Nikon

SUPER ZGDA/1
INSTRUCTION MANUAL
NOMENCLATURE Footage Counter
• Accessory Shoe
Zooming Switch Eyepiece Shutter Control
Zoom Ring Eyepiece Adjustment Ring
Focusing Ring
Eyecup

Tape Recorder
Synch Terminal
0, R8 SUPER
I.1.0 MM.
Electronic Flash Terminal
OL/DE Switch
REW/FOW Switch

A-M-C Ring Shutter Blade Opening Control

Trigger Remote Control Socket
Lock-Run Control Film Effect Control
Power Zoom Speed Control Wriststrap
Battery Chamber Cover
Filter Key Holder

Tripod Socket
2 NOMENCLATURE
Movie Light Slot Cable Release Socket
Film Cartridge Compartment Cover Lock
Cine-Nikkor Zoom Lens
Battery Check Button 7.5mm-60mm f/1.8
Manual Zoom Lever

Speed Contro
Lock Release

Film Cartridge Window Mercury

Running Speed Control Battery Chamber
S/C Switch
Exposure Adjustment Control
Hand-Grip

NOMENCLATURE 3
CONTENTS
•
Nomenclature 2 Exposure controls 14
Foreword 5 A-M-C knob 15
Installing the batteries 6 Depth of field 15
Penlight batteries 6 Exposure adjustment control 16
Mercury batteries 6 Shooting with the variable shutter opening 18
Checking the batteries 6 Exposure compensation 19
Loading the film 7 Exposure control with running speeds 19
Unloading the film 7 Eyepiece shutter control 20
Eyesight adjustment 8 Built-in filter 20
Focusing 8 Tape recorder synch terminal 20
Macrophotography 9 Electronic flash terminal 21
Shifting the point of focus 9 Cinemicrography 21
Zooming 10 Reminder checklist 21
Power zooming 10 Cine-techniques 22
Manual zooming 10 Fade-out/Fade-in operation 23
Running speed control 11 Overlap (OL) operation 24
Single-frame shooting 11 Double exposure (DE) operation 26
Shutter release 12 Reverse filming operation 27
Trigger 12 Tips for better home movies 28
Lock-run control 12 Depth-of-field tables 30
Cable release socket 12 Camera care 32
Remote control 13 Accessories 33
Footage counter 13 Specifications 34
Nikon warranty 35

4-CONTENTS
FOREWORD
•
The Nikon R8 Super Zoom cine
camera combines a high degree of
handling convenience with operation-
al versatility. Fully automatic and
electronically controlled, this camera
incorporates a wide range of features
for basic movie making, plus the
extended capability of plug-in facili-
ties for more technically demanding
cinematography.
To get the most out of your Nikon
R8 Super Zoom cine camera, read
this booklet thoroughly and make
certain you understand all the con-
trols before you load the film.
Follow the suggestions on camera
care and your camera will give you
many years of reliable service. The
Nikon warranty which comes with
your camera is your assurance of
prompt, courteous service and com-
plete satisfaction, anywhere in the
world.

