It embraces every delicious flaw and failing the format offers – and a few more, besides. That’s not what was done for the Perry video, though. You’ll be welding with light, but do all that, degrain a bit, and it almost starts looking like 16mm. People aiming for the best technical quality on Super-8 lean toward Kodak’s high-tech Vision 3 50D negative stock, frame-by-frame scanners with temperature-controlled LED backlights, and software stabilisation to fix the number-one issue the format ever had. Modern Super-8 often doesn’t really go for that aesthetic, at least not if we try to make it look its best.
That’s good, because Super 8 in general exists in the world of people who like lens flare, aberration, 1970s Russian cameras with light leaks, and stop flashes as an aesthetic choice.
It was also a nightmare to process, even worse than most reversal stocks, but it had a certain something, and you can still shoot Super-8 reversal with the (slightly) more modern Ektachrome.
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