WHICH IS THE BEST ZOOM LENS FOR SUPER-8 PROJECTION?

When a Super-8 image comes from a very sharp film, if projected with professional projectors (CLICK HERE TO READ MORE), they will fill screens up to 6 or 7 meters wide with an atonishing quality, especially considering that the frame measures only 5.79 mm wide by 4:01 mm high.

On such large screens, to best projection quality, is required not only a powerful light source (xenon or HTI) , but also a first class steadiness and, above all, a good lens.

This test analizes the performance of the best lenses ever made for Super-8, using a Fumeo 9145 Xenon 500 Stereo projector with a micrometrical focussing system. 

Fumeo 9145 Xenon 500

Fumeo 9119

BEFORE THE TEST.

The Fumeo projectors have their lens holder valid for the European standard caliber, but they were mainly designed to be used with the Isco / Schneider range, so the lens holder had to be slightly modified by my friend José Manuel so that the micrometric focus had a range longer.

EUMIG SUPROVAR f 1.0 12-5-25 MM

This zoom lens, designed and built by "the Wizards of Vienna" (as Eumig was called by the beloved and late Ivan Watson,  columnist for the British magazine MOVIE MAKER), is absolutely historic: it´s the first f 1.0 zoom ever produced in the World, with a design finished in 1967, and which was available the following year.

Definition: very sharp image. 

Contrast: Good,  but not excellent due to the glass old one-layer coating system (despite being first class during 60s).

Colours: good. 

Construction: excellent. The best of all lenses, with an all-metal barrel that it´s easy to disassemble for service.

ISCO CINELUX f 1.1 11-30 MM

It´s considered the non plus ultra of zoom lenses manufactured in Europe, with an enormous focal range. It is the final version of the well-known Schneider design, manufactured with Schott glass and with a multicoated system improved. It was the verylast zoom lens available, on Isco's price list until the beginning of this century.

Definition: very sharp image, fully flat field of border to border (very important for anamorphic presentations)

Contrast: Excellent, the best of all, thanks to its latest generation multicoated glass.

Colors: good but with a duller tone than others.

Construction: so so only. The barrel is made of poor quality plastic. Part of the optical group is glued with balm and is difficult, if not impossible, to separate.  

MEOPTA CORRIGON f 1.1 12.5 - 25 MM

The quality of this lens is surprising, the best zoom lens produced behind the Iron Curtain. Nobody knows why it was done. This unit was given to me by my Galician friend Pichi Pedrosa. He found it some years ago in a photographic store in London, where the dealers were unaware of its use. This zoom lens is much longer than any other, so in the Fumeo, you have to put aside anamorphic to swing open the prime lens holder.

Definition: Very sharp picture. 

Contrast: Very good.  

Colours: Excellent (crisp and bright) 

Construction: excellent. With an all-metal barrel that it´s easy to disassemble for service.

FUJINON f 1.2 21.5 - 43 MM

This lens was originally intended for long distance projection or for use in telecine machines. Its only drawback is that, at a certain focal length, it does not focus if the screen is less than three meters away.

Definition: Sharp image. 

Contrast: Good.  

Colours: Good (slightly cold)

Construction: excellent. With an all-metal barrel that it´s easy to disassemble for service.

EUMIG SUPROGON F 1.2 12.5 --25 MM

Sold too as Bolex brand. It´s the cheapest and easiest lens to find but full of virtues: nothing but good can be written about it. It was manufactured in two versions: the latter with multi-coated lenses to improve contrast.

Definition: Sharp image. 

Contrast: Good.  

Colours: Good.

Construction: Plastic barrel but of high quality and easy to repair. 

 

KERN f 1.1 23MM

In the early 1970s, Ivan Watson rated it as the sharpest projection lens ever made. Projection picture with this non-zoom lens is very sharp, fully flat field from edge to edge, but it only has one layer of optical coating, as was normal in the late sixties, so the contrast is not as good as in more recent lenses. Su luminosidad es realmente f 1.0

Definition: Very sharp image, flat field.

Contrast: Good.  

Colours: Excellent

Construction: Metallic barrel, easy to repair.

VERDICT.