FOREWORD 5
INSTALLING THE BATTERIES
0
Penlight Batteries
Six 1.5V penlight batteries power the
electric motor of the film transport
and the zoom motor. The battery
housing is in the hand-grip. To
install, remove the screw with a small
coin or similar object and lift out the
battery container. Place six batteries
in the container, making sure that
the positive and negative (+ and —)
terminals are lined up according to
the diagram in the battery container.
When you are expecting to do a lot
of shooting, take along a spare set of
fresh batteries. A new set of batteries
will normally last for approximately
15 cartridges of film.
Mercury Batteries
The camera is supplied with two
1.3 V mercury batteries. These bat-
teries power the exposure meter. To
install, unscrew the battery chamber
6—INSTALLING THE BATTERIES
cap and insert the batteries. Make
sure that the positive (+) side faces
out.
Checking the Batteries
A built-in battery checker determines
the condition of the penlight and
mercury batteries. To check the pen-
light batteries, look through the
viewfinder and slide the battery
check button towards the lens until
the "P" (penlight) mark is out of
sight. If the needle inside the view-
finder swings to the red diamond (*)
or past it, the batteries are adequate.
If not, replace all six batteries.
For the mercury batteries, follow the
same procedure, except slide the
battery check button towards the
eyepiece until the "M" (mercury) is
out of sight.
Battery Check Index
W 2 • 4 • 8 *1161
LOADING THE FILM
•
The camera accepts a Kodapak*
instant-load cartridge containing 50
feet of Super-8 movie film. At a film
speed of 18fps, this film will run for
approximately three minutes and
twenty seconds. To load the camera,
turn the cartridge compartment lock
in the direction of the arrow and
swing open the flap from the top.
Place a cartridge in the compartment
with the label facing up and the
cartridge notches toward the lens.
Then push it forward until it clicks
into place. The ASA film speed is set
automatically. The name of the film
can be seen in the window on the
flap.
Film End Mark
Unloading the Film
When the red warning circle appears
in the viewfinder and the footage
counter reads 50, the end of the film
cartridge has been reached. Open the
camera and slip out the cartridge.
The word "exposed" will appear on
the film to indicate that it has been
exposed and prevent mix-ups. If you
load a partially exposed cartridge,
the red circle in the viewfinder is the
only indicator to tell you when you
have reached the end of the film.
*Kodapak is a registered trademark of the
Eastman Kodak Company.
LOADING THE FILM 7
EYESIGHT
ADJUSTMENT
• Out of focus
To adjust the viewfinder eyepiece
for your own eyesight, look through
the viewfinder and turn the eyepiece
adjustment ring until the image circle
in the center is sharp. The eyepiece
should not require readjustment
unless the camera is used by more
than one person. The rubber eyecup
keeps out stray light and can be
rotated to allow you to view with
either eye. It can also be folded back
for those who wear glasses.
8 EYESIGHT ADJUSTMENT! FOCUSING
FOCUSING
•
Aim the camera so that an edge of
the subject falls within the central
focusing spot and turn the focusing
ring until the two halves of the image
coincide to form one continuous
sharp image. The lens focuses from
infinity (00) down to 4 feet (1.2m).
For pinpoint focusing, focus with the
lens at its maximum focal length,
then reduce the focal length for the
desired picture composition.
In focus
Macroph otograph y
The Cine-Nikkor zoom lens incorpo-
rates an override for macrophotogra-
phy without any accessories. You may
actually focus down until the subject
comes in contact with the front lens
element (a distance of 130mm from
the film plane). First set the lens at
infinity (00) and the zoom ring to any
focal length below 50mm. Then push
the zoom ring instead of the focusing
ring. The orange numbers uncovered
in this procedure are the macro
distance scale and serve as a rough
focusing guideline. Do not use them
for scale focusing.
Shifting the Point of Focus
Shifting the point of focus rapidly
between a close subject and a distant
subject can add interest to your
films. The procedure for a shift from
near to distant is as follows:
1. Secure the camera to a tripod or
other firm support to prevent
camera shake.
2. Focus the camera on the distant
subject, using the focusing ring.
3. Without disturbing the focusing
ring setting, push the zoom ring
all the way forward for macro
mode.
4. Focus on the near subject using
the zoom ring, as explained
previously.
5. Begin filming of the near subject
now in focus.
6. While continuing to depress the
trigger, pull back the zoom ring to
its, normal position. The distant
subject will now be in focus.
7. Continue depressing the trigger
until the desired amount of
footage has been exposed.
Important: In macrophotography or focal-
shift filming, camera shake is magnified
many times and results in blurred images.
For best results, always mount the camera
on a tripod or other firm support.
FOCUSING-9
ZOOMING

