
subjects have reached their destination and you've filmed
on-the-spot activities, such as a picnic, you can show your
subjects heading in the opposite direction and returning to
their starting point. Constantly changing the viewpoint and
direction of travel can make your movie look fragmented and
may confuse your audience.
COMPOSITION
Composing your scenes carefully in the viewfinder enhances
the quality of your movies. You're already far ahead of the
game if you can (1) keep the background uncluttered, (2) concentrate
the camera on one center of interest at a time, and (3) keep
the horizon straight.
An uncluttered background helps focus attention on the subject.
By filming from a low angle and using the sky as a background,
or by shooting from a high angle toward the ground or water,
you keep a lot of distracting elements out of your backgrounds.
This is especially effective with close-ups of people.
When using the sky as a background, make sure the subject
is frontlighted or sidelighted if you're using a camera with
automatic exposure control. Don't use the sky as a background
on overcast days because it will turn out dull and gray in
your movies. Before you start filming, if necessary, try shifting
your camera position or the subject to get a better background.
Although it's possible to eliminate a lot of unwanted background
distractions, you can't do so every time - your camera must
follow the action even if it sometimes moves into an area
where the background is a bit cluttered.
Hold your audience's attention by having one center of interest
for each scene. This not only improves most scenes photographically,
but keeps the message of each scene simple. If you have got
three or four things competing for the viewer's attention
in one scene, it will be confusing and will lack interest.
Zero in on that part of the action that tells the story; exclude
the rest.
Keep your movies on the level by making sure that level horizons
stay that way in your viewfinder. A tilted horizon or leaning
subjects (except for the Leaning Tower of Pisa) will be distracting.
Movies
by Existing Light
The easiest and most natural way to make movies is by existing
light, using only the lighting that exists at the scene. Technically,
bright sunlight outdoors is existing light. But, for our purposes
here, we are speaking of existing light that is not as bright
as that found under most outdoor daylight conditions. This
includes the light from table and floor lamps, lighting fixtures,
fluorescent lamps, floodlights, spotlights, neon signs, candles,
and fireplaces--even daylight from windows or skylights--in
other words, any type of lighting that you're likely to encounter
in homes, schools, churches, museums, restaurants, auditoriums,
and outdoors at twilight or after dark.
EXISTING-LIGHT
MOVIES INDOORS
In order to film subjects in the greatest possible variety
of existing-light situations, you need a high-speed film and
a camera that takes full advantage of dim existing lighting.
Under most circumstances, medium-speed Type A films are best
for making indoor movies with movie lights or other supplementary
light sources. Films such as KODACHROME 40 Movie Film (Type
A) and KODAK EKTACHROME 40 Movie Film (Type A) fall into this
category.
Maintaining
Your Still and Movie Camera Projector
Whether your camera is still or movie, one of its greatest
enemies is dirt--dirt that can give your pictures a hazy appearance,
jam your shutter, or spot your film.
CAMERA
LENSES
Dirty windows cloud your view of the outside. The same is
true of camera lenses. Dirt or fingerprints on your lens cause
hazy pictures. If your camera has a lens cap, put it over
the lens to protect against dirt and scratches, or use a field
case. It's a good idea to clean your lens according to the
instructions in your camera manual. First, carefully blow
away any grit or dust, or brush it away with a camel's-hair
brush. Then breathe on the surface of the lens and wipe it
gently with a soft, clean lintless cloth. You can wad the
tissue into a small tuft so it will be softer--keeps fingers
away from the lens. Be sure to use solvents specially designed
for cleaning camera lenses. Don't use chemically treated tissue
intended for eyeglasses. They may damage the lens. Do not
apply the lens cleaner directly to a lens, since it may seep
between the lens elements. First apply a drop or to of lens
cleaner to a sheet of lens cleaning tissue and use the moistened
tissue to gently clean the lens. Clean both the front and
back of the lens (if the back of the lens is accessible through
the inside of the camera). On cameras with interchangeable
lenses, remove the lens to clean both sides. Don't try to
take apart the lens itself.
It's a good idea to clean the lens after all the other parts
of the camera have been cleaned. This prevents dust from settling
on the lens while you are cleaning the rest of the camera.
Or, if your camera has a lens cap, put it on the lens when
you clean the camera. Of course any lens cover should be closed
or lens cap installed whenever the camera is not being used.
You can use the above methods to clean your filters and view
finder lenses, too. When dirty, these also transmit poor images.
