GAF° SUPER 8 -SOUND MOVIE CAMERAINSTRUCTIONS

SS 805

FEATURES1. Automatic/Manual ex-

posure selector wheel2. Movie light socket3. Filter button4. Zoom ring with focal length

scale and zoom handle5. Focusing ring with distance

scale6. Neutral density filter

switch7. Viewfinder eyecup8. Viewfinder eyepiece

adjustment wheel9. Footage indicator10. Fade control switch11. Backlight button12. Exposure battery tester/

monitor button13. Battery test light14. Motor battery tester15. Power zoom switches16. Film cartridge compart-

ment cover latch17. Film type identification

window18. Viewfinder light stop19. Automatic exposure

adjustment switch20. Viewfinder21. Trigger release

©GAF Corporation 19742

22. Zooming-speed control23.Remote control outlet

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Microphone outlet

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Earphone monitor outlet

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Electric eye batterycompartment

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Audio gain switch

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Tripod socket

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Battery charger outlet(also used for batterybooster pack)

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Motor battery compartmentcover

@Reg. U.S. Pat. Off.; Marca Registrada;Marque Deposee; GAF Corporation, New York, N.Y. U.S.A

Camera appearancesubject to minor changes

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CONDENSED DetailsI NSTRUCTIONS on page1. Install batteries 5

2. Test batteries 6

3. Insert sound film 6cartridge

4. Plug in microphone, 17place it close to andaimed at subject

5. Check sound record- 18ing light insideviewfinder whilemonitor button is helddepressed. Light willflicker as sound ofsufficient level reachesmicrophone. Soundquality may be checkedwith earphonewhile monitor buttonis held depressed.

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I NDEXFeatures 2Condensed instructions 4Installing electric-eye battery 5Installing motor batteries 5Testing batteries 6Lens cap 6Loading the camera 6Film movement indicator 7Footage indicator 7Film end signal 7Unloading exposed film 8Locking the trigger release 8Using the viewfinder 8Focusing 9Using the zoom lens 9Exposure 10Neutral density filter 12Adjusting automatic exposure 12Making movies 13Backlight button 13Outdoor movies 14Indoor movies 14Fade-in/fade-out control 14Remote control 15Lens shade 15Filter size 16Camera care 16Sound movies 17Microphone 17Recording level 17Recording signal 18Microphone used as remote control 18Editing sound movies 18Monitoring the sound 18Tips for better sound movies 19Specifications 22

Detailson page

6. Set audio gain switch 17to desired position

7. Adjust viewfinder to 8your eyesight

8. Focus 9

9. Turn Automatic/Manual 10exposure selector switchto click stop in "AUTO"position

10. Observe subject through 13viewfinder and depresstrigger release halfway—if needle at bottom ofviewfinder image movesinto area between redsegments, start filmingby depressing triggerrelease all the way

Read entire booklet for detailedinformation

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I NSTALLING ELECTRIC-EYEBATTERYA 6-volt silver oxide battery(Eveready 544) powers the elec-tric eye. It is supplied with thecamera, either installed, or packedseparately in the camera box.

To insert battery:1. Place camera on flat surface,upside down. Turn battery com-partment cover on bottom ofcamera about 1/4 turn in directionof arrow, counterclockwise, asshown in Fig. 1 . Remove cover.

2. Place battery in compartmentwith plus (+) side towards thebottom of the compartment(Fig. 2) .3. Replace cover.

I NSTALLING MOTORBATTERIESSwing open motor battery com-partment cover on the bottom ofthe camera handle (Fig. 3 ).Load battery compartment withsix AA size 1.5 volt alkaline bat-teries. The correct orientation ofthe plus (+)and minus (—) ends

of each battery is shown on labelin compartment and in Fig. 4 .Close cover.Standard (non-rechargeable)alkaline batteries will drive up to8 sound or 15 silent cartridges offil m through camera. When alka-li ne batteries are not available,zinc-carbon flashlight batteriesmay be used above 55F, but willbe good for about 2 sound or5 silent cartridges.

I mportant: Clean all batterycontacts before inserting andthereafter at regular intervals.Wipe both sides of each batterywith a rough material to removedeposits. Since batteries maydevelop a leak, remove thembefore camera is stored.

Note: In cold weather keep bat-teries warm, as cold batteriestend to become inactive. To assureadequate power, an auxiliarybattery pack (available as anaccessory) may be plugged intobattery charger socket. Keepbattery pack warm by carryingit in inside coat pocket.

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TESTING BATTERIESDepress tester button marked"Exp." ("A" in Fig. 5 ) to testelectric eye battery.Note: Electric-eye battery testeroperates only when motor bat-teries are installed.Depress tester button marked"Mot." ("B" in Fig. 5 ) to testmotor batteries. If the batteriesare good, depressing either buttonwill turn on a green light in thebattery tester window ("C" inFig. 5 ). If the window remainsdark while a button is helddepressed, the battery(ies) indi-cated by that button must be

replaced. Rechargeable motorbatteries may be recharged ac-cording to instructions supplied'with accessory battery recharger.Test batteries again afterrecharging.