With the Fumeo 9145 xenon 500, for anamorphic projections, I will use the zoom lens that comes from the factory: the Isco Cinelux f 1.1 11-30 mm, for its great quality... as long as the lens lasts, because, sooner or later, its plastic barrel ends up breaking. For flat projections, I will use the Meopta Corrigon f 1.1 12.5-25:  it provides a very sharp image and the best colour.  

For purely visual beauty considerations, I will use the Eumig Suprovar f 1.0 18-28mm exclusively with the Fumeo 9119 projector: it is also a very sharp zoom lens and its aesthetics are very much in line with that of the projector, especially using the French Hypergonar anamorphic.

Important note: 

1) Excellent Fujinon f 1.0 14-28 mm and Canon f 1.0 17-28 zoom lenses don´t focus in this projector.  

2) There are three Elmo lenses, manufactured by Kowa, of very good quality: the called "pair" zooms, 1.0, 1.2 and 1.4 

They cannot be checked in this test because the diameter of the barrel is larger than the European one. The 1.0, while sharp, doesn't provide a flat edge-to-edge picture, something that the long-distance 1.2 and 1.4 do. In my opinion, Elmo f 1.2  25-50 mm is perhaps the sharpest zoom lens for Super-8

"PERFECTA LOCURA ANTÁRTICA" EN SILVERGRAIN CLASSICS / Perfect Antarctic Madness in SilverGrain Classics

 SILVERGRAIN CLASSICS  la revista que, lujosamente impresa en Alemania, se distribuye en inglés a mas de 70 países, se ha convertido con los años en una especie de biblia del mundo fotoquímico tanto en el ámbito creativo, con los portafolios de los principales adalides internacionales que emplean película, como en el terreno técnico, desvelando novedades del sector antes que cualquier otro medio impreso. SILVERGRAIN CLASSICS, the magazine lavishly printed in Germany and distributed in English to more than 70 countries around the world, has become over the years a kind of bible of the photochemical world both in the creative field, with the portfolios of the main international champions that use film, as in the technical field, revealing new developments in the sector before any other printed medium.

No es de extrañar que la legendaria Kodak, una marca con nosotros desde el siglo XIX, se reserve la última página de Silvergrain Classics para la publicidad de sus emulsiones. It´s not surprising that the legendary Kodak, a brand with us since the 19th century, reserves the last page of Silvergrain Classics for advertising its emulsions.

A los editores de una revista tan peculiar, el alemán Marwan Mozayen y la norteamericana Charys Schuler, siempre con la mirada puesta en la vanguardia de lo que algunos denominan analógico, no es extraño que les haya llamado la atención un proyecto casi imposible como "Perfecta Locura Antártica", así que le dedican un colosal artículo de seis páginas en el número de primavera de 2024, que se puso a la venta el 21 de marzo (en España, se puede conseguir en los principales aeropuertos o bien, por correo, pedido a la editorial: cada ejemplar cuesta sólo 19.90 €). The editors of such a peculiar magazine, the German Marwan Mozayen and the North American Charys Schuler, always with their eyes set on the avant-garde of what some call analogue, it is not surprising that an almost impossible project like "Perfect Antarctic Madness" has caught their attention, so the magazine dedicated a colossal six-page article to this S8 film project in the spring 2024 issue, which went on sale on March 21 (it can be obtained at the main airports or, by mail, ordered to the publisher: each copy costs only €19.90)

"Perfecta Locura Antártica" es un documental revolucionario que marca un hito en la historia del cine, llevando la artesanía cinematográfica en paso estrecho a extremos insospechados. "Perfect Antarctic Madness" is a revolutionary documentary that marks a milestone in the history of cinema, taking cinematographic craftsmanship in a narrow film gauge to unsuspected extremes.

Filmado en la Antártida con película de Súper-8 cargada artesanalmente en cartuchos de Single-8, con una cámara que cumple medio siglo en 2024, este proyecto único e insólito representa la fusión entre la tradición fílmica, la artesanía, la pericia, la innovación técnica, la crisis medioambiental y la historia. Las fotografías fueron disparadas también en película (tanto inversible, de diapositivas, como Instax tipo Polaroid). Filmed in Antarctica with Super-8 film hand-loaded into Single-8 cartridges, with a camera that turns half a century in 2024, this unique and unusual project represents the fusion between film tradition, craftsmanship, expertise, innovation technique, global warming, the environmental crisis and history. The photographs were also shot on film (both reversal, negative and Instax type Polaroid).

