I wish to address the filming speed selection discussion regarding using 18fps or 24fps (or 25fps for those outside of the NTSC television realm).

Anyhow...regarding the 18fps or 24fps debate....it all depends on what a Super 8mm filmmaker wishes to do with their film. I have shot for years at 18fps on Super 8mm and in full CinemaScope and the images seem sharp and steady to me (when I followed proper filming technique, exposure, focus, and used a tripod...especially for telephoto filming).

It cannot be argued, 24fps uses more film material and thus has to be a bit sharper due to more material being projected within the same space of time duration per second, as well as the faster shutter rate when filming at this speed. Depending on which camera is used....it can vary however.

A good example is using a BEAULIEU 4008ZM type camera which will expose each frame at 1/65th per second at 18fps running speed, compared to many other Super 8mm cameras which when run at 24fps will expose in the 1/35 to 1/45 per second range (depending on which camera of course, and most particularily the "XL" type cameras). In this example, the film shot in the 4008 at 18fps has a faster shutter speed per frame, making for a steadier and sharper image than a counterpart image shot in at 24fps in a camera which will use a lower shutterspeed setting at 24fps due to its design. Even the faster running speed of 24fps does not change this fact of exposure per frame. Thus, such compared footage filmed of motion for example, the 18fps footage will seem clearer.

Of course...the camera does not have to be BEAULIEU 4008....I just picked on this example since of all the Super 8mm cameras made...it has perhaps the shortest exposure duration at the 18fps setting (due to the guillotine shutter design). I can compare footage shot in a GAF ST-111(made by CHINON) at 18fps which exposes each frame at 1/40th second....and this will still be slightly faster than some later model "XL" Super 8mm cameras filming at 24fps with a 1/30th or 1/35th second exposure rate. And for comparing against another camera with a shutter opening of similar or identical exposure rate...the two projected images in a side-by-side comparison will still look very similar in sharpness and steadiness...with the 24fps footage having an edge in perhaps decreased grainularity due to more film surface material making up each second of screen time.

The majority of Super 8mm cameras manufactured were designed to operate at 18fps since that is the 'normal' running speed for this format for 'amateur' use. Unless a Super 8 filmmaker wishes to release his/her film professionally onto a video format for marketing or enlargement up to 16mm or 35mm for inclusion in a feature or short production.........there really isn't any need to film faster than 18fps for most purposes. Some filmmakers are purists and wish to realize the highest level of image quality possible, so for them, there can't be any other decision than to film at 24fps (which is the industry standard for motion pictures worldwide; 25fps notwithstanding). The use of crystal-sync and many pulse-sync systems are all setup and established for professional type application at 24fps. However..this doesn't mean you can't still use 18fps.

Many years ago...in the early days of motion picture, it was determined that the number of frames per second in which images blend smoothly into motion was at a rate not lower than about 12fps. Some early odd systems filmed at rates as low as 5 fps and 9fps...due to their design. When Pathe came out in 1922 with their 9.5mm format, it was determined that a filming and projection rate of 14fps would suffice as it was 2fps faster than 12fps which was considered the minimum rate by many. This translated to Two Winds of the Hand Crank per second, to transport the film in the 9.5mm camera at an approximate 14fps. Mind you, this was before clockwork spring driven motors were commercially available built into the cameras. The first Eastman Kodak Cine 16 camera used a similar principle of Two Cranks per second to transport the film at an approximate 16fps, as did the early Keystone 16mm cameras.

The early projector used only a two-bladed shutter which at 14fps and 16fps did have some flicker that was considered bothersome by a percentage of users and viewers. A Three-Bladed projection shutter was introduced to help smooth this out and made for extremely steady and quite flickerfree projected images. A person who wishes to concentrate on image flicker will notice flicker even in Cinema houses of 35mm films projected at 24fps. For some NTSC television system viewers....going to Europe and viewing the PAL system will appear to have noticeable flicker...especially in the highlights (until they get used to seeing it of course). That particular example is due to the variation of the NTSC 30fps video sytem versus the slightly slower 25fps PAL system. I mention this since while not everyone is used to all the film systems....most of us can understand our own television systems and appreciate that there is a difference in viewing quality and flicker(frame rate of frequency).

Many Super 8mm and Regular 8mm (Standard 8mm or Normal 8mm or just plain 8mm) enthusiasts, especially those that collect 'package movies' (commercial film releases in a digest or full-length feature format) desire to get as much light onto the screen as possible. They often convert their projectors to run with a Two-Bladed shutter, as well as exchange the projection lens for one which delivers more light as well. When shown at 24fps.....any addition of flicker due to the loss of going down to two shutter blades is very minimal, however at 18fps it becomes a bit more noticeable to some viewers. I mention all this....since for some....it helps to know all the facts to make a more informed decision.