LENS CAPTo remove:Depress protruding tabs simul-taneously and pull cap away fromlens.To attach:Depress protruding tabs, presscap against front opening of lensbarrel and release tabs.

LOADING THE CAMERAPull back latch and swing openfil m compartment cover (Fig. 6).Insert Super 8 sound movie filmcartridge, label side up, film insmaller opening toward lens. Thewider notch in the cartridge nearthe label must be under the car-tridge-locking pin (Fig. 7 ). Pressdown the rear corners of thecartridge until it clicks intoplace.Close cover firmly.As the camera is loaded, thecartridge automatically sets thecorrect film speed for exposurecontrol. Use a film with 25/40 or

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100/160 daylight/tungsten ASAfil m speed combination, or theuniversal (type G) ASA 160 film.The camera also accepts regular(silent) Super 8 film cartridgeshaving the same ASA speeds

I mportant: While handlingcartridge, avoid touching thefilm. Moving film in eitheraperture may cause the car-tridge to jam, making itunusable. As the footage indi-cator will continue to operate evenwhen the film is jammed, makesure that the film advances prop-erly by observing the "Film Move-ment Indicator" described below.

*When silent cartridges are used, thecamera will run slightly faster, at approxi-mately 20 frames-per-second.

FILM MOVEMENT INDICATORA fast or slow flickering in thefil m movement indicator abovethe viewfinder image (shown inFig. 8) indicates that the film isadvancing properly. If the flicker-ing does not start, or stops beforethe end of the film is reached, thecartridge may be defective andshould be replaced.

FOOTAGE INDICATORThe needle in the footage indi-cator shows how many feet(yellow figures) or meters (whitefigures) of film have been ex-posed. All the film in the car-

tridge has been exposed whenthe needle reaches 50 (feet) and15 (meters).

FILM END SIGNALWhen almost all the film in thecartridge has been used, a redsignal appears at the top of thefil m movement indicator in theviewfinder (shown in Fig. 8). Thered area extends gradually. Allthe film has been exposed whenthe entire circle is covered andthe film advance indicator stopsflickering.

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UNLOADING EXPOSED FILMWhen all the film has beenexposed, open the film compart-ment cover.Depress all the way red "Eject"button (shown in Fig. 9) and liftout cartridge. The word"EXPOSED" now appears on thefil m in the smaller opening.

HAVE THE FILM PROCESSEDWITHOUT DELAY

If a partially-exposed cartridge isremoved from the camera, somefil m is lost and the needle in thefootage indicator returns to zero.

LOCKING THE TRIGGERRELEASEThe trigger release can be lockedin two positions:1. To prevent accidental opera-tion of the camera, lock triggerby pushing it up, in the directionof the arrow (Fig. 10 ).2. To get into the scene, placecamera on a tripod, aim it at thescene, focus, turn the light-stopknob to the left* (Fig. 11 ), depresstrigger release, then push it upto lock it. The camera will keeprunning until the trigger releaseis unlocked.

USING THE VIEWFINDERThe bright, through-the-lens re-flex viewfinder shows each sceneas it will appear projected on thescreen.* The rubber shield on theviewfinder eyepiece may be turnedto fit either eye.To adjust the viewfinder to youreye:1. Zoom lens to the 60mm tele-photo position by depressingfront power-zoom switch, marked"Tele".2. Align the ∞ (infinity) symbol onthe focusing ring distance scalewith the reference line on top of

IMPORTANT: When camera is operated in the remote mode, eitherwith microphone switch or accessory remote control, be sure tounlock trigger release BEFORE removing film cartridge.

*The light-stop knob closes the viewfinderto prevent light from entering the opticalsystem from the rear. To open the view-finder, turn the light-stop knob to the right.

"If the view is blocked, turn the light-stopknob to the right.

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the lens barrel (Fig. 12 ), then lookthrough viewfinder at an objectat least 500 feet away.3. Turn the milled adjustmentwheel (Fig. 13 ) first clockwise,then counterclockwise, untili mage is sharpest in the circularmicroprism area.

FOCUSINGZoom lens to telephoto position(align figure 60 on zoom ring withreference line). Turn focusing ringuntil subject's image appearssharp on milcroprism focusing

disk in viewfinder (Fig. 14 ). If themicroprism area is blurred (as inFig. 15 ), the image on the filmwill be blurred, also.The distance scale may also beused for focusing. Line up withthe reference line the figure onthe focusing ring that correspondswith the camera-to-subject dis-tance in feet.For example, if the camera-to-subject distance is 5 feet, thenthe figure 5 is lined up with thereference line (Fig. 16 ).

USING THE ZOOM LENSThe zoom lens does the work ofseveral separate lenses. It has an8 to 1 focal length range and iscontinuously adjustable from the7.5mm wide-angle setting to the60mm telephoto setting.I mportant! When the zoomlens is in the long telephoto posi-tion (40 to 60mm), the slightestcamera motion will result in ajumpy screen image. To keep thecamera steady when the lens isused in the 40 to 60mm telephotorange, use a tripod, where feas-ible, or steady camera by placingelbows on a firm support.