El cineísta Ignacio Benedeti se embarcó en una expedición épica, superando desafíos inimaginables, para capturar la esencia auténtica de un continente helado abocado a la desaparición por el calentamiento global. Filmmaker Ignacio Benedeti embarked on an epic expedition, overcoming unimaginable challenges, to capture the authentic essence of a frozen continent doomed to disappearance due to global warming.

Este trabajo fílmico ya mereció la portada de medios locales, como el diario "La Opinión" de La Coruña. This film work has already earned the cover of Spanish media.

More information in the link: Para información detallada y teaser, sírvase leerla CLICANDO AQUÍ

Avance fílmico en formato en Reel (vertical) que superó en Facebook las 30.000 visualizaciones: Film preview in Reel format (vertical) that exceeded 30,000 views on Facebook:

• POST SCRIPTUM: TRÁILER DEFINITIVO PARA TELEVISIÓN.

El Jueves Santo de 2024 (28 de marzo) se ha terminado la preparación de un trailer de "Perfecta Locura Antártica" en versión para televisión, esto es, sin grano fílmico, con el procedimiento FHJ Film Grain Reduction Program (pulsar las letras en azul para mas información, desarrollado en una colaboración transfronteriza Galicia / Estiria.

Este tráiler se encuentra disponible en Súper-8 y 16 mm. TRAILER FOR TELEVISION. On Maundy Thursday 2024 (March 28), has been completed television trailer for "Perfect Antarctic Madness" without film grain, with the FHJ Film Grain Reduction Program procedure (press the letters in blue for more information), developed in a cross-border collaboration Galicia / Styria. This trailer is available in Super-8 and 16mm.

LA ANTÁRTIDA SE ENFRENTA A UN COLAPSO IRREVERSIBLE (Perfecta Locura Antártica)

Mientras navegaba, para el rodaje de "Perfecta Locura Antártica", mi compañero de camarote Gary Roberts, en su conferencia del último día, compartió una revelación impactante: la capa de hielo del oeste de la Antártida está colapsando de manera irreversible. Según sus estudios, más que preocuparnos por el aumento del nivel del mar, debemos prestar atención a las placas tectónicas que se elevarán sin el peso del hielo milenario (como también sugiere su compatriota Nancy Campbell en el libro "La biblioteca de Hielo").

Gary nos ilustró sobre el seguimiento realizado por la NASA mediante los satélites ICESat, puesto en órbita en 2003, y su sucesor, el ICESat-2, lanzado en 2018. Incluso la nada sospechosa de radical NASA ha confirmado que el colapso de la capa de hielo del oeste de la Antártida es inevitable, gracias a los datos recopilados por sus satélites.

El calentamiento global es un tema que, según Gary, no debe limitarse a conferencias especializadas y programas de investigación; debe convertirse en tema de discusión pública y exigencia política. Mientras escuchábamos su conferencia, nuestro buque pasaba junto al iceberg A23A, el más grande del mundo con 4.000 kilómetros cuadrados, que pese a su enormidad se va fundiéndose y disipándose inexorablemente, en una profética visión del futuro que le espera al Continente de Hielo.

Todo ello se explica en el documental "PERFECTA LOCURA ANTÁRTICA"

Con mi cámara de cine Fujifim ZC1000N cargada con Kodak Ektachrome, frente al A23A, fotografiado con diapositiva Fujichrome Velvia 50

FUJICASCOPE AUTOVISION: FINE SPEED ADJUSTMENT.

The Fujicascope Autovision is the most interesting built-in Super-8 projector  for professional use on a desk, due to its peculiar design, low and flat, which is possible thanks to the fact that the supply reel is placed horizontally and lacks take-up reel: the film is rolled in an interior horizontal motorized flat surface. 

The Autovision is completely automatic: just insert the film into the slot and it threads it by itself, turns on the lamp automatically and stops the motor at the end of viewing. Even the electronic loop former is automatic! More information about this projector can be readed HERE.

