I read elsewhere with interest, that Lee had some test prints done which he described as "very lack lustre and paste stripe drifting into the frame centre throughout".

I do wonder who is being used as every item of 16mm I've had done has been outstanding with zero pixilation of any kind, indeed, those of you who have seen any of my 16mm reviews on here with replacement footage will not be able to tell the difference between the original and new, although I will add I have never had any 8mm done but from what I've seen from the new releases they looked ok so I'm wondering why new tests have gone so wrong.

The later single stripe is the one thing that has held me back on any releases for the simple reason, I wouldn't trust it not to peel off in a year or more, Deranns Jurassic Park and Chicken run features are reference enough for me. I dont think there's any new release to compare to Dave's Jurassic park 600 footer among others he did.

Before too many more releases are done, perhaps we need to also look at the state of our projectors and what can be done to keep machines going as without these our films are (as I've said before) useless without them, there are a few clever collectors who are fortunate to be able to fix their own but i think the majority will either need several spare machines and parts which are becoming less available by the day.

Funny you should mention projectors Tom, i'm awaiting some new belts for my japanese contingent of projectors, of which i have a few, although they are not belts as such more like "O" rings, but i had to go to china to get them. Originally the sh30 had "V" belt, try finding one of them the right size, a tricky little job to do, not impossible but it involves removal of both covers back and front to do it correctly, this machine has still frame facility and douser, so that has to be removed temporarily to do this. Good machine this, swing out gate like the elmo but a strange lamp configuration, 21v 150w two pin, good sound though but a bit clonky on the main function switch when you go from silent to sound, and because this has the still frame facility some convert them to the xenon lamp, and in fact there is one on ebay right now with a whopping price tag. The first one i've seen done, i have heard that they can be converted, so not sure whats under there as there are no pictures of the insides, perhaps not to give the game away, however it does not have the excellent fuji f1.0 lens, or any other accessories which are hard to find now...........

Have you had any converted?

No Tom, not any of the fuji's at least, but i have one gs1200 converted to the new type xenon lamp, one of bills conversions. This is a very late gs 1200 which is replay only, no recording facilities.

It's interesting that all the replies to my thoughts keep quoting
'My 16mm digital conversion is fine' or similar.
My query was for S8 conversion, not 16mm q much larger format, and a different setup.

Anyhow.. Those offering the service are very nice people and so helpful. Looking forward to the delivery of my next home movies.

I think many people on the forums would enjoy reading the process from start to finish to making a super 8 print, I'm not referring to any of the source material, just the process, It would be an interesting education. It's all shrouded in secrecy at the moment but i for one, would be really interested in how a print is actually made from start to boxed reel ready for sale. It would end a lot of speculation & be an interesting read.

Perhaps barry could help tom, as he has done all these process's in the past tense, but it can't have changed very much, other than the prices ...........

As I understand it, the source is now clearly digital, I'm not asking for who's or where's, I'm interested as a collector to know how they are made these days as I Know other collectors are also interested. Just what is involved in the process, I'm not asking for who does what, but I think it would put of lot of mis information (and speculation) to bed.

No one then?

I know it tom, " its 11 herbs and spices"

I've been very curious since the first new prints in 2020, Derann often did write ups regarding the process of producing 8mm prints and a very lengthy article on how they produced their oxide stripe for continuing new sound releases once Kodak pulled the plug, and it's a good read here,

Full Derann report. That Derann Stripe

So if possible, we would enjoy reading the process for getting those excellent new images onto film please? Dont need to know who does what or where, just how the digital image gets onto celluloid.

Maybe the answers your seeking are guarded Tom, Mark

Printing to super 8 is not a commercial viable operation as is 16mm and 35mm, so likely those that conduct the service are guarded in their processes. Proprietary secrets to ensure business.

Not really too sure why its such a secret, I cant see everyone suddenly wanting to go out and make copies onto film. I just thought it would make an interesting thread on a film forum to explain how its achieved these days.