Long before digital and way before videotape, there was a way for the regular folk to make home movies.  Whether it be their happy kids running in the yard, a special someone in a far-away place or pivotal moments in our shared history, Super 8 was capturing it all as beautifully imperfect.

Why would a medium that is in opposition to technical progress remain so attractive today?  

Super 8 has more in common with still photography than any other cinema format. You shoot it like you shoot with your phone.  You pull the trigger / push the button–the camera whirs to life. Release and it stops.  Most Super 8 cameras are completely automatic. No need to think, other than to focus.  Everything the camera shoots is a snapshot, only it happens to be a snapshot in motion.   The 18 or 24 frame-per-second sequence may not tell the whole story but it paints an impressionistic vision that matches your memory.  

On paper, it would seem like this format would have gone away decades ago.  In reality, the popularity of Super 8 has only grown.

So what's the problem?

There are actually a handful of options for processing and scanning Super 8 film.  Most of these are professional cine labs. A few of these labs specialize in Super 8. For others, it's only a part of what they do- including 16 and 35mm, even up to 65mm.  They've likely invested in extremely expensive Laser Graphics scanners that can cost in excess of $100,000.  Their clientele generally have pro budgets so they can recoup those investments.

That's great! I love seeing Super 8 on-screen ( i.e.Winning Time and Succession on HBO).  On the other hand, that's not really what Super 8 was intended to be.

It was meant to be a format for the rest of us!  Frankly, it's so easy to use that we can't just leave it for the pros.  If you can operate a point-and-shoot film camera, you can operate a Super 8 camera.  And everyone should!

Let's be clear, there is nothing wrong with the labs that are currently servicing the Super 8 industry.  They have largely kept this format alive and the work they do is state of the art.  Their costs and complexity, however, can be daunting.  

There is space in the marketplace for a different kind of lab.  Film makers destined for the big screen or HBO will likely continue to use services like Pro8mm. This leaves room for a mom and pop film lab like us, Northeast Photographic, to play, experiment, innovate and simplify.

So what's the plan?

We want to offer photochemical cine-lab services on a small scale.  We've accomplished half of this goal by successfully processing Super 8 film with our Jobo ATL automatic processors. Using Expert Drums, we have run B&W, E6 and ECN-2.  Even while working on this project, new Super 8 solutions have hit the market from brands such as Filmomat. Interest in the format seems to be in the air. If the demand is what we think it can be, we can make key investments in true cinema roller transport processors that can handle any level of volume. 

The scanner is where you all come in.

On the digitization side, there are now multiple scanners at varying price points, each offering a true frame-by-frame scan at resolutions greater than HD.  

We propose to acquire this scanner so that we can democratize a format that was originally designed with everyone in mind.

We've set a goal of $25,000 in order to obtain the tools we need to do this.  This will include the scanner itself, processing drums from Jobo, a fast PC to capture the footage and additional data storage to handle the amount of information present in a high-quality motion picture scan. ( A significant portion will also go simply to the production of the rewards).

The base scanner we are looking at is recently announced RetroScan 816-2k from Moviestuff.  It's perfect for small shops like ours, can handle 8mm - 16mm film and scans at a slightly better than HD resolution of 2K.

Our upgrade model is the bigger brother to the base model.  It's called the Universal II 4K and it was literally just announced!  It has many more advanced capabilities including higher resolution and the ability to scan even 35mm motion picture film.  This will require an additional $7,000 dollars, for a stretch goal of $32,000

Both of these scanners share the same high quality standards we sought:

• True frame by frame scanning.  Each individual frame is captured as a single photograph!
• ​Compressed or uncompressed data capture.
• Hardware frame registration for image stability.
• ​Multiple output formats including MOV, AVI, or even image sequences in JPEG or uncompressed TIFFs.

Both of these scanners are capable of quality suitable for output on a phone, tablet, computer screen, UHD TV set or even projection.  While we believe that a Super 8 frame is sufficiently rendered with 2k or even HD resolution, the 4K scanner would effectively future proof our process.  16mm film certainly benefits from a 4k scan, and we could one day start processing and scanning those films!  

In addition to films we process, we could scan archival films and the added formats of the Universal II expand those possibilities.  There are years and years of historical films out there waiting for digitization and the Universal II 4K may be the ultimate unlock for a small shop such as Northeast Photographic.

A commitment to simplicity, affordability and versatility.

Our target is a base price of $35 to develop and scan a cartridge of Super 8 Tri-X.

• You will receive a 2k file that is easy to download, edit and share.
• We will immediately offer E6 (Ektachrome E100D), B&W (Tri-X processed as a negative) and Ektachrome cross processing in C41.
• Our ECN-2 services will launch shortly after our non remjet based films. (At that time we can process 35mm film cut to short lengths in ECN-2 as well). A nice bonus!
• We will have multiple service levels, including higher-end file types for those who require the best the scanner can offer. We want to work with everyone!
• Our commitment to innovation will extend to the chemical process, where we can develop B&W film using 510-Pyro, XTol or even Rodinal. (This is something we are particularly excited about- as a small lab we have the ability to 'play' in this space).

We want to design a service where you can download your footage to your phone, make your edits and throw it up on your social network of choice.  For more advanced projects, we can provide a quality that meets nearly any standard. These scanners have significant versatility and we fully intend to take advantage of their capabilities to the fullest.

How do you intend to fund the project?

To create rewards for this project, we reached out to two talented artists.  The apparel was designed by Danny Gugger of Deciduous Studio. NP will make everything from socks to aprons in styles that we think film shooters will really dig.  The promotional poster was drawn by the Minnesota-based illustrator Erica Williams (aka @hookieduke on IG). Go Timberwolves!

When you choose one of these reward tiers, a portion of the cost will go toward the production of the item itself and a portion will go toward funding the scanner and accessories. Check out the funky fresh merch we've come up with!

Let's unlock a creative powerhouse in the analog arts space.

Northeast Photographic was created to expand access to formats and mediums that we have always been passionate about- Super 8 might be our last frontier in that journey.  It's the easiest format to use yet it's locked away behind cost and complexity.  It doesn't have to be that way.  Let's create a service that comes from analog space, one with a seamless integration into our digital lives.  Most of all, let's make movies!