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When lined up with the referenceli ne, the figures 7.5, 10, 15, 25, 40,and 60 on the focal-length scalearound the lens indicate in milli-meters the focal length of thelens at that setting. For example,when 15 is lined up with the ref-erence line (as in Fig. 16 ), theeffective focal length of the lensis 15 millimeters.The zoom feature is used to con-trol the subject's image size andthe area included in the scene. Atthe 7.5mm wide-angle setting thesubject's image is the smallestand the surrounding area in-cluded is the greatest. From thesame camera position the 60mmtelephoto setting will make thesubject largest and it will reducethe amount of surrounding area.At in-between settings, the sub-ject's size and the area coveredwill vary between the twoextremes.When the front power-zoomswitch (marked "Tele") is de-pressed, the lens zooms towardthe telephoto (60mm) position.When the rear power-zoomswitch (marked "Wide") is de-pressed, the lens zooms towardthe wide-angle (7.5mm) position.

The zoom feature may be utilizedin two ways:1. To control the subject's size inthe image, depress either zoomswitch to bring the lens to theend of the zoom range, then de-press the other zoom switch andobserve the subject in the view-finder. When the size is right,stop zooming and start thecamera.2. The subject's size may bechanged while the camera is run-ning. To get a moving-toward-the-subject effect, depress thefront ("Tele") power-zoom switch.Depressing the rear ("Wide")switch will result in a moving-away-from-the-subject effect.*The focal length of the lens mayalso be adjusted manually byraising and lowering handle at-tached to zoom ring.

The power-zoom speed controlset to "S" (slow) provides a satis-factory zooming rate for mostmovies. When a faster zoomingrate is desired, turn the continu-ously-adjustable speed controltoward "F" slowly and stop whenthe required zooming speed hasbeen reached.

EXPOSUREThe through-the-lens CdS ex-posure meter provides com-pletely automatic exposure con-trol when the exposure selectorwheel is turned to the click stopin the "AUTO" position (Fig. 17 ).The needle in the viewfindershows the f/stop set by the elec-tric eye.Some lens openings on the f/stopscale are indicated by dots. Thelens openings represented by thedots are shown in Fig. 18.To check light level, depresstrigger release halfway.When the light is too low to pro-

When the camera is packed or stored,make sure that the zoom switchesare not pressed against an object.Depressing either zoom switch willkeep the zoom motor operating, ex-hausting the batteries.

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duce properly-exposed movies,the needle remains in the redarea at the left side of the f/stopscale (Fig. 19 ).Movies made with the needle inthat position will be too dark,underexposed. In extreme casesof underexposure the film maynot even show an image.To prevent underexposure, stopmaking movies when the needletouches or is in the red area onthe left side of the scale.Do not make movies with thecamera pointed at the sun orother bright light source. The

bright light will influence theelectric eye and make the picturestoo dark.When the light is too bright, theneedle touches or enters the redarea on the right end of the scalein the viewfinder. This may occurwhen the camera is loaded withfast film and is used in bright light(in sunlight or under extremelybright artificial illumination).Movies made with the needle inthe red area on the right side ofthe scale will be too light, over-exposed (see "Neutral DensityFilter" section below).

To set the lens opening manually,turn selector wheel clockwise,toward "MANUAL", until needle inviewfinder is over the desiredf/stop. Fig. 20, for example,shows the lens opening set at f/8.In the manual mode, use an ex-posure meter to establish thecorrect lens opening for the pre-vailing light level. Set film speedscale of exposure meter at ASAspeed of film (as indicated on filmbox or in film instruction sheet),then read lens opening at the 1/40second shutter speed. Set thecamera lens opening 1.5 stops

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larger than that indicated by theexposure meter to provide theusual exposure compensationrequired by all wide-range zoomlenses calibrated in f/stops. Forexample, if the exposure meterindicates a lens opening of f/5.6,set needle in viewfinder halfwaybetween f/2.8 (dot) and f/4.

NEUTRAL DENSITY FILTERTo prevent overexposure, thecamera features a built-in .6 neu-tral density (ND) filter. When theneedle in the viewfinder reachesthe red area at the right side of thescale, turn ND button to the left,as far as it will go, to align the reddot with the white index line onthe camera body ( Fig. 21 ). Withthe neutral density filter posi-tioned in the lens system, theneedle will swing to the left, out ofthe red area. Remember to retractneutral density filter when it is nolonger needed by turning buttonto the right to align white dot withindex line (Fig. 22 ).I mportant: Always turn the NDbutton as far as it will go; do notleave it in an "in-between"position.

