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hooked-on-elvis · 3 months

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ELVIS interviewed during filming of 'Change of Habit'

— AMONG OTHER THINGS, YOU'LL LEARN ABOUT HOW ELVIS DID SOME IMPROVISATION IN HIS LINES FOR THE MOVIES AND HOW SELF CONSCIOUS HE WAS ABOUT HIS OWN FILMS

Filmed on location in the Los Angeles area and at Universal Studios during March and April 1969, Change of Habit was released in the United States on November 10, 1969.

Elvis Presley On Set: You Won’t ask Elvis Anything Too Deep?

Elvis talks, but he doesn't say much

BY WILLIAM OTTERBURN-HALL HOLLYWOOD – The notice outside the big grey double-doors was simple and to the point. SET CLOSED, ABSOLUTELY NO ADMITTANCE. You find notices like this outside a lot of film studios, and they tend to have a certain elasticity. This one, outside what looked like an aircraft hangar but was actually Stage D at Universal Studios, meant it. Inside, Elvis Presley was filming. And where Elvis goes, the barriers go up as if some sinister germ warfare experiment were being carried on within. Like a suckling infant, he is swathed and coddled against the realities of the world outside, as if he were made of rare porcelain rather than hewn from good old-fashioned Tennessee stock. But this day he was on show. I had been given the magic formula. The secret open-sesame known only by its brand name of “Colonel Parker’s Okay” had been handed me. The doors swung wide, and I was in. They say Colonel Parker is the man who built Elvis from the erotic gyrating days of the swiveling Pelvis through 14 long and fruitful summers to his present status, by pushing and pulling his protege through the tricky cross-currents of pop music taste. I wouldn’t know. I had asked to see him, this onetime Texas fairground barker, to thank him for the green light. But he was always somewhere else. In his office at Universal, over at Metro, down in Palm Springs, in Las Vegas to lay the trail for the next live show... always somewhere else. No matter. Who needed Colonel Parker when Elvis himself was alive and well and filming? The Publicity Man who escorted me as close as if he were handcuffed said proudly: “I’d like to work with him again, he’s so sweet and uncomplicated. I was surprised you got through – no one’s talked to him yet, you know. There must have been a good breeze blowing.” The good breeze continued to blow as far as the set. A mauve-walled pad with kitchen adjacent and a king-size bed visible through half-drawn yellow curtains. Elvis sat at a table, staring at his hands, while three mini-skirted girls, Mary Tyler Moore, Barbara McNair and Jane Elliott, scurried around with trays of food.

L-R: Mary Tyler Moore, Jane Elliott and Barbara McNair.

The film is about three nuns who pose as nurses to “identify with the people” in a Negro ghetto in New York. The title is Change of Habit (yes, it is) and stars Elvis as a medic who falls for one of the nuns. Elvis is wearing a paint-stained blue denim shirt and tight blue jeans. He looks relaxed and affable and rather meatier around the jaw-line than one remembers from previous films. Marriage (back in May 1967 to Priscilla Beaulieu) is obviously agreeing with him. His eyes have that smoky slow-burn of the old-time movie vamp. He seizes a guitar and strums a few chords. It’s the last week of shooting, and like the good days between exams and the end of term.

The atmosphere on the set is hip and loose, full of leather-clad youth and clever in-talk. The director is thin and intense, wears a check shirt and gym shoes, and is called Billy Graham, which is going to look interesting on the posters of a swinging nun. Elvis produces some dialogue. He is never likely to win an award as an actor, but he knows what the kids want and he gives it to them. The girls are talking about a party. The cameras turn. Elvis says: “You get a lot of people down here on a Saturday night, and all the old hates come out. Before you know it they’re bombed out of their skulls and you’ve got World War III on your hands.”

The scene is this one below. NO, it was not cut out during the editing of this movie.

Earth-quaking stuff. But this simple homespun philosophy is off-key. “Bombed out of their skulls” wasn’t in the script. And the director isn’t too happy about it. “It’s a good line,” says Elvis. “Okay, okay,” says Billy Graham. The line stays. Maybe it will come out in the cutting room, but it’s there for now. “The whole thing is downhill,” says a technician. “He don’t talk to anyone, except his own friends.” There is no sign of tension, but then Elvis has nothing to be tense about. He can go on churning out the same thing for another decade, and they’ll still queue to see it. If he’s over the top, as some unkindly souls occasionally try to make out, he doesn’t seem bothered. He is 34 . . . Raised in Memphis . . . Once a truck-driver, stumbled into records, took the world by storm as the original snake-hips . . . Now lives in cloistered seclusion in a colonial mansion near Nashville, with a Rolls, a solid gold Cadillac, a wife, a daughter (Lisa Marie, aged one) and several bodyguards for company . . . Has made 29 films, grossing 220 million dollars at the box office, and sold more than 200 million records.

