Customer Comments 
Super 8 Customer Testimonials:

"Advances in film, telecine and digital intermediate services are making the Super 8 format an attractive option for ultra-low budget filmmaking, and also for creating unique looks for special purposes. When you combine (the) imaging characteristics (of the new Kodak Vision2 films) with the advances being made in digital intermediate technology, it suggests a whole new range of possibilities."
        - Philip Vigeant, president, Pro8mm 

"Shooting on Super 8 ... changed the way I conceived of (my) film and the way I shot it. It forced me to find out what was visual and cinematic about the situations I was capturing."
        - John Fiege on shooting his thesis documentary "Mississippi Chicken" 

"We wanted the audience to feel what the characters are feeling. ... We were shooting with 35 mm, Super 16 mm, lipstick digital cameras, and a few Super 8 shots. There were Super 8 shots in the 'Dogbowl' pool paying homage to the period. I even gave some old Super 8 consumer cameras to actors to film each other."
        - Cinematographer Elliott Davis on the indie "Lords of Dogtown"

"The director wanted to shoot some football scenes in Super 8. I think he was expecting a negative reaction (from me), but I liked the idea because I knew we had a tight schedule and Super 8 would allow us to shoot football scenes with textures and details."
        - Cinematographer James Chressanthis, ASC on the telefilm "Brian's Song" 

"I had an operator with a Super 8 camera recording battlefield images in Windtalkers. The footage was used for flashback sequences. You can create different things in post, but Super 8 has a distinctive look."
        - Cinematographer Jeff Kimball, ASC on the feature "Windtalkers"

"I did what I strongly believed I had to do-capture on celluloid the only living glimpse of the artist-even if only amateur footage at the time. I proudly blew up the Super 8 to 35 mm for a major piece of my filmic collage of the artist. From the lowly Super 8, future generations now have a living record of one of their most treasured artists."
        - Nick Deocampo on his documentary "EDADES: Victorio Edades and Modernism in Philippine Art" 

"There were some really challenging settings and the (Super 8 mm) film was able to handle it so well. The KODAK VISION2 stocks performed very well shooting interiors lit only by light from the windows-the highlights aren't clipped and the shadows aren't just black. I've shot in some of the same settings with video, and I had to choose between blowing out the highlights or loosing the shadows. The amazing latitude of the film gave me enormous flexibility for shooting in natural light."
        - John Fiege on shooting his thesis documentary "Mississippi Chicken"