Um, nope. “Analogue” is a general term for everything made of continuous, not discrete values.

Your digital “8mm filters” are really filters that add common video defects that derive from simply pointing an un-synchronized video camera to a projection screen. Again, those are video defects, not film defects. Film has a much higher range of color and contrast than any video format on earth so far. Even RAW files…

Nobody is editing on those anymore. Most people who whoot Super8 nowadays edit in Premiere Pro and FCP.

Betacam and Betamax never were in the same business segment as Super8 back in the 80s when they were around. You’re thinking of Video8 and VHS-C. And even then, it took until the advent of Hi8 for many amateur shooters to convert to video, and eventually, MiniDV in the mid-90s squeezed most of the amateurs out of…

It’s not “crappy technology”. That’s what home video marketers have drummed into your head since the 80s by showing you cheap and ugly off-the-wall transfers where an entirely out-of-synch video camera films your cinefilm off the projection screen, resulting in a lot of defects that are inherently video defects, not…

@synthozoic: Uhhh...I hope you’re joking. Relativity does expressedly *NOT* allow for time travel to the past, only forward, and you can’t go back to your own time.

Unless you maybe count wormholes, which AFAIK only exist in theory. That’s what Kip Thorne and Hawking are talking about whom you have linked to via…

Kodak has tried to keep up with the digital market and couldn’t. Even back in the late 90s when they made the largest profits with digital cameras, they lost 50 Dollars (or were those 50%?) per unit. So they stopped contending and have been concentrating on their core market since.

It’s required Chapt. 11 in 2011 to…

Actually, it’s not the format of VHS that looks like crap, it’s also the old telecine units they used back then. Most “transfer” services never used a telecine unit and just shot the film off-the-wall by pointing a cheap video camera at it.

And actually, thousands of bucks to spend on equipment is digital, especially…

It’s kinda funny that Quentin is lobbying for Super8, when what he’s holding in this photo is obviously an early 60s Leitz Leicina *REGULAR8* camera they probably pushed on him for the photo shoot.

I’ve been using its high-end Super8 successor, the Leicina Special, for a few years when I started out in Super8 around…

Well, regarding colors, by the early 2000s the Ektachrome line and especially E100D were definitely superior to Kodachrome. But see, Super8 is a small fomat, and Kodachrome was the sharpest and most fine-grained color film of all time. It took 60 years for a contender to appear with Velvia.

By the early-to-mid 2000s,…

Only that your VHS tape looks like crap compared to the original film or a modern professional digital telecine. And the point behind the whole process is that you will get a range of color, contrast, and latitude that you can’t get with digital imaging. Which is why production companies today shoot on film, be it…

Oh, and while my 1 million fps comment was related to film in general, there’s the Leicina Special High-Speed Super8 camera which does 10,000 fps.

Super8 is hardly as much of a fringe hobby as you think. Look at the guy in these comments who says his company buys 100,000 ft of Super8 for commercials, music videos, and weddings annually, and they’re hardly the largest buyer of Super8 stock in the industry. This new Kodak cam is actually the *SECOND* recent Super8…

Could it be you’ve been in a coma since the 90s? Millions of people are getting digital telecines of their Super8 films today, whether it’s because they wanna see their old family films or if they’re prosumers and production companies editing digitally.

You don’t just count the prices of films carts vs. tapes or memory cards. You also count the prices of film cameras vs. digital cinematography cameras. Plus, the latter requires intense, expensive grading to look remotely as good as film does right-out-of-the-box.

You don’t necessarily need a lightmeter for Super8. Most traditional cameras have automatic exposure (some with an overriding handle in both directions). The new Kodak camera will have either automatic exposure only, or will have the option to turn it off and use manual instead.

Think again. Look at the guy commenting here who says that his company shoots 100,000 feet of Super8 film every year for music videos, commercials, and weddings, and that they’re not the largest buyer in the industry.

Super8 is a lot like vinyl, only with more advantages over digital, including range of color, contrast, and latitude, and possible level of saturation without nasty digital artifacts. Digital requires lots of expensive grading to look anywhere near that good. No rolling shutter issues either, or “blooming” effects…

No idea about Matrix, but there’s one Australian guy on the APUG forums who says he’s figured out color processing of 35mm slide Kodachrome stills on his own. The snag is that he demands several hundred bucks per roll, and a minimum order of 5 or 7 rolls or so.

I never claimed it wasn’t. But different film stocks are like different sensors under different time-aperture conditions: They all have digital RGB noise, but where cheap sensors seem to have nothing but noise to them, there are also high-class sensors which make the noise virtually invisible under good lighting…