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| Super-8 cousins for the husband and for the wife! |
COMPACT SUPER-8 PROJECTORS, with fast pull down. A common characteristic of the projectors mentioned in this chapter two is that their pull down movement is very fast, so they have shutters with blades of up to only 40 degrees, which allows an extraordinary light output.
Could you imagine a projector where you only need to insert the film through the slot and it starts up automatically? This feature, first introduced by Fujifilm in 1980 with the Fujicascope SD Auto, was imitated by a German company, Robert Bosch, who continued to trust the Super-8 when other multinationals had already thrown in the towel. It was in 1981 with its compact Bauer T450, a projector with exceptional sound quality, an LED digital frame counter, LED level meters and a programming system that allows sophisticated sound recording. |
| German body with Italian heart |
It reads both sound tracks and, in its BauerT 430 version, stereophonic sound. Although its original lens is of the highest quality, the Schneider Xenovar f 1.2 from 15.5 to 28 mm, as an option you can mount the famous Schneider Xenovaron f 1.1 from 11-30 mm, the non plus ultra of German lenses.
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| The famous Schneider 1.1 11-30 mm as optional extra |
In the British technical press of those days, the absence of a feed toothed wheel was criticized, but in practice, the projector works well with up to 180 meters of film and this peculiar system, in exchange, allows you to search for sequences with fast rewinding through the projector.
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| The most beautiful projector ever designed? |
Its female version is the Silma 90 Stereo, very similar in internal characteristics, but with a body of irresistible beauty due to the designer Giulia Doselli. Both the Bauer and Silma were built in the Turin factory of Robert Bosch. Giulia even designed the take-up reel to match the aesthetics of the Silma 90 Stereo!
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| Noris 512: a German who likes sushi! |
Under the name of a well-loved brand in Germany, an even more automatic projector was introduced in 1984, the Noris 512, in which the lamp turns on and off by itself, has an automatic electronic loop reformer, and the motor is switched off not only at the end of the projection but even also after the rewinding. The original zoom of the Noris 512 is only so so quality, so, is much better to change it for other lens, as the Schneider (with an adaption) or the Fujinon 1.0 or 1.2 (whitout any adaption)
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| Fujicascope SDAuto: the best compact projector, even with optical sound! |
The Noris 512 is the economic version of the Fujicascope SD Auto, a projector originally introduced in 1980 and which, in addition to everything from the Noris, has optical sound and an ingenious take up reel that allows viewing up to 6 reels of newly developed films one after another, without the need to rewind up individually.
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| Optional Fujinon 1.0 25 mm, first class lens |
Optionally, the SD Auto was sold in some countries such Spain with that dark object of desire that is the Fujinon f 1.0 25mm "flat field" lens that allows the maximum use of the 100W lamp combined with the fast pull down of the claw and shutter of only 40 degrees blades: with this configuration, this small projector provides more light on the screen, and whiter, than any other projector with the same lamp, with "needle sharpness" corner to corner.
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| One of the best two 1,0 zoom lenses ever made |
The original zoom, 1.3 15-25 mm is only average quality, but if a zoom is necessary, then, the election is the high quality 1.0 Fujinon 14-28 mm, as in the above photgraph.
A very important feature of this projector is that the lateral door is of open-swing type, so, access to film path is very easy.
It is interesting to have one of these projectors, especially the Fujicascope SD Auto, to check recently processed films with great quality. The models described in this chapter are extremely careful with our beloved films and do not scratch them. As they take up little space, they are projectors that fit anywhere.
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| Special take up reel for the Fujicascope SD Auto |
Digest of my article originally published in SilverGrain Classics
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