I was quite surprised to learn that Super 8 is still (or maybe once again) a Thing. As a kid circa 1982 I had a wind-up 8mm camera (not Super 8, but Double 8, which used 16mm film on a reel that youād expose, unload in the dark, flip over, reload, expose the other side, unload in the dark again, and then take to the lab where theyād process it, slice the film longitudinally right down the center, then buttsplice the two pieces together before sending it back to you on an 8mm reel) that my much-older brother had used in the 60s. When I used it, you could still buy Double 8 and Super 8 film at the drugstore for another year or two. When I started college in Fall 1988, I was a Telecommunications major, and I took a film production class that was based on Super 8. The next semester they sold off all the film equipment and switched to video production only. I lamented that I didnāt get a chance to buy any of the Super 8 gear.
I work in TV post production and have watched what I thought was the permanent demise of film before my eyes. My second job was on Encino Man back in 1991, and I spend six months working with the editors. They cut film on KEM flatbed machines, and we had at least five of them, for the picture editor, a 1st assistant, two 2nd assistants, two music editors, an apprentice editor, and liāl olā me. Today that movie would be cut by half the staff in half the time, except there would be the opportunity for much more iteration and many, many more rough cuts.
Anyway, except for popping up in occasional movies and TV shows as a nostalgia gag, I thought Super 8 was never coming back. When I was on Will & Grace we had an extremely talented and in-demand telecine colorist (for a while there he always transferred and colored Bob Richardsonās movies like The Aviator and Kill Bill), and one day our line producer asked if, as a favor, he could transfer and regrade some family Super 8 films, and the guy was happy to help out. But he had to find the Super 8 gate for his telecine rank. According to him, plenty of facilities in town still transferred film (this would have been 2002ish and W&G always shot on 35mm for its first 8 seasons) and there was no shortage of gates for the various 16mm, 35mm, 65mm, and IMAX filmsā¦ but apparently there was only one Super 8 gate remaining that all the labs would share, so he had to call around from Technicolor to CFI to DeLuxe to Modern Videofilm to see who had it last.
I thought that was sweetly quaint. And then just last year I hear that hipster hobbyists have been shooting on Super 8 for a while now, and the film stock is again being made, and a few labs support it.
Pretty neato. Guess Iāve been even more out of touch than usual.