Elvis Presley and director William A. Graham on the set of Change Of Habit (Universal 1969) between takes.

Elvis heads for his trailer in the far corner. A group of friends (known in some quarters as the Memphis Mafia) close around him like a football scrum after a loose ball. The code-word is given. I am beckoned over. The good breeze was still blowing. “You won’t probe too deep, will you?” The Publicity Man asks anxiously. “This is just an informal chat, that’s the deal. So keep it light and airy, okay?” Well . . . okay. I checked my notes. Does Elvis fly high on acid trips? Does he see himself as a prophet for the new generation? Does he think his style is too square? Does he have any sexual hang-ups? His marriage altered his attitude to life in any way? Does he kick his cat? Does he have a cat to kick? What are his views on pop, religion, hippies, demonstrators, Vietnam? Stuff like that. No, I wasn’t going to probe too deep. In the dressing room Elvis shakes hands in a firm grip. “This is Charlie, this is Doc.” Two small, burly men light leather jackets and open-neck shirts rise and shine briefly and subside again. The trailer feels a bit crowded.

Elvis Presley on the set of Change Of Habit (Universal 1969). Mary Tyler Moore, Elvis and director William A. Graham share a joke between takes.

Elvis talks. He speaks slowly and carefully, and puts a lot of space between his words. “The film? Uh, well . . . it’s a change of pace for me, yeah. It’s more serious than my usual movies, but it don’t mean I’m aiming for a big dramatic acting scene, no sir. The way I’m headed, I want to try something different now, but not too different. I did this film because the script was good, and I guess I know by now what the public goes for." “Most of the scripts that come my way are all the same. They’ve all got a load of songs in them, but I just did a Western called 'Charro', which hasn’t any songs ‘cepting the title tune. It did have a couple of nude scenes, but they’ve been cut. Anyhow, can you imagine a dramatic Western where the hero breaks out into song all the time?” He has said plenty, and now he leaps to his feet, hands flashing to imaginary holsters, and sings in a deep drawl: “Go for your guns . . . you’ve got ’til sundown to get outa town . . . ” It could be the start of a promising sketch. The others follow suit, singing, clowning, all on their feet. If this is the Memphis Mafia, they’re a friendly bunch.

Elvis on set of 'Change of Habit' (Universal 1969) talking to fans.

Elvis sits down, and everyone stops singing. He eyes himself in the dressing room mirror. “I don’t plan too far ahead, but I’m real busy for a while now. I’ve got a date in Vegas, and maybe another film after that. Then I’m going to try to get to Europe, because I’ve always promised I would and I’ve got some good, faithful fans over there.” Slow-talking Elvis may be. But he certainly isn’t the slow-witted hick from the backwoods his detractors make out. If he is, then he’s a better actor than they give him credit for. Get through to him, and you find a pleasant, honest, not-too-articulate hometown boy who has been protected for his own good from the hysterical periphery of his present world. The party was warming up. Elvis cracked a gag. Charlie cracked a gag. There was a call from the door. Elvis was wanted, and the good breeze was still blowing as he made for the set, one hand on my shoulder. Charlie and Doc were all smiles.

Elvis and his manager, Colonel Parker, on set of 'Change of Habit' (Universal 1969).

“Okay?” said the P.M. “You did real fine.” "Well . . . not quite." I said. "This Colonel Parker, would he be around for a word later?" Elvis stopped in his tracks. The P.M. went a whiter shade of pale, and whispered something to a friend. The friend nodded in sympathy. “I must tell you about an experience I had like that once,” he said, eyeing me as if I’d just crawled out of the woodwork. Elvis said: “I think he’s in Palm Springs. I’m not sure...” He hurried off. The P.M. said: “Don’t let’s push our luck any more. We never trouble him for too long a time. You should be very happy. You had more than anyone’s had in years.” Somewhere along the line, unaccountably, the good breeze had dropped. This story is from the July 12th, 1969 issue of Rolling Stone.

Source: www.rollingstone.com

#elvis presley #elvis movies #change of habit #mary tyler moore #barbara mcnair #jane elliott #1969 #60s movies #1969 movies #elvis articles #elvis interview #rolling stone magazine #vintage articles #vintage magazine

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elvisabutler · 2 years

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reading your headcanons and i just got to thinking how cute it would be if Pricilla gave pa!Reader her “something borrowed” for her wedding with Austin

consider. you are wholeheartedly correct and that is very cute. you and me and pa! reader are the only people who think it's cute. actually priscilla thinks it's flattering but also it Concerns her so much just like most of your relationship. she doesn't want you two to break up, never necessarily has, just she really wishes there was a smaller gap in your ages. that's all.

still. you see this hair clip/hair piece? yeah that's what priscilla gives you. specifically you ask for it in between austin trying every trick in the book to get you to realize it's dumb. and he hates it. so to make it worse you also go for these earrings.