Power Zooming Important: When battery power is inade- Manual Zooming

Look through the viewfinder and quate, the zoom motor will falter, es- You can override the power zooming
pecially at the slow speed setting. This
depress the upper portion of the indicates the need for the immediate
mechanism simply by rotating the
zooming switch inward (T) for tele- replacement of batteries. telescoping manual zoom lever pro-
photo or the lower portion (W) for Also avoid using the camera with the lens truding from the lens barrel. Manual
wideangle until the picture includes at its greater focal lengths without a zooming is recommended to pre-
tripod, as holding the camera steady for
as much or as little as you wish. A select a lens focal length accurately,
telephoto shooting is almost impossible.
white line opposite the 8 position obtain jumps in focal lengths or
scale on the zoom ring indicates the match the speed of zooming to that
set focal length. Zooming stops auto- of an approaching subject.
matically after the completion of the
zooming cycle.
Power zooming is available at two
different speeds for even and jerk-
free tracking shots. The power zoom
speed control offers a selection of
fast (F) and slow (S) settings. Turn
the knob to the desired speed as
indicated opposite the white line.
The duration of zooming is a
minimum of four seconds at the F
setting and seven seconds at the S
setting; these values will vary,
however, with the condition of the F
batteries.
10 ZOOMING
RUNNING SPEED CONTROL
•
The camera can be set to run at 18,
24 or 54 frames per second (fps) plus
single frame (S). To set the camera at
18, 24 or 54 fps, first depress the
changeover switch toward the "C"
(continuous) mark. Then depress the
lock release and turn the running
speed control dial until the desired
speed clicks into place opposite the
white index. To set the camera for
single frame exposures, first set the
camera at 18 fps and slide the
changeover switch toward the "S"
(single frame) mark. Exposure com-
pensation for the selected speed is
automatic. Do not set the camera for
intermediate speeds between the
click-stop settings. Avoid the ex-
cessive use and dry run of the camera
at 54 fps.
The 18 fps is usually recommended,
though some photographers prefer
24 fps since the higher speed tends to
give smoother, less bouncy images
when projected. The 54 fps can be
used for occasional slow-motion
effects.
Single-Frame Shooting
With single-frame exposures you can
make inanimate objects come alive
on the screen. Just move the object
you are filming a fraction of an inch
after each exposure. Single-frame
exposures of slow-moving objects,
such as clouds, will be speeded up
greatly when projected. For example,
if you film at 1 fps and project at 18
fps, objects will appear to move 18
times their actual speed. The auto-
matic exposure control retains its
function. For single-frame shooting,
the use of a tripod and a cable release
is recommended. Remember to close
the eyepiece shutter control to
prevent stray light from entering the
eyepiece.
Note: Battery life is greatly shortened
when shooting in single-frame mode;
instead of the normal battery life of 15
film cartridges (at 18 fps), batteries last
for only two or three cartridges in S
(single frame).
RUNNING SPEED CONTROL 11
SHUTTER RELEASE
•
Trigger
The trigger activates the exposure
meter and the film feed electro-
magnetically. Lightly depressing the
trigger halfway switches on the
meter. Depress the trigger all the way
when you are ready to shoot. The
camera will stop without a trace of
run-on when you release the trigger.
Caution: To prevent overexposure of the
initial frames of each shooting sequence, it
is essential that you observe these di-
rections for a two-step triggering action.
Use an initial light-pressured squeeze to
turn on the meter; after the meter needle
has stabilized, apply full pressure to trigger
for filming.
12—SHUTTER RELEASE
Lock-Run Control
The lock-run control locks the cam-
era in the running position for con-
tinuous filming. Squeeze the trigger
and depress the L side of the control.
To stop the camera, push the R side.
If you want to get in the movie
yourself, mount the camera on a
tripod or other firm support and set
the camera for continuous running.
The lock-run control also serves to
prevent accidental triggering between
takes.
Cable Release Socket
This accepts a standard cable release.
It is recommended for use in making
critical exposures such as: close-ups,
panning, fades, etc., with the camera
mounted on a tripod.

Remote Control
The remote control socket accepts
the accessory remote control unit
and allows you to start and stop the
camera from remote control release.
This enables you to include yourself
in your movies. It is also useful for
filming wildlife studies where your
presence might disturb the natural
movements of the subject. The elec-
tromagnetic automatic release permits
shooting at any film speed, including
single frame. Remember to close the
eyepiece shutter control.
SHUTTER RELEASE / FOOTAGE COUNTER
FOOTAGE COUNTER
•
The footage counter indicates in both
feet and meters the amount of film
that has been exposed. Rewinding
should not be done in the first and
last 5ft/1.5m zones. The counter stops
just past the film-end mark (E) and
resets itself to zero when the camera
is opened for reloading. If you remove
the cartridge before the entire film is
shot, make a note of the amount of
film that has been exposed, since the
counter cannot be set for intermedi-
ate readings.
13
EXPOSURE CONTROLS
• Under 2,.