ADJUSTING AUTOMATICEXPOSUREThe factory-adjusted automaticexposure corresponds to inter-national standards. Most usersfind it ideal. Since tastes vary,however, an exposure-adjustmentknob is provided for increasing ordecreasing the exposure set bythe automatic electric eye.In the normal position, the zeromark on the exposure-adjustmentknob is set at the white index line,as shown in Fig. 23. For moreexposure (lighter image), turn theknob clockwise with a coin. Theamount of exposure increase de-

pends on how far the knob isturned. Each dot near the word"Lighter" represents a plus 1/3f/stop exposure increase. There-fore, aligning the first (closest tothe zero) dot with the index linewill result in a 1/3 f/stop exposureincrease (about 30%). The seconddot set at the index line will give a2/3 stop increase (about 65%),while the third dot will provide afull f/stop (100%) exposure in-crease. For finer adjustment, theindex line may be set between thedots.

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For a darker image, turn knobcounterclockwise. Each dot nearthe word "Darker" indicates 1/3f/stop less exposure, with themaximum full f/stop exposure de-crease reached at the third dotfrom the zero. Use in-betweensettings for finer adiustment.

MAKING MOVIESImportant: Turn Automatic/Manual selector wheel to theclick-stop at the "AUTO" position.Make sure trigger is unlocked.Always depress release slowly.

When the camera is loaded, thelens focused, and the viewfinderadjusted to your eye, just pressthe trigger to make movies auto-matically. Keep camera level andsteady. Camera movement andinaccurate focusing are especiallynoticeable when the lens is usedin the telephoto position. Use atripod whenever feasible; thetripod socket is on the bottom ofthe camera handle.

BACKLIGHT BUTTONWhen the sun is behind the sub-ject, the area facing the camera isusually too dark. To lighten thedark areas in the image, keep thebacklight button depressed(Fig.24 ) while the camera isrunning.

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OUTDOOR MOVIESA built-in orange filter, positionedbehind the lens, adjusts thecamera to outdoor work withindoor film.Bright or hazy sunlight comingfrom behind or from either side ofthe camera is best for outdoormovies. For backlighted scenes,remember to keep the backlightbutton depressed while thecamera is running.

I NDOOR MOVIESAccessory GAF'' movie lightmodels and similar units fit thesocket on top of the camera.

Attaching the movie light adjuststhe camera automatically to film-ing under artificial illumination byretracting the daylight (orange)filter from the optical system.If a movie light of a type that doesnot fit the socket, a floodlight, orexisting artificial light is used, thefilter button must be held de-pressed while the camera is run-ning (Fig. 25 ). As an alternatemethod, the movie light plug,supplied with camera, may bescrewed into the movie lightsocket (Fig. 26 ).

Do not forget to remove the movieli ght plug for outdoor movies.

When loaded with the universaltype G film, camera will operatecorrectly under any type of illumi-nation, without adjustment.

FADE-IN/FADE-OUTCONTROLThe automatic fade-in/fade-outfeature may be used to add a"professional" touch to moviepresentations.When the fade-in control is used,the image in the projected scene

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will emerge gradually from com-plete darkness. To fade-in a scene,depress trigger release halfway,then depress fade control switchand watch the movement of theneedle in the viewfinder. As theneedle comes to a stop at theextreme right end (Fig. 27 ), startthe camera and release the fadecontrol switch.When the control is used for afade-out, the image in the pro-jected scene will turn dark gradu-ally. To fade-out at the end of ascene, depress the fade controlswitch while the camera is run-

ning and hold it depressed. Keepthe camera running until theneedle in the viewfinder reachesthe black portion within the redsegment (as shown in Fig. 27 ).

REMOTE CONTROLThe accessory remote controlcord has a plug at one end and aswitch at the other.Place the camera on a tripod orother solid support, aim it at thescene, focus, then turn theviewfinder light-stop knob to theleft. Insert the plug into the remotecontrol socket, slide the remote

switch to "off", then press thetrigger and lock it. Locking thetrigger in the "running" positionwill not operate the camera whenthe remote control cord isplugged in.Operate the camera from adistance with the remote controlswitch.

LENS SHADE(black rubber ring packed sepa-rately in camera box)Snap open collapsible lens shadeso that smooth side is out. Screwmetal center ring, clockwise, intothreaded front end of lens mount.Do not force.Use lens shade outdoors and in-doors, to prevent glare caused bystray light falling on lens. Do notuse lens shade when a movieli ght is attached to the camera.

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FILTER SIZEThe lens accommodates a SeriesVIII filter in a 58 mm diameter x0.75 mm thread-pitch screw-inmount, or in a 61 mm slip-onmount.

CAMERA CAREProtect camera from dirt, rain,dampness, and excessive heat.Avoid touching the lens. To cleanlens, breathe on it first, then wipeit gently with a soft, lintless clothor tissue. Do not use chemicallytreated eyeglass tissues as theymight damage the lens coating.

Clean out the interior of thecamera occasionally with acamel-hair brush, paying specialattention to the film gate (Fig. 28).Do not attempt to remove or oilany part of the camera. If anythinggoes wrong, don't try to repair ityourself. Take it to a dealer, orsend it to the nearest GAFConsumer Photo Service Centerli sted below.