"i don't wanna marry priscilla, i wanna marry you and- you have had enough problems separating the two!" "it doesn't mean anything!" "to us it does! to me it does!" "it's something borrowed, it's tradition!" "I don't want to borrow priscilla presley!" "i mean it wouldn't-" "or priscilla beaulieu or wagner or whatever one of her last names you want to use, little dove. i just want you. i can't lose you again especially not now." "you won't? daddy, i'm not the one who called me 'cilla."

but you end up calling the therapist because you figure austin is being super unreasonable and while the therapist agrees that it's kind of iffy to be wearing something of priscilla's to your wedding considering "you left him for calling you that, now you want to be it for your wedding?" "no, i want a piece of what gave me him for our wedding." and so everyone but austin kind of agree that you should have the hair thing and the earrings.

you end up having to call priscilla and lisa marie to be at the wedding which you realize puts a strain on both of them but you're not sure you can get austin to calm down enough by yourself so the calvary is needed. because you and anything priscilla related just triggers something awful in the man. it happens any time and it nearly makes it so all the costumes you stole? you have to almost burn them. just. austin hates you and priscilla related outfits/hair/anything. if he could make it so you never have to remember being priscilla again? he totally would. hell, so he could remember you were never priscilla and didn't get so traumatized by it that you hid things from him? he'd do that too. just don't talk to him about you and priscilla related things, it's a one way ticket to arguments and cursing and being called butler for him.

but you call in the calvary and you get to wear her hair piece and her old earrings and you literally before a judge marries you or maybe an elvis impersonator or maybe both because y'all are weird like that, you literally have to hold austin's hands in your own with the hair thing and the earrings in and just tell him your thoughts while he's looking at you and looking scared and angry all at once. "this thing doesn't matter. if i can handle wearing this on my wedding to my daddy, to my satnin, my austin. then i can handle anything. it'll be cathartic, aus." "but-" "i can take this off. i'm going to take this off the second i say i do and give it back to her. and the only person kissing you is going to be your little dove." "i still don't like this." "that's fine. i do, and you're just going to let me do it because you love me so much you'd do anything for me." "yeah, i do. promise me it's coming off the second-" "it's painful to wear, trust me, daddy. it is." "you do look gorgeous though." "not as handsome as you."

the pictures baz takes using his phone and austin's camera? some of the best and worst ones you can imagine. whoever let mildly tipsy baz operate a camera is a bad person.

it was you. it was totally you.

you frame all of them. including the out of focus one with you kissing austin in the hair piece and earrings. and the in focus ones of you with your own hair down and your hands pulling austin closer because the only person who's ever going to kiss him again is his little dove and that's you.

#austin butler x priscilla actress reader #did i unbury this from my inbox and my drafts?#maybe.#i just like this okay. it's definitely happening in the fic series. i promise because it is a fantastic idea.#but it's far enough away that yeah i'll post this.#austin butler x y/n #austin butler x reader #spoilers: austin will always get over his own elvis issues better than he gets over your priscilla issues.#time can do so much except heal that very well apparently.#also yeah no baz is at least tipsy no matter which au or anything this is. we love soccer mom wine drunk baz luhrmann in this house.#i truly love eurus for the image i'm not kidding.

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lavender-at-heart · 1 year

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I just finished Elvis and Me by Priscilla Beaulieu Presley and oml it is so good! Highly recommend to any of the elvis girlies. Also I suggest the audio book becuase you can her it from Cillas voice and it's just so amazingly emotional. The last few chapters made me cry sm 🤧. I love how she shows the good the bad and the ugly but makes it clear that this book is to show what a great person he was and how much she loved him.

Also her with her little camera>

#elvis presley #elvis #priscilla presley #elvis and me #elvis and priscilla #priscilla beaulieu #cilla presley #priscilla Beaulieu presley #book recommendations #audio book

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huntedvideo · 2 years

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suzie beaulieu , i’m stupid, so i do it all the time.

‘ if you’re stupid, than i’m the dumbest person alive, ’ camera is pointed towards the chainlink fence they both stand in front of. there’s a human sized hole cut up from the bottom, one he assumed suzie either put there, or used often. ‘ good news, though - i’m not afraid of trespassing, ’ brows wiggle a bit toward her before he’s zooming in on the space beyond the fence. dark and tree covered - he knows it’s private property, but he can’t help but wonder what’s back there. ‘ i’m down for an adventure, if you are, ’ @wiredsmile.

