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What follows is advice from a fellow filmmaker on some specific camera modifications. There is no reason to think these examples cannot be applied to most any super 8 camera in existence. The great thing about super 8 cameras is that they were built at a time when electronic miniaturization had yet to take hold. A simple set of small “hobby” screwdrivers should do the trick for 90% of your dismantling. But, remember; follow these suggestions at your own risk. The author below stumbled into this when his camera would have otherwise been tossed into the dumpster had he not broken out the screwdrivers!
My only concern is the section on changing the frame per second speed of the camera: I have not yet tested to see if the light meter reading is tied to the film speed and this could be different for any given camera. For example, if you made the Eumig Nautica run at 24fps instead of 18fps, would you have to adjust the light meter to allow more light in to keep the same exposure on the film (putting aside for the moment the whole 64 vs 40 ASA thing)? My instinct says yes. If you took any camera and simply adjusted the camera’s fps speed via the pot to, say, a higher running speed, you would end up with under-exposed film. Having said that, if you adjusted a 18fps camera that only knows 40ASA to run at 24fps, you still have another 1/3 stop to adjust for to get to 64ASA. Of course, the projector/telecine playback rate would also have to be adjusted to 24fps. Then, perhaps a small tweak of the light meter pot for the final 1/3 stop would finally convert that Eumig Nautica to a 24fps, Ektachrome 64T MONSTER camera that would really kick butt underwater at 40ASA with the internal 85 filter! I think we’re on to something here folks! Note: “pot” does not refer to a green plant. It is slang for “potentiometer” – A resistor with three terminals, the third being an adjustable center terminal. |
| Here's what one enthusiast wrote to tell me: Hey Mike, I present to your five pictures scanned in from 3 cameras: a Bolex 160 Macrozoom, an Elmo EM30XL, and a Revue CE40. All cameras that only notch for Kodachrome 40 and Ektachrome 160; all cams that can be ramped up to the new Ekta64T. Here's the lowdown on the pictures:
For the Bolex, you must remove the small side panel above the handle-only two screws (hidden beneath some flashy circular covers that peel off) must be removed to access the insides. This pot is buried pretty deep within the camera, but it is accessible. Be sure to insulate the screwdriver when adjusting this pot, as an all metal screwdriver will ground itself to the camera body and your meter will read at zero the whole time. The pot will need to be turned counterclockwise to make the jump to 64ASA (this is true with the other two cameras I am presenting here). This camera (the Bolex) has a variance where you can add or subtract about 1-2 stops. This is the standard and any camera (be it still or cine) with an internal meter should be able to adjust at least this much.
The Elmo EM30XL has three tiny pots; the leftmost one being the “sweet” metering one. Three screws, plainly visible on the outside of the camera, must be removed to release the side panel and operate on this camera. The variance for this camera's pots are off the scale: I was able to jump from a reading of F 4 to F 32! Potentially, this cam could be adapted to 500T.
As a side note, I also worked on the meter of an Elmo SuperFilmatic 104 or something like that - I no longer have it. It is similar in design to the Elmo Tri-Filmatic reviewed on your website. On the Elmo 104, you can access the metering pots by peeling away the leatherette covering on one of the side panels. Beneath the covering there will be some foil circles that will peel away from the panel to reveal the pots.
The Revue is the most flexible camera of all! By removing the inside cosmetic panel (two small screws) you access two pots-the upper one is the metering pot, which has a massive variance (which is good since the meter was under sensitive by 3 stops!). The lower pot controls the camera's speed! I can ramp it down to about 4-5 fps, and at least up to 40fps-though I haven't clocked it to see-hey, it's a 99-cent Beaulieu! The Revue is what started this whole pot mess as the meter was crap and I wanted to see if I could fix it. The next day, Kodachrome was discontinued, so I thought that this would be a nice workaround that most people could do.
I
personally can't wait for the 64T. I can develop that at home,
and
it can be cross ---------------------------- And thank you kind sir! Your endeavours and excitement will be well received for years to come! May
2005 |
 Copyright 2005 |
processed
as well. If it is developed as a negative in HC110 and then run
through C-41, you can push the film to insane
levels: I have pushed 400 speed film to 10,000 ASA, for instance.
I guess 64t could
then go to 2000 ASA! Hey, that'll leave 500t in the dust, won't
it? I have some old articles on how to do this,
and I've done it myself. There
are some issues with it, but it is very doable.