GAF CORPORATIONConsumer Photo ServiceCenterEmma St.Binghamton, N.Y. 13902

3500 North Kostner Ave.Chicago, III. 60641

16217 Kittridge St.Van Nuys, California 91406

58-10 BroadwayWoodside, New York 11377

P.O. Box 490Portland, Ore. 97207

4601 Winters Chapel RoadP.O. Box 47999Atlanta, Ga. 30340

I N CANADAGAF (Canada) LimitedConsumer Photo ServiceCenter70 Alexdon RoadDownsview, Ontario

9411 Cote De LiesseDorval, Quebec

1195 West 8 Ave.Vancouver 9, Brit. Col.

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I mportant: The original bill ofsale (dated sales slip with nameand address of dealer) is nowaccepted as proof of purchase forestablishing the warranty period.No warranty card is provided. Tohelp identification in case of lossor theft, keep among your per-sonal records the camera modeldesignation (GAF SS 805) and theserial number appearing near thetripod socket on the bottom of thecamera handle.

SOUND MOVIESMaking sound movies with theGAP(R) SS 805 camera is simple.

However, to fully utilize itssophisticated sound componentsfor recording clear, true sound onyour film, study and follow the"Tips for Better Sound Movies"section below.

MICROPHONEThe microphone is equipped withan on/off switch and a 15-footwire that permits placing themicrophone near the subject. Thewire ends in a two-pronged plug.Insert the plug into the micro-phone outlets of the camera, asshown in Fig. 29. Push in plug allthe way. Depress each batterytester button in turn, for aninstant, to be sure that batteriesare O.K. Slide microphone switchto "ON". You are now ready tomake sound movies.

If the wire is too short for properplacement of the mike, use anaccessory microphone extensioncord.

RECORDING LEVELThe camera is equipped with again control that automaticallyadjusts the sound level as it isbeing recorded. A high-low audiogain switch is also provided. Inmost instances this switch is set atthe "H" (high) position, as shownin Fig. 30. The "L" low position isused to suppress backgroundnoise and when the to-be-recordedsound is too loud.

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RECORDING SIGNALA flickering green light is visibleinside the viewfinder when soundis being recorded while thecamera is running*. When thesound source is too weak, thegreen light will not appear, whileit will stay on without flickering ifthe sound is too loud or whenthere is too much backgroundnoise.

MICROPHONE USED ASREMOTE CONTROLThe camera can be started andstopped by operating the On/Offswitch on the microphone. Thisallows the camera operator to bein the picture without using filmwhile he gets there. It also permitsfil ming and interviewing by oneperson.

To use the microphone as a remotecontrol: Place camera on tripod,aim it at the subject. Plug in micro-phone and slide switch onmicrophone to "Off" Focus. Closeviewfinder by turning light-stopknob to the left. Depress shutter

"The flickering green light appears onlywhen the camera is loaded with soundfil m, the microphone is plugged in, and theelectric eye battery is good (as it alsopowers the sound system).

release and lock it. Take yourplace in the scene and startcamera by sliding microphoneswitch to "On". Camera will keeprunning and sound will berecorded until mike is switched"Off".

EDITING SOUND MOVIESSound movies may be edited assilent movies, with some restric-tions. The sound recording foreach frame precedes the image by18 frames. As a result, the filmcannot be cut at just any point:entire scenes must be cut out andspliced together. To provide roomfor cutting, without transferringsounds to the wrong scene, runthe camera for about two secondsbefore starting to record soundfor the scene and stop recordingabout two seconds before thecamera is stopped after the scene.These gaps will permit editingwithout cutting away portions ofthe sound.

MONITORING THE SOUNDThe flickering recording signal inthe viewfinder shows that sound isbeing recorded.

With the earphoneplugged into the monitor outletof the camera it is possible tohear the sound being recordedwhile it is being recorded. Thisallows the operator to constantlycheck (and correct at the source,if necessary) the recorded sound.

MONITORING SOUNDWITHOUT RUNNINGTHE CAMERAThis valuable feature permits theoperator to check and adjust thesound before filming begins. Itcan save a lot of film: the cameradoes not have to be started untilmicrophone placement and soundsource have been checked andfound satisfactory.To check the recording signalwithout running the camera,position microphone near soundsource, turned toward it, look intoviewfinder and depress monitorbutton (same as electric eye testerbutton, "A" in Fig. 5). Theflickering green light will appearand continue to flicker as long asthe monitor button is helddepressed and sound of satis-factory level reaches themicrophone.

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RECORDING SIGNALA flickering green light is visibleinside the viewfinder when soundis being recorded while thecamera is running*. When thesound source is too weak, thegreen light will not appear, whileit will stay on without flickering ifthe sound is too loud or whenthere is too much backgroundnoise.

MICROPHONE USED ASREMOTE CONTROLThe camera can be started andstopped by operating the On/Offswitch on the microphone. Thisallows the camera operator to bein the picture without using filmwhile he gets there. It also permitsfil ming and interviewing by oneperson.