CAMERA BODY
Dust and dirt inside your camera can cause spots on your pictures
and can jam the shutter apparatus, as well. Use a rubber syringe
to blow dirt from the inside of the camera, or clean it with
a soft brush. Fragments of perforated film occasionally break
off and fall between the lens and the film, sometimes ruining
those priceless pictures. Always inspect your camera before
inserting a new roll of film. Be sure to clean in and around
the film-spool cavities and sprockets.
There is less chance of dust and dirt on the outside of the
camera body affecting the internal mechanisms, but it is a
good idea to clean there also. Fine dust can work itself into
the camera from the outside.
Sand in the camera can jam its works. Protect your camera
from sand and dirt, especially at the beach.
MOVIE - CAMERA GATE AND APERTURE
The gate and aperture are very important parts of your movie
camera. Dust, and sometimes film particles, can gather in
these areas. These can scratch the emulsion of the film as
it is pulled through, or block part of the image if they are
allowed to accumulate in the aperture. These scratches and
accumulations show up when you project your movie.
Your camera instructions manual should explain the correct
method of cleaning the gate and aperture. If the gate is accessible,
you can clean it with a slightly moist cloth and polish it
dry with a soft, lintless cloth. If it isn't accessible, have
it cleaned by a competent camera repair technician. Don't
scrape any part of the gate with a metallic object.
A soft brush or soft, lintless cloth can be used to clean
loose dust and dirt from the gate and aperture either before
cleaning the lens or with the lens pointed up so that dirt
doesn't fall onto the back of the lens.
If cleaning doesn't stop the collection of dirt at the gate
or aperture, the camera should be checked by either the manufacturer
or a camera repair technician.
BATTERIES AND ELECTRICAL CONTACTS
Many cameras need batteries--for built-in flash, exposure
meters, or electric motors. So it's quite important that you
test our batteries and clean the battery and camera contacts
periodically.
If the contacts in your equipment are difficult to reach with
a cloth, clean them with a water-dampened cotton swab. Some
batteries have a battery compartment with contacts on the
underside of a sliding door or on the sides of the compartment.
There's no easy way to reach these contacts, but you can clean
them by opening and closing the battery-compartment door several
times with the batteries in place. The friction is enough
to clean the contacts. Never use anything rough, like sandpaper,
emery cloth, or a nail file, to clean the contacts. These
will remove the plating on modern electrical contacts.
If your camera will be idle for some time, remove the batteries
to prevent corrosion damage. Storing batteries in a freezer
will extend battery life. Be sure to wrap them in plastic
to protect against moisture.
Sometimes the spring tension of the contacts might be too
weak to provide good battery contact. If so, adjust the tension
by bending the contacts slightly with a nail file or small
screwdriver so that the batteries are held firmly in place.
Recessed contacts can be lifted with a hook made from a paper
clip.
STORAGE
When the camera is not in use for some time, remove the batteries
and store them in a carrying case or in a corrugated cardboard
box. Use cloth bags or socks for storing individual items,
such as camera bodies and lenses. Make sure the cloth is dry
by setting it in direct sunlight for 30 minutes or so. Custom-built
carrying cases are available for many still and movie cameras.
The case will protect your camera from bumps, keep the lens
clean and free from scratches, and keep light out of the exposure
meter, thus preserving meter-battery life (if your meter uses
batteries). Make sure the camera is stored away from heat
or direct sunlight, and moist or humid areas. If you leave
your camera in an automobile, put it where it will not lie
in direct sunlight. A good spot is on the floor behind the
front seat. Do not leave your equipment on the rear-window
deck or on the dashboard, and do not put it in the glove compartment
or car trunk since it may get hot enough to deform the camera
or damage your film.
Some people think insecticides such as bug spray and moth
crystals will protect their camera equipment while it is in
storage. These can be as devastating to your camera and film
as they are to insects. The chemicals in these insecticides
can harm the camera lens and apparatus, and harden the emulsion
of the film, even after the camera has been removed from storage.
The chemical fumes can permeate the camera, and the residue
that lingers after storage can continue to harm the film emulsion.
During long periods of storage, release the shutter a few
times every few months. Sometimes the camera lubricant suffers
and causes the shutter to operate improperly if it is not
exercised
Standard/
Double 8mm movie film Eastman Kodak Company manufacturers
(standard) 8mm movie film for distribution via resellers such
as www.8mmfilmstock.com. This film cannot be bought directly
from Kodak.
