American Cinematographer - January 2001 - 136
and
credibly document late 1970s
early 1980s performances by bands
such
to
as
Blondie, the Clash, the Ramones
and the
Talking Heads. According to
Garfinkel, the sound stocks (Kodachrome
40, Ektachrome 160, and Ektachrome
7242 and 7244 Sound Film) were
Special Book
Offer:
$19.95
Era will
Hollywood's Golden
want to
add this deluxe
by George E.
of Hollywood's
foremost historians, this treatise
offers in-depth coverage on 25
classic films. In addition to its
insightful text, this coffee-table
volume also features hundreds of
production photos printed in
high-quality duotone.
rare
available via mail order and the Web, as
as
Photo,
larger camera stores. (B&H
retailer in New York, lists the
at
a
four main
Super 8 stocks in its catalog.
range from $10.95 for the blackand-white to $19.95 for Kodachrome.
also sells Kodak Super 8
processing mailers at $5.59 each.)
Wal-Mart, the nation's largest
retailer, might be called a major enabler
of the Super 8 habit. The company offers
processing of Kodachrome Super 8 stock
for about $6 per 50' reel at many of its
stores (via the K-14 independent lab and
the Swiss Kodachrome lab). Many labs in
New York and Los Angeles process the
optical printing is also available at
more
than
one
company.
Los
Angeles-based Super8 Sound
has long served as the mainstream film
industry's toehold in the world of Super 8.
The company offers many of Kodak's
professional motion-picture negative
stocks cut down to size and loaded into
Super 8 cartridges. It also rents and sells
only Super 8
camera currently made in the Western
world, the professional-grade French
Beaulieu synch-sound model 9008,
what is believed to be the
$8,000-$10,000 new.
cheaper Russian-made Super 8
cameras are also widely available.
A number of Super 8 enthusiasts
are not filmmakers at all, however; they
are film fans who like showing feature
which sells for
Much
(3^)
On-line:
132
w^w.dnematographer.oom
many
most
soundtracks. Two
feature
stereo
English companies,
Derann Film Service and Classic Home
Cinema, offer a selection of such films.)
One such enthusiast is Steve
Osborne of
Super 8 and 16mm films. He also has a
121 x 30' Super 8 and 16mm private
recently, Kodak and others would stripe
Super 8 cartridges for sound use, but this
is no longer done.
It is simple to obtain Kodak's
regular Super 8 stocks; they are widely
black-and-white and Ektachrome films,
(800) 448$>145 (U.S. Of%,,^#
or (323)
9|}9-4344
By fax:
876-4973
and
Super 8;
which is aimed at collectors of 8mm,
and
To order tifpaQttfr
format,
on
anamorphic widescreen
magnetic striping presented
The company
one
available
held the
by a group of recognized
film experts and assembled with
Turner,
are
in the
environmental problems. Until fairly
They
consummate care
are
Kettering, Ohio. Osborne
publishes The Reel Image magazine,
298-page hardback edition to their
permanent reference libraries.
Written
features
are
discontinued because the adhesive that
well
True lovers of
quite elaborate. (Full
some
versions of recent and classic mainstream
camera
Limited-Time
of which
completed using this stock, and New
York film and punk-rock aficionado Brian
Zabawski used it with a Super 8 sound
films
on
film in their
own
home theaters,
cinema in his basement with
a
10'-wide,
Hurley Silver Glow high-gain screen. He
says that with a high-quality Super 8
print, the onscreen image is "like 35mm
you can't see a speck of grain and the
-
colors
are
beautiful." Osborne
uses a
high-end Elmo Super 8 stereo-sound
projector with a 24-volt, 250-watt lamp
and a 16mm anamorphic projection lens
for his widescreen Super 8 presentations.
In addition, a number of low-key
Super 8 salons/festivals (many of which
share the evocative name Flicker) are
staged around the country, in places such
as Athens, Georgia; Austin, Texas; and
Los Angeles.
The largest small-gauge film
festival, according to Garfinkel, is the
United States Super 8mm FilmA/ideo
Festival, which has been held at Rutgers
University in New Brunswick, New
Jersey, for the past 12 years. (The entry
deadline for the 2001 festival is January
19, and the festival will run from
February 16-18. The festival's e-mail
address is NJMAC@aol.com.) Al Nigrin,
a professor of cinema studies at Rutgers
and coordinator of the festival, says that
the event has attracted as many as 200
entries per year; past winners include
Jem Cohen, the director of several highprofile music videos and the recent
feature documentary Benjamin Smoke,
which has a Super 8 segment. Nigrin, a
passionate Super 8 filmmaker for the
past 20 years, says he runs the festival
because he feels "it is important to be
there for the little
guy."
■
Eric Rudolph can be contacted via e-mail
at
erudolph2@nyc.rr.com.
American Cinematographer - January 2001
Table of Contents for the Digital Edition of American Cinematographer - January 2001
American Cinematographer - January 2001 - 1
American Cinematographer - January 2001 - 2
American Cinematographer - January 2001 - 3
American Cinematographer - January 2001 - 4
American Cinematographer - January 2001 - 5
American Cinematographer - January 2001 - 6
American Cinematographer - January 2001 - 7
American Cinematographer - January 2001 - 8
American Cinematographer - January 2001 - 9
American Cinematographer - January 2001 - 10
American Cinematographer - January 2001 - 11
American Cinematographer - January 2001 - 12
American Cinematographer - January 2001 - 13
American Cinematographer - January 2001 - 14
American Cinematographer - January 2001 - 15
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American Cinematographer - January 2001 - 17
American Cinematographer - January 2001 - 18
American Cinematographer - January 2001 - 19
American Cinematographer - January 2001 - 20
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American Cinematographer - January 2001 - 27
American Cinematographer - January 2001 - 28
American Cinematographer - January 2001 - 29
American Cinematographer - January 2001 - 30
American Cinematographer - January 2001 - 31
American Cinematographer - January 2001 - 32
American Cinematographer - January 2001 - 33
American Cinematographer - January 2001 - 34
American Cinematographer - January 2001 - 35
American Cinematographer - January 2001 - 36
American Cinematographer - January 2001 - 37
American Cinematographer - January 2001 - 38
American Cinematographer - January 2001 - 39
American Cinematographer - January 2001 - 40
American Cinematographer - January 2001 - 41
American Cinematographer - January 2001 - 42
American Cinematographer - January 2001 - 43
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American Cinematographer - January 2001 - 49
American Cinematographer - January 2001 - 50
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American Cinematographer - January 2001 - 57
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American Cinematographer - January 2001 - 60
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American Cinematographer - January 2001 - 70
American Cinematographer - January 2001 - 71
American Cinematographer - January 2001 - 72
American Cinematographer - January 2001 - 73
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American Cinematographer - January 2001 - 77
American Cinematographer - January 2001 - 78
American Cinematographer - January 2001 - 79
American Cinematographer - January 2001 - 80
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