To use the microphone as a remotecontrol: Place camera on tripod,aim it at the subject. Plug in micro-phone and slide switch onmicrophone to "Off" Focus. Closeviewfinder by turning light-stopknob to the left. Depress shutter

"The flickering green light appears onlywhen the camera is loaded with soundfil m, the microphone is plugged in, and theelectric eye battery is good (as it alsopowers the sound system).

release and lock it. Take yourplace in the scene and startcamera by sliding microphoneswitch to "On". Camera will keeprunning and sound will berecorded until mike is switched"Off".

EDITING SOUND MOVIESSound movies may be edited assilent movies, with some restric-tions. The sound recording foreach frame precedes the image by18 frames. As a result, the filmcannot be cut at just any point:entire scenes must be cut out andspliced together. To provide roomfor cutting, without transferringsounds to the wrong scene, runthe camera for about two secondsbefore starting to record soundfor the scene and stop recordingabout two seconds before thecamera is stopped after the scene.These gaps will permit editingwithout cutting away portions ofthe sound.

MONITORING THE SOUNDThe flickering recording signal inthe viewfinder shows that sound isbeing recorded.

With the earphoneplugged into the monitor outletof the camera it is possible tohear the sound being recordedwhile it is being recorded. Thisallows the operator to constantlycheck (and correct at the source,if necessary) the recorded sound.

MONITORING SOUNDWITHOUT RUNNINGTHE CAMERAThis valuable feature permits theoperator to check and adjust thesound before filming begins. Itcan save a lot of film: the cameradoes not have to be started untilmicrophone placement and soundsource have been checked andfound satisfactory.To check the recording signalwithout running the camera,position microphone near soundsource, turned toward it, look intoviewfinder and depress monitorbutton (same as electric eye testerbutton, "A" in Fig. 5). Theflickering green light will appearand continue to flicker as long asthe monitor button is helddepressed and sound of satis-factory level reaches themicrophone.

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To monitor sound with theearphone without running thecamera, plug in earphone anddepress monitor button (electriceye tester button). The soundsreaching the microphone will beheard while the button is helddepressed.

TIPS FOR BETTER SOUNDMOVIESYou may have heard of people wholi ve near the elevated tracks andare able to conduct a conversationin normal tones as a train passesby with deafening roar, while theirvisitors cannot hear a word. Oryou may have taken part in aconversation while someone waswatching TV in the room. Usuallythe people conversing are notaware of the TV sounds, while theTV watcher is oblivious of theconversation. The above areexamples of the human mind'sability to be selective, to hear onlywhat it wants to hear, at theexclusion of other sounds alsopicked up by the ear. In the caseof the train this takes considerableconditioning, while the TVexample is quite common.The microphone of your sound

camera is like the human ear: itwill pick up all sounds reaching it.However, it is not backed up by aselective human mind. Rememberthis when you plan your soundmovies. For clean, clear sound inyour movies you have to makesure that only clear, clean soundis allowed to reach themicrophone. The most commoncauses of unsatisfactory soundrecording are background noise,more than one sound source,microphone placement and poorlocation. Let's discuss these oneby one and see what can be doneabout them.

Background noiseBackground noise or ambientnoise level (as it is often called) isthe sum of sounds that exists atthe time of sound movie making,in addition to the sound intendedto be recorded. A surprisinglyhigh level of background noisecan remain unnoticed by themoviemaker due to his mind'sability to ignore undesirablesounds.

Checking the sounds reachingthe microphone with the earphoneis the best way to detectbackground noise. With theearphone all sounds reaching themicrophone will be heard as theearphone represents a singlesound source, here the selectivityof the human mind does notapply.

What can you do about theunwanted background noise.Before we can answer, thefunction of the automatic gaincontrol must be described.The function of the automaticgain control is to provide thesoundtrack recording head withan optimum input that will resultin the best recorded soundquality. To achieve this, thecontrol seeks out the loudestsound that reaches the micro-phone and adjusts it to optimumrecording level. This works finewhen the loudness of the to-be-recorded sound is far above thelevel of the background noise(ambient noise level). As theautomatic gain adjusts the mainsound source, it also adjusts thebackground noise in proportion,so that the background noise willbe barely heard in the recording.

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However, if the loudness of mainsound and background noise arenot too far apart, the backgroundnoise will be recorded at adisturbingly high level. This canbe prevented to a degree byturning the audio gain control ofthe camera to - L" (low), as shownin Fig. 31 , and placing themicrophone closer to the to-be-recorded sound source. Thelowered audio gain will reducethe level of recorded backgroundnoise, while the decreasedsource-to-microphone distancewill raise the level of sound fromthe main source. The result will bea cleaner, clearer recording. The"L" (low) setting of the audio gaincontrol may be used to preventanother undesirable effect causedby background noise. When themain sound source pausesmomentarily, as when a speakerstops talking, the automatic audiogain will amplify the only soundavailable to it at the moment, thebackground noise. The resultingeffect can be quite disturbing: inone moment the speaker is heardclearly, the next moment noisescan be heard, almost as loudly.The remedy here is the same: turnthe audio gain control to "L" (low),and place the mike closer to thespeaker.