Recently, I had to replace the drive belt. Since the original one, imported from Japan, is very expensive, I used an O-ring that I can buy locally, five minutes from my office, for less than a euro.

The problem with the O-ring is that it alters a little the speed of the projector. No problem with the Autovision, because, like all Fujifilm projectors,  it has easy access to the potentiometers for fine adjustment. In this article I explain how to do the fine tune speed adjustment on the Fujicascope Autovision.

The secret hole!

In this case, you don't even have to disassemble anything. Simply remove the small plate with the projector's serial number, in the rear side,  and a hidden hole appear that give access to two potentiometers, one to regulate 18 frames per second, the other to regulate 24 frames per second, with a screwdriver. 

For the precise adjustment you have to use the electronic device that my friend Renzo builds in Italy: when the teeth of the toothed wheel are seen still with the strobe light, then,  the adjustment is perfect (read about the Renzo device HERE)

LLENAZO DE ESTEVE RIAMBAU EN EL CORUÑÉS TEATRO COLÓN

Entre todos los cines de la época gloriosa de mi ciudad, las dos salas que competían con los mas deslumbrantes estrenos eran el Cine Riazor y el Teatro Colón. La primera ha desaparecido, aunque sigue sobreviviendo el hotel a ella vinculada, del mismo dueño, y que disponía de entrada directa a uno de los palcos. Precisamente en este Hotel Riazor se ha hospedado Esteve Riambau, director de la encomiable Filmoteca de Catalunya (amén de autor de numerosos libros, políglota, profesor universitario y, entre otras virtudes, hasta médico nefrólogo), para el desarrollo del evento cinematográfico mas importante en lo que va de 2024 en Galicia: su presentación de "Ciudadano Kane" ¡¡¡proyectada en 35 mm!!! en el Teatro Colón, como plato fuerte de un ciclo organizado por el crítico Javier Trigales, con patrocinio municipal.

Tras la pantalla perforada, Esteve observa el Teatro Colón con el aforo completo

La audiencia coruñesa  no defraudó y el Teatro Colón se llenó con 550 espectadores para escuchar la presentación de uno de los mayores expertos internacionales en la obra de Orson Welles.

Un momento de la presentación de Esteve con Javier Trigales

Fue todo un honor, para Álex y quien escribe, disfrutar con la compañía de Esteve mientras le mostramos la ciudad, cumpliendo el cronograma con una precisión que ni Nolan superaría: Colegiata de Santa María del Campo y su cruceiro de medio milenio --uno de los mas antiguos de los 10.000 de Galicia--, Casa Cornide (olvidé comentarle a Esteve que antes de morada del General Franco ¡¡¡fue sala de cine en 16 mm de los padres Tomasinos!!!),

Galerías de la Marina, con la Bauer C900 cargada con Ektachrome 64 y la Fujifilm Tiara con Ilford 3200

conjunto medieval de la Plaza de las Bárbaras, Plaza de María Pita, Galerías de la Marina, Iglesia de los Dominicos, Iglesia de Santiago (kilómetro cero del Camino Inglés), Jardín de San Carlos, la Casa del Hombre, la Torre de Hércules o la Capilla de la Orden III, entre otras curiosidades, como el Obelisco Millenium o la primera tienda de Zara en el mundo, 

Bóveda secreta: el sanctasanctórum de IB Cinema, disfrutada por Esteve pues no en vano fue vicepresidente de la FIAF (Federación Internacional de Archivos Fílmicos)

antes de visitar el sanctasanctórum de IB Cinema y la sala HAL 9000, donde tuvimos ocasión de mostrarle los resultados del programa FHJ de reducción de grano fílmico, mejor que cualquiera comercial, desarrollado por Álex con la ayuda de mi hijo Daniel, en Austria. 

Sala HAL 9000 de IB Cinema

Espectacular el almuerzo al estilo gallego, con pulpo, vieiras y albariño. Filmamos la velada con película inversible Kodak Ektachrome 64, que es la que estoy utilizando este año pues su sensibilidad coincide con mi edad. 

Pulpo, vieiras y alvariño.