#wiredsmile #answered.#au. youth.

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rcsbardin · 2 years

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Finding and testing a super 8 camera

I am working on a project about history and tourism and decided that super 8 was a really interesting format to use because of its association with nostalgia, home movies and vacation Elizabeth Czach's thesis Home Movies Then and Now has provocative examples of how super 8 has been used and marketed. The old Wonder Years intro scene is another interesting touchstone (it looks like simulated super 8). This post is about some of the research and thought process behind using this format and then finding and testing a camera.

I filmed with super 8 many years ago but forgot to leave myself notes and had to do a lot of research to catch up. I vaguely remembered compatibility issues with certain film stocks and troubles with built in internal filters. I used a variety of resources, blogs and forums to get caught up which I'll try and link to throughout.

From a director's perspective, the automated aspects and imperfections of the super 8 format are an important part of its qualities and appeal. As a cinematographer, relinquishing control of exposure and metering and lenses is challenging after working with manual still and movie cameras.

My wish list for a Super 8 camera involved a Goldilocks-esque list of factors:

Overall reputation of camera and lens quality

Compatibility with a variety of modern film stocks

Manual exposure controls - Many super 8 cameras can't meter for higher ASA film stocks but manual control can help override that. This is helpful also in case the internal meter is inaccurate or broken. Analog Resurgence has a good video explainer of this. Or read Shoot It With Film's What You Need to Know Before Buying a Super 8 Camera.

Expense and ease of batteries - Cameras like the Beaulieus have custom batteries that either require re-celling or expensive or DIY modernized battery packs. Many other cameras require button cell batteries for the light meter which aren't too hard to find but not as easy as AAs.

Cost and condition - While I love fixing things and DIY projects, I was hoping to find something that would work pretty well off the bat because the project is coming up soon. But a camera that has a guarantee of having been tested and professionally maintained costs a lot more. What can I test for to feel comfortable with the risks?

Locally available - I'd had a tragedy of shipping a super 8 camera before another project years ago that meant I had to buy a 2nd, less desirable camera last minute. Avoiding shipping and getting to hold a camera and test it in person ranked highly for me in terms of risk assessment.

I found a great local seller of a Nizo Professional who was able to walk me through the camera and let me test things out before committing. The Nizo Pro only needs AA batteries and while it's limited to only automatically metering for film stocks up to 160T, it does have the ability to manually adjust the iris. It will meter Kodak 500T as if were 160T, overexposing the film. But I can stop down by 1 & 2/3 of a stop to compensate. It would meter 250D as 100D so stop down 1 & 1/3rd stop. (Here's a chart of ASAs in 1/3rds stops increments)

The seller helped me check the following things in person before purchasing: Initial Super 8 camera purchasing checklist Powered on and ran (no film inside but motors sounded good, only do this at low speeds!) No major battery corrosion Viewfinder and lens were clear of fungus and scratches and all barrels turned smoothly Meter activated (not testing for exposure accuracy, just that it responds to light at all). It responded both in Auto and Manual modes. That was enough for me to feel like it was worth it. He also threw in 7 cartridges of 200t, which, might be super expired and totally unusable but they also might be ok! They are useful for making sure film transports through the camera if nothing else.

I had a lot of questions still and wanted to run more tests at home.

At home Super 8 tests

Motorized zoom test - Buttons work and speed responds to varying pressure.

2. Is the iris / aperture actually moving along with the meter needle? I check this by looking through the gate while running the camera and seeing the iris expand and contract in automatic mode by pointing the camera at bright and darker spots and seeing it respond to the manual dial also. This doesn't establish accuracy of the stops indicated in the viewfinder but confirms that the iris at least works in some capacity.

3. What's going on with the internal filter, color temperature and ASA settings? TLDR; The metering and internal filter activation pins and switches are interconnected and all worked as designed.

I tested this by looking through the gate and pressing on the ASA and color temperature pins and flipping the filter switch. The filter engaged (looked orange) and disengaged appropriately with the switch and color temperature pin.

The iris opened and closed with the ASA measuring wedge being pressed in.

For accurate exposure reading, heed the manual's instructions on daylight and b&w film always being set to the sun symbol on the filter switch. Daylight film + lamp symbol will mean underexposure by 2/3rds of a stop.

Conclusion on internal filter: If I have daylight film, I'll listen to the manual and put the switch on the sun symbol mode. If I have tungsten film but I want to use a fancy glass 85 filter instead of the internal 85 filter, I'll put the switch on the light bulb symbol so that I don't double filter (the metering is done through the lens).

Final test: A roll of film!

The last test I did was putting in a 200T cartridge in and filming with it. I haven't gotten the footage back yet but I can confirm it made it to the end of the roll where it says Exposed. I know the shutter was working and the iris moved. So these are all good signs.