There is another, and perhapsbest way to prevent backgroundnoise from interfering with therecorded sound: eliminate it. It isoften possible to silence theoffending background noise: anair conditioner, TV, vacuumcleaner in the next room, loud-ticking clock, etc. may often beturned off or stopped. Anotherway of preventing backgroundnoise is by changing location:move camera and subject to aquieter place.Wind can also cause backgroundnoise in outdoor movies. Whileitself silent, wind blowing overthe mike often causes a whistlingsound in the recording. To mini-mize wind noise, protect themicrophone with a shield formedfrom approximately 1/4 to 1/2 inchthick plastic foam sheet (availablein most 5 & 10 cent stores). Attachthe plastic foam to the micro-phone with a rubber band, asshown in Fig. 32. Wind screensmade for the purpose are alsoavailable in many hi-fi stores.To prevent camera noise frombeing recorded, keep microphoneat a distance of at least 3 feetfrom the camera. If (particularlyin small rooms) the camera noisepersists, turn the audio gaincontrol to low ("L").

Handling the microphone canalso result in distracting back-ground noise. Rather than hold-ing it in the hand, it is better toplace the mike on its stand, ortape it to some convenient object.Professionals often hang up themike in front of and just above thesubject, outside of the picturearea. If there is an extra person tohold it, the mike can be dangledin place from the end of a fishingpole.

More than one sound sourceThe most typical example of thisis several people talking at thesame time. As the "director andproducer" of a sound movie, befirm with your subjects, stop themfrom doing it. Occasionally, arehearsal will be needed to estab-li sh the order in which the subjectswill speak or the way they are toconduct a conversation. What-ever it takes, make sure that onlyone person will talk at a time.This, of course, does not apply ina scene where several peoplewish happy birthday at the sameti me, and at similar occasions, butthe basic rule of clarity in soundrecording is that most of the timeonly one person should be heard.When due to circumstances morethan one sound source has to betolerated, place the microphoneclose to the source to be recordedand turn the audio gain controlto "L" (low).

Microphone placementThe microphone supplied withthe camera is omnidirectional: itwill pick up sounds coming fromall directions. This is desirablewhen people gathered around themicrophone are to be heard, eachin its turn: the microphone willpick up the speech of each personwith equal efficiency.However, when one sound sourceis to be favored over others, placethe microphone close to thatsource, turned toward it, other-wise sound from other sourceswill interfere with the sound fromthe selected source. If needed, aunidirectional accessory micro-phone can be used. The camerawill accept any microphone withan impedance of 200 to 600 ohms.The unidirectional mike favorssounds coming from the directionit is facing; its use can result incleaner recorded sound undercertain conditions.Do not let people talk directly intothe microphone: it can result in ahissing noise every time a sibilantletter is pronounced. Place themike lower, pointed upward, andhave the subject talk over the topof it, rather than into it.

Poor locationNot every place lends itself tosound recording. Some rooms,for example, with uncovered floorand walls can create an echo thatresults in garbled recordings.Carpeted floors, drapes and so-called acoustic ceilings tend toabsorb sound, rather than reflectit, and usually result in cleanerrecording.When monitoring with the ear-phone shows that sound repro-duction is poor in spite of the bestmike placement and other precau-tions, it is better to change loca-tion than produce a movie withpoor sound.

MORE TIPSMore than anything else, advanceplanning can help you producesound movies of high quality. Planthe image and the sound as aunit, let one reinforce the effect ofthe other. Make notes, then usethem as you set up each scene.

When you make movies of "sound-less" subjects, such as scenery,add sound in the form of narrative,music, or both, using the record-ing function of the soundprojector.

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Make your films more entertainingby telling a story with your camera(instead of just showing a seriesof disconnected scenes). Whenyou film a child's birthday party,for example, you can create asimple story by including thefollowing scenes: getting up inthe morning, the beginning ofthe "great day"—wrappingpresents—baking (or buying) thebirthday cake—getting dressedfor the party—arrival of guests—party games—cutting the cake—guests leaving—cleaning upafter the party—etc. Anotherexample: To turn a travel-movieinto a story, include (in additionto the usual "tourist attractions")scenes showing personal aspectsof the trip: the family getting ready— leaving home—overnight stops—roadside restaurants—shoppingfor gifts— unusual people youmeet— heading for home—etc.

Utilize your zoom lens: shootseveral scenes of each subject,some at the wide-angle, others atthe normal and telephoto settings.Use the power-zoom (sparingly)to get striking effects. Vary overallviews with closeups in each scene.

Do not restrict yourself to movie-making outdoors in sunnyweather. Scenes made on cloudydays, even in rain, add variety,will make your movie more inter-esting. Mixing indoor and outdoorscenes also helps.

Titles connect scenes into asmooth-flowing presentation.Camera stores sell a variety oftitling outfits. Follow the instruc-tions supplied with the titler.You can also make good titleswithout a titler, by includingclose-ups of signs in your movies.Practically every place you filmhas a sign you can use as a title.In addition, road and street signs,billboards, and even mail boxescan be utilized to identify anddescribe your subject.