  

BACKUPS WITH BETACAM DIGITAL

As all readers know, I still shoot everything with motion picture film, usually Super 8 but some times 16 mm too, whether negative or reversal. I do the editing by cutting and splicing phisically the film and finally make a print in 16mm or 35mm for exhibition and archiving. However, in certain small works (for example, trailers and certain short films), to economize, after digitizing the negatives, I do the post-production in digital and the final work is also in digital.

Saturday morning in our HAL 9000 hall

The problem with having the finished work digitally archived on hard drives is its long-term conservation. Due to various computer problems I have lost several finished works (although I have them, in lower quality, on Vimeo, but even here they are not safe, as I had the opportunity to check this Christmas).

Therefore, of those shorts that I cannot, as would be my wish, keep a film backup, I transfer them, for archiving, from hard drive to Digital Betacam tapes. It is fortunate that I have kept my Betacam Digital and SP equipment, from before the founding of IB Cinema, when I operated on a small scale as a freelancer.

Academic Report on the Development of the FHJ Film Grain Reduction System (I and II versions)

• Summary:

In an outstanding collaboration between a student from the FH Joanneum University in Styria (Austria) and another from the Ferrol campus of the Universidade da Coruña, in Galicia (Spain) has been developed an innovative software that surpasses any other in terms of film grain removal: the FHJ system. With this treatment system, film grain is eliminated but, unlike other systems, the cinematic look of the image is retained. This advancement is especially relevant in the television context, where grain can significantly consume available bandwidth.

• Background:

Film directors, including the writer of this report, select film emulsions considering various factors, including the grain visible in the image. This aspect becomes a distinctive characteristic that differentiates a film image from a digital one,  clinical and unnaturally clean. On an artistic level, the grain on the screen contributes to the cinematic narrative, as does the differentiated performance of the film emulsions or the use of reversal or negative materials.

• The problem:

Contemporary television stations show an aversion towards film grain, since its presence implies excessive consumption of bandwidth. The author's personal experience, when watching the broadcast of "Spitsbergen, O Gardián do Ártico" on Television de Galicia, was sad and reveals his dissatisfaction generated by the rude eliminating of grain on the tv station, sometimes affecting the quality of the image. This experience motivated the decision to provide grain-free television versions in future works.

• The solution:

After experimenting with several commercial systems without obtaining satisfaction (commercial systems remove grain but introduce weird artifacts here and there), was promoted the development of a customized software together with students from two universities. After months of work and cross-border collaboration between Styria and Galicia, significant progress was achieved through the creation of a grain reduction system, named FHJ  after the prestigious FH Joanneum University. This system uses advanced algorithms that, for the director author of this text, are magical in their complexity.

The impact of this software is evident in the example featured on Vimeo, where the raw Super-8 image is compared to the same image processed with the FHJ grain reduction program. Satisfaction with the result obtained is total, achieving the desired balance without compromising visual quality. 

FHJ VERSION II

Version I: Version 1 of FHJ Film Grain Reduction progam  reduces film grain only, but...

Version II. Version 2 of FHJ Film Grain Reduction program, additionally to the grain,  completely removes scratches, hairs, dust or stains from the film picture . The same image can be seen with version I, version II and untreated, on the bottom screen:

It´s important to highlight that, outside the television sphere, the full lenght film documentary "Perfect Antarctic Madness" can be enjoyed with its original film grain both on platforms such as Vimeo and in 16 mm projections (blow up from Super 8).

This project demonstrates the effectiveness of international collaboration and the application of advanced technology to address specific problems in film and television production. Daniel, of FH Joanneum University, and Álex, of the Universidade da Coruña in Ferrol, are proud to contribute to this significant advancement in the film industry, marking a milestone in removing film grain precisely and artistically.

• THIS SOFTWARE WILL BE DISTRIBUTED FREE OF CHARGE to filmmakers who request it, after the release of "Perfect Antarctic Madness", for use in registered short films and feature films, with the condition that the two universities involved in its development are named in the credits of the films.

MORE INFORMATION ABOUT THE PROJECT "PERFECT ANTARCTIC MADNESS", CLICK HERE!!!, please.