I tested filming with and without the internal filter engaged to see what the quality differences might be.

I filmed a color chart as well.

The test should give me an idea if the meter is exposing film at all in the ball park. Of course, 200t is more sensitive than the 160 it is being read at, so it should be overexposed by 1/3rd of a stop which I didn't bother to accommodate for manually.

I noticed a lot of flaring so I picked up a rubber hood (after the fact). I also used a variable ND because 200t is quite sensitive!

There could be other issues revealed by the test, so we shall see!

Long version of notching and internal filter testing: Super 8 cameras were designed to take a lot of guesswork out of filming. The cartridges of film have notches that correspond to mechanisms inside the camera that tells it what sensitivity and color temperature the film stock is. There is also usually a switch that you flip to tell the camera whether it is outside or inside. All of these factors impact the metering and whether or not an internal orange filter engages.

It's easy to get into the weeds on this subject so I recommend the Analog Resurgence video How Does My Camera Detect Film?, reading Pro8mm's blog about the filter and Friedemann Wachsmuth's blog post about his Super 8 notch ruler that helps measure a cartridge and camera. http://www.peaceman.de/blog/index.php/super-8-notch-ruler-new-and-improved

Above is a photo from Wachsmuth's ruler which shows the measurements and locations of the notches in a super 8 cartridge and below is a photo of the inside of the Nizo Pro where you can see the gate, the ASA notch reader and the tungsten / daylight reader.

I ultimately wanted to see if the notch readers and filter switch were working as designed (and also I needed to test things out to fully comprehend the concepts and design)

Super 8 cameras mostly expected tungsten (~3200 kelvin) balanced film and have a built in 85 / orange filter to correct (~5600k) daylight to tungsten so outdoor footage didn't look blue. Many experts suggest not using these built in filters because they are probably deteriorating or dirty.

I only ever want an 85 filter if I'm using tungsten film outdoors or under 5600k balanced movie lights.

Below is a photo of the Nizo's Outdoor / Indoor setting switch. It's not a simply a filter switch, it also impacts exposure!

Observations and facts:

Setting the switch to the daylight sun symbol extends the internal pin and engages the internal 85 filter *if* it has a tungsten cartridge loaded or is totally empty.

Tungsten cartridges have a notch cut out at the bottom which gives the pin room to extend into.

A daylight cartridge has no notch so it won't allow the pin to be extended. It pushes that back pin in. Pushing back on the pin disengages the 85 filter and tells the camera this is daylight film.

*When the switch is set to the sun symbol, the meter reading does not change whether the pin is pressed in or extended out* - this is because an 85 filter on 160 cuts 2/3rds of a stop of light which the light needed equivalent to 100ASA. Setting the switch to the tungsten light bulb symbol

Turning the filter switch on the Nizo Pro to the light bulb symbol does many things: 1. retracts the pin 2. disengages the 85 filter 3. lights up a light bulb symbol in the viewfinder and 4. stops down the iris to accommodate for the extra light being let in now that there isn't a filter. I got the following readings

Sun symbol (filter engaged) f. 4 1/3 Light bulb symbol (no filter) f. 5.6

This is a good sign since 85 filters cut 2/3rds of a stop of light.

*When the switch is set to the light bulb symbol, the meter reading changes by 2/3rds of a stop (less light is let in)*

The light bulb warning light on the top right is there to remind you that you have no filter engaged in case you walk outdoors.

So what if we have daylight balanced film and put the switch to the light bulb symbol?

The manual tells us not to do this and cautions the user to always have the switch on the sun symbol when using daylight or black and white film.

What will happen if we do it anyway? We are going to underexpose our daylight or black and white film by 2/3rds of a stop. The pin that can tell the difference between daylight and tungsten film has been retracted by the switch and can't tell the difference between 100D and 160T now (which have the same top notch cutout measurement). The camera just assumes you have tungsten film that's unfiltered and stops down to compensate. But hey, the manual tried to warn us!

#super 8 #film #nizo #super 8mm

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fumpkins · 2 years

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How to shoot with Super 8 film

This article was originally featured on Popular Photography.

Super 8’s grainy, nostalgic look is having a moment right now, popping up everywhere from music videos to blockbuster TV shows. But even outside of pop culture, the consumer-friendly Super 8 film format is winning the hearts of amateurs and the analog community. If it’s caught your eye, too, here’s everything you need to know about getting started shooting Super 8 film.

This format might just be the king (or queen) of home movies. Introduced in 1965 by Kodak, it was a step up from the 8mm film that came before it, both in terms of quality—thanks to its larger frame size—and usability. This led it to be positioned as the new movie-making format of the masses.

More cost-effective than 16mm or 35mm, Super 8 film is housed in inexpensive plastic cartridges, so it’s easier to handle and load, too. These cartridges also convey to the camera important bits of information, like the film speed as well as filter information for B&W film. And in 1975, a magnetic strip was added to the cartridges to capture audio.

With its launch, Super 8 put the power of creativity in the hands of regular people. Suddenly, everyone was a movie maker.

Super 8 film today

Today, the medium is still very much alive—and by many indications—both doing well and picking up steam. Aside from the enthusiasts scooping up used cameras to record their summers, some of the biggest names in entertainment are turning to film—and Super 8 specifically—for their creative projects.

Harry Styles’ Watermelon Sugar, Katy Perry’s Daisies, Chopard’s short film with Julia Roberts, Burger King, and more have used Super 8 footage to create a grainy, vintage, old-school effect. Search for the medium on YouTube, and you’ll find there’s no lack of videos showing off the medium.

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What Super 8 camera should I buy?

How much should I pay for a Super 8 camera?

Options are plentiful when it comes to used Super 8 cameras. Major brands still circulating include Canon, Nikon, and the king of Super 8, Beaulieu. Other brands like Minolta and Chinon sell for under $100, while Canon and Nikon Super 8 cameras can run as low as $300, depending on the model. But Beaulieu cameras are sure to command a heftier (over $500) price tag.

You can buy Super 8 cameras pretty much anywhere secondhand electronics are sold, including Ebay, Etsy, Facebook Marketplace, and used camera shops (like Pro8mm). But also know that an astute searcher may find luck befalls them at random garage or yard sale. The main thing you want to do when buying a Super 8 camera is make sure the motor works. If it doesn’t, you won’t be able to advance your film.

What to look for when buying any Super 8 camera

Some cameras may have a crank and are completely manual. Others will require batteries. If possible, go for a film-tested camera and always ask to see the footage and any CLA (clean, lube, adjust) certification the seller may have. It’ll be more expensive but save you the agony of wasted money on the back end. Developing Super 8 film isn’t cheap any way you slice it, so better to know you’ve got a working camera beforehand.

Best Super 8 cameras under $100

If you want to get your toes wet, there are Super 8 cameras out there under $100. The Chinon 723 XL is a good option with its autofocusing capabilities, and so is the Minolta XL 400 with its Zoom Rokkor-Macro lens, which has 13 elements. Both will shoot at 18 frames per second (fps).

If you can’t find those exact models, consider also the Bauer C series (A512 in particular), the Minolta Autopak 8 D6, and the Chinon 213 PXL. The Bauer A512 specifically may run you a little over $100.

Best Super 8 cameras under $500

The sought-after brands live here: Canon and Nikon occupy the top end of this range. Particularly, the Canon 310, 514, or 814 series are popular choices and finds. At the time of its release, the Canon 514XL had the world’s fastest lens at f/1.0. While the Auto Zoom 814, which is comprised of an all-metal mechanical design, was the first Super 8 camera to have an 8x zoom range with an f/1.4 lens.

There are also a handful of other Super 8 cameras that fall on the lower side of the spectrum, too, such as the Sankyo Sound SL-60S and Elmo 1012S-XL. The Nikon R8 and R10 would be considered the high end of this range.

Best Super 8 cameras $500+

If you’re sure Super 8 is your medium, you might find yourself fancying the fanciest of them all: The Beaulieu 4008ZM II. With beautiful design and a reputation for being the best Super 8 camera ever created, there’s a lot to its name. Thanks to its built-in rangefinder, plentiful shooting options (you can adjust the frame rate from 2fps to 50fps), and interchangeable lens design, this French-made camera gives creators plenty of control over their vision. Expect to spend at least $600, with mint kits running up to $5,000.

Also on the market are the Beaulieu S2008 and the 5008S, the latter of which is considered the professional model.

Several types of Canon cameras can still be found on the used market. Connor Betts on Unsplash

Types of Super 8 film and where to buy it

Kodak is the main purveyor of Super 8 film, and it’s available from major retailers like Adorama, Amazon, and B&H. The options are Kodak Vision 3 (color-negative 50D, 500T, and 200T); Tri-X reversal 7266; and Ektachrome 100D color reversal.

However, you can also find B&W Fomapan R100 film, and Pro8mm packages their own, which you can buy in a bundle to include processing. Film cartridges run about $40 ($27 if you’re going for Fomapan) and can record 2.5 minutes at 24fps and 3.3 minutes at 18fps. Expect to pay at least $25 to process it.

If shooting Super 8 for the first time, we recommend grabbing the Kodak Vision 3 50D and shooting in daylight. 500T and 200T are balanced for tungsten light, and as a color-reversal film, Ektachrome is quite saturated. These might be better to experiment with once you’re more familiar with the medium.

Though the beloved Kodachrome is no more, there are still plenty of Super 8 film options on the market. Connor Betts on Unsplash.

How to use a light meter for Super 8 video

Most cameras will often come with an internal meter, but unless you’ve confirmed it works, an external light meter is always a solid investment, whether you shoot stills or video. I personally use a Sekonic L358, but we’ve also got a list of best light meters for you to choose from. If you’re not ready to take the plunge on a real light meter, there are some apps, like Lumu, that have a video mode.

To use the light meter, you’d best take a look at the instructions, as each may differ slightly in how to operate the video mode. But, generally, you’ll want it to be in the f/s mode (frames per second), as opposed to A (aperture) or T (for shutter speed). Know that the frame rate you choose will affect how long you can film—at 24fps, you won’t shoot as much footage vs. 18fps.

Where to get Super 8 film developed

There are still a good number of film processors that will develop (and scan) Super 8 film. A good bet is to see if there’s a local spot in your area that still processes Super 8. If not, see the list below for where to develop Super 8 film.

Super 8 film can be developed at home or at a lab. Processing at home requires steep upfront costs and is best suited to experienced film developers. Thomas William on Unsplash.

Pro8mm

Pro8mm has an incredibly robust lineup of offerings, from selling/renting Super 8 cameras to film development packages. They’ve processed film for Harry Styles, Drake, and Katy Perry, to name a few. Their packages include film, processing, development, and color correction. If you find yourself really bitten by the analog film bug, they’ll also do 16mm, double Super 8mm, and Super 16mm films.

Film Photography Store

The Film Photography Store has many films on offer, from Super 8 to 35mm and 16mm, which they will also develop and digitize.

Negativeland Film

Negativeland is a motion-picture lab that will process Super 8 and 16mm films.

Color Lab

Working with clients including National Geographic Channel, NBC, HBO, and the Academy of Motion Picture Arts and Sciences, Color Lab processes 35mm, 16mm, and Super 8 color negative film and Super 8 B&W film.

BB Optics

BB Optics specializes in motion picture processing for Super 8, 16mm, Super 16mm, and 35mm, also offering color grading services and post-production supervision.

How to develop Super 8 film at home

This is a real commitment and should only be attempted if you have prior experience developing your own film. If you don’t, try 35mm first before taking on the (literally) gargantuan task of processing Super 8.

For those who want to take the plunge, any old developing tank won’t do. You’ll need a special drum that will accommodate the reel, which is typically 50 feet per cartridge. A Jobo Super 8/16mm drum kit (drum, tank, and foot pump) will run you about $880—and that’s before you’ve procured the chemicals.

After you’ve picked up the drum, you’ll want to consult the shop on the chemicals you’ll need to process the film. Then, you’ll need to make sure you have space. Practically, will you be able to hang 50 feet of film somewhere while it dries? This video delves into more specifics to consider.

How to convert Super 8 film to digital

Digitizing film reels is usually included or an optional add-on to the development package at labs. However, if you’re going to shoot a decent volume of film and want to save a little money, you can scan it at home—with less hassle than the development process.

Scanners are available from Amazon, B&H, and other retailers, and Wolverine Data seems to be the brand of choice. The Wolverine 8mm and Super 8mm Film Reel Converter retails for $299.95 and will digitize film at a resolution of 720 pixels. For $100 more, the Wolverine Digital Movie Maker Pro scans at 1080 pixels. Simply load up the film and the scanner does the rest, compiling the footage onto an SD card (that you must provide). This video offers a detailed tutorial on how to set yours up.

Further resources for Super 8

Feeling daunted? Don’t be—at the end of the day, you only need three things: A working camera, film, and a place to develop. Should you be searching for additional resources, try the Pro8mm Super 8 Reference Library, which features tips, a film calculator, education, manuals, and more. Super8camera.com is also a wonderful compendium of the medium. Happy movie-making.

New post published on: https://livescience.tech/2022/08/03/how-to-shoot-with-super-8-film/

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darlingemmet · 2 years

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tbh I like Caleb deciding it'd be best to just lay down next to his love and stay right there together with him until the authorities do a wellness check, finding both of their bodies and realizing what happened. News breaks and everyone is fucking horrified.

'Breaking News, it has been reported that author Caleb Beaulieu has been found dead in his home in the Nokuy Region.' The blonde reporter said on the TV as the dentist receptionist stopped scrolling through the channels. 'It appears to be the scene of a murder-suicide.' The woman said as the receptionist paused, her eyes starting to fill with tears. She loved the author. He wrote romance books taking place in the medical field. Receptionists loving Doctors, Nurses caring deeply for Patients, and Surgeons falling for beautiful people on their operating tables. He was a philanthropist.

His romance novels always struck a cord with her. Sure sometimes he wrote darker romance books, but everyone was allowed a bodice ripper or two under their belt, right? But murder suicide? Who killed him? Who was the stalker after him?

The camera cut to his lavish home in the woods, showing two gurneys leaving the house, covered in white sheets…

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furcafe · 10 months

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HYBYCOZO’s (Yelena Filipchuk & Serge Beaulieu’s) “Golden Spike” at the south end of Dupont Cir. overlooking Conn. Ave., part of the @goldentriangledc ‘s outdoor “No Spectators: Beyond the Renwick” show of sculptures from Burning Man. Lens c.1952-4, camera c.2017. #dcondigital #tokyoopticallife #simlarlife #sonnarlife #leicathreadmount #leicalife #leicam10

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benjamin-trigg-exe · 1 year

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also fucking huge life update I never put on here I actually bought the Beaulieu r16 (as in my dream camera) so yeah get fucked

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shit-talk-turner · 1 year

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I came across this interview and gosh, the way she just lies. Yeah of course she makes her clips herself with her own camera during her own trips and she doesn’t use smartphones 🙄 she also talked about studying journalism in Nice, going to Dominican Republic with her boyfriend at the time and then coming back to Paris and working as “a publicist for an art gallery, a hostess, a waitress” (no evidence tho)

"I make my clips with a Super 8 Beaulieu camera, which never leaves me during my travels. This takes me back to my childhood, my adolescence: I grew up in a vintage world ..... Above all, I need solitude and away temptations to make music: no smartphone at hand, no chocolate or cheese, I'm very greedy..."

"Nicotine evokes a relationship with a narcissistic pervert that only lasted two months but left a deep impression on me. Le Beau monde came after a breakup. 60 people had come to my birthday. Four months later, when I left my friend, the same people who celebrated me turned their backs on me, I had become: "the one who left"”

"My great-grandmother, Emerencia, to whom I dedicated a song. She taught me not to step aside in front of men."

https://www.google.com/url?sa=t&source=web&rct=j&url=https://www.artisterevelation.com/post/louise-verneuil-rimes-vermeilles&ved=2ahUKEwjnv7W7lqr-AhXESjABHXPEBys4FBAWegQIAxAB&usg=AOvVaw04ZCI4qmWcq3VydNb_hCEc

Interesting

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aronsonfilm · 1 year

Video

vimeo

DEJA VU from Olivier Labonté LeMoyne on Vimeo.

A young woman meets with her best friend in a local diner to tell him about the fantasy she recently accomplished. But when a mysterious man enters, she is struck by a feeling of deja vu. Everything around her starts to resemble a nightmare she has had.

Ariane : Ariane Castellanos Nico : Nico Racicot The Intruder : Pierre-François Bouffard The Waitress: Annie Valin The couple : Myriam Debonville, Alexis Lemay-Plamondon Le Cook : Jérémie Jacob Loubot Landreville Man with newspaper : Robert Boulanger The Customers : Max Houle, Elia Abdulahad, Dominique Florent, France Labonté

Written and Directed by : Olivier Labonté LeMoyne

Produced by : Carolyne Goyette

Assistant Director : Alexandra St-Michel

Director of Photography : Ménad Kesraoui

Set Designer : Thomas José Salaun

Set Designer Assistant : Amélie Cusson

Stylist : Frédérique B. Ste-Marie

Soundman : Francis Desgagné

Hair & Makeup : Tania Guarnaccia

Camera Assistant : Pierric Soucy

2nd Camera Assistant : Camille Baduraux

Gaffer : Hugo Roy

Key Grip : François Comte

Swing : Louka Boutin

Swing Helper : Tom Parisé-Cormier

Production Assistants : Alvin Mazariegos, Dominique Dickner, Wenda Zahabi

Night Surveillant : Robert Gauthier, Surveillance Omega

Catering : Bande de Traiteurs

Editing : Olivier Labonté LeMoyne

Post-production Services : BLVD

Post-production Executive Producer : Jason Breton

Post-production Producer : Josée-Anne Choquette

Post-production Coordinator : Éric Lavoie

Audio Coordinator : Sophie Champagne

Sound Design and Mix: David Beaulieu

Online : Cadie Desbiens-Desmeules

Colour Grading : Cristel Bergeron

Music by: Alder & Ash

Thank you : Andres Norambuena Denis-Éric Pedneault Sid Lee Studio Harold Beaulieu Laurie Caron Stéphane Klopp Sébastien Girard Restaurant Hot Dogs à la Canadienne Parco-Maître 424 inc.

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vesuqewefuq · 2 years

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