The audience will enjoy yourmovies more if you set up theprojector and the screen inadvance. When the spectatorsare seated, you will only have toflick the switch and the show ison.

SPECIFICATIONSTypeSuper 8 sound movie cameraLensChinon Reflex Zoom Lens f/1.77.5 to 60 mmViewfinderSingle-lens reflex type withmicroprism focusing spot-f/stop, over/underexposuresignal, green LED recordingsignal, film advance and filmend indicators are visible inviewfinder—viewfinder eyepieceadjustment range +2/-4 diopters—viewfinder rear light-stop isprovidedExposureCdS through-the-lens automaticexposure control with ±1 stopadjustment— manual overridealso provided—f/stop rangef/1.7-22Films accomodated50-foot Super 8 sound or silentfil m cartridgesASA film speed rangeDaylight ASA 25, 100 (160 withType G film), tungsten lightASA 40, 160Backlight exposurecompensationPushbutton provides plus onestop exposure

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Filming speed18 frames-per-second with soundcartridge, 20 fps with silentcartridgeZoomVariable-speed power zoom withseparate "Wide" and "Tele"switches—zoom ring with handlefor manual controlFade-in/Fade-outPushbutton controlled fadingaction with indicator visible inviewfinderND filter.6 neutral density filter within/out switchBattery testerSeparate buttons activate signallamp for motor and electric-eye/amplifier batteriesFootage indicatorSliding rule type, indicates feetfrom 0 to 50 and meters from 0 to1 5—automatically returns to zerowhen cartridge is removedOutletsOutlets are provided for micro-phone—earphone monitor—remote control— battery charger/booster pack

Power sourcesMotor batteries: 9 volts, providedby six 1.5 volt AA-size alkalinebatteries Amplifier/exposuremeter battery: 6 volts, suppliedby one silver-oxide battery(Eveready 544)Movie light socketAccommodates 1/4 inch screw,coupled to Type A (daylight) filter;insertion of movie light automati-cally retracts filter. It may also beretracted manually with push but-ton or movie light plugTripod socket1/4 inchSizeLength 9.18 in. (233 mm)Height 8.82 in. (224 mm)Width 3.26 in. ( 82.9 mm)Weight4.4 lb (2 Kg)

SOUND SYSTEMAmplifier8 transistors, 5 diodes—has auto-matic gain control (AGC)Sound filming speed18 frames-per-second constantdrive by a capstan motor and adrive motorI mage/sound separationSound precedes image by 18frames

Audio gain switchSound level can be set at "H"(high, normally used) or "L" (low)Maximum input voltageWith Audio Gain Switch at "H",3 mv; at "L" 10 myRecording signalLight from green LED flickers inviewfinder while filming or moni-toringMonitoringBy listening with earphone (hav-ing impedance of 600 ohm), or byobserving flickering green light inviewfinder—sound can be moni-tored during filming, or (whilemonitor button is depressed)without filmingMicrophoneOmnidirectional microphone sup-plied—accessory unidirectionaland other microphones with im-pedance of 200 to 600 ohms maybe usedMicrophone switchOn/off switch, may be used tooperate camera as a remote con-trol switchPower sourceAmplifier is powered by a 6-voltsilver oxide battery (Eveready544), also used to power electriceye

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GAF CORPORATION140 West 51 Street,New York, N.Y. 10020

Photo and Repro Group

WARRANTYGAF Corporation warrants theGAF°SS 805 Super 8 Sound Moviecamera to be free from defects inmaterial and workmanship for aperiod of twelve (12) months fromthe date of original purchase. Thecamera will be repaired or re-placed, at GAF's option, withoutadditional charge to the purchaser,if returned prepaid to the nearestGAF Consumer Photo ServiceCenter shown in the list on page1 1 6, specifying the difficulty en-countered and attaching a copy ofyour bill of sale showing the dateand place of purchase. Removebatteries when camera is storedand return camera well packedand insured, as GAF is not re-:sponsible for damage causedleaky or defective batteries andfor damage that occurred during

shipment. Cost of work performedat repair shops not authorized byGAF shall not be reimbursed .GAF DOES NOT MAKE AND SHALLNOT BE LIABLE FOR ANY WAR-RANTY OF FITNESS FOR A PAR-TICULAR PURPOSE OR MER-CHANTABILITY OR ANY OTHERWARRANTY WHATSOEVER, EX-PRESS OR IMPLIED, WITH RE-SPECT TO THE GAF® SS 805CAMERA, EXCEPT AS HEREIN-ABOVE SPECIFIED. GAF'S SOLELIABILITY ON ACCOUNT OFBREACH OF THE FOREGOINGWARRANTY SHALL BE REPAIROR REPLACEMENT AS ABOVESET FORTH. IN NO EVENT, IRRE-SPECTIVE OF THE CAUSE, SHALLGAF BE LIABLE FOR INCIDENTAL,CONSEQUENTIAL, SPECIAL, OROTHER DAMAGES .

Printed in U.S.A. 74 :10390