Now as to transfer to a video format (VHS, SVHS, �eta II, �eta SP, 3/4inch, Mini DV etc etc), a film shot at 24fps(or 25fps....the European standard...but marginally faster...so a film shot at 24fps transferred at 25fps...makes little if any difference), can be transferred at nearly the correct running speed using a variety of telecine transfer methods (without using Rank Cintel type transfer which is too costly for most of us using this guage). A given film shot at 18fps....(unless you have a special projector conversion made to convert at 17.xxfps)....will usually end up being transferred in NTSC at 20fps. For sound films...it means a change in audio pitch and this can be corrected somewhat via a variable pitch device or 'sweetened' via a graphic equalizer...however....sound or silent...the footage will be ever so much faster. The rate of increase is small, about 11.15%. This is significant, and might bother some filmmakers working in Super 8mm. I suggest doing a few tests to see if you can accept this in your work, if so, press on with 18fps.

For PAL system users...the correct transfer rate is 16&2/3fps, which is about 7.60% slower....and it may not seem as severe compared to a speed increase, in silent films anyhow. This is one reason Braun NIZO included the option of filming at 16&2/3fps on their later model professional grade cameras and on their Braun VISACUSTIC 1000 & 2000 series projectors. It was to allow for exact transfer to video using the PAL system, IF the Super 8mm filmmaker did NOT want to use the 25fps option (which is provided for on those cameras and projectors as well). I have shot and projected Super 8mm footage shot at 16&2/3fps and it seems every bit as steady at images shot at 18fps using those NIZO cameras (series 3056, 3080, 4056, 4080, 6056 & 6080)...I used a NIZO 6056 in my tests. And to those that would argue....heck at that slower rate of 16&2/3fps...a 50ft cartridge has a running time of approximately 3 minutes 36 seconds....an increase of 16 seconds running time.

There is always the option of projecting and/or transferring some films shot at 18fps...at either 24fps or 25fps....since footage of scenary, stationary objects and even some motion will appear quite normal and fine. An entire film is another matter as it would definitely be too fast. Some that can afford it....and plan to enlarge their Super 8mm footage to 16mm or 35mm, can have it stepped in optical printing so that the running rate in the finished film will project at 24fps. This option is far too costly for the majority of us Super 8 filmmakers...so we all have to carefully weigh our desires for our passion, art, and creativity to the technical standards which we can make good use of.

Lastly, there is no reason why a person can't enlarge a Super 8mm film shot at 18fps to say, 16mm and then just project the completed film in 16mm at 18fps. The so-called 'silent' speed on later model 16mm projectors is set for 18fps. Most of the 16mm projectors which allow magnetic recording onto sound striped film, will record and playback fine at 18fps (even at 16fps on older machines) with a somewhat reduced fidelity which again...based on the quality of your soundtrack and technique, probably won't bother anyone. A friend of mine and I did a test years ago using a BAUER P5 projector in which we added a Stereo playback head and channeled the audio thru that stereo recorder the head came from and then thru a home stereophonic amplifier system....and the results....at 16fps....were just incredible to listen to. The variables to work with and play with are there....one does have to consider IF a given film can be viewed in a film competition (in which, if I'm not mistaken..the semi-pro and professional international 'Sundance' type festivals will and want to project only at 24fps/25fps). So....there are options to consider depending on what you, as the Super 8 filmmaker wish to do with your film. Anything that is for pure personal joy and hobby use is and should be considered. To be dictated to that you should only film at 24fps etc etc....well, again, the facts are here to help you out, and your own practical experience via tests will help you decide how you wish to film.

The following statement is pure opinion on my part. Although not practical to do yet...I believe that a quality made Super 8mm film, with it's accompanying soundtrack, shot at 18fps...can be enlarged to a 16mm release print, for projection at 18fps....and have an optical soundtrack recorded to be shown at that same speed of 18fps. The optical sound resolution will drop a bit....but from my own tests over the years...I view this as a small loss in order to be able to have a film enlarged to 16mm and shown this way, without having to modify the running speed via step printing to bump it up to 24fps. If this were done...and/or done via using a magnetically striped 16mm print with the sound recorded magnetically for projection at the correct speed of 18fps....it would make for a wonderful and more practical way of showing films originating in Super 8mm (or 8mm or 9.5mm for that matter) in the worldwide festival standard of 16mm. Of course...we'd have to get the festival directors to allow projection at 18fps......which might take some doing....however...at least then...the release film will be in their desired compatible 16mm release format; yet having originated on a lesser size guage. Something to think about at any rate.

Best wishes,
Martin W. Baumgarten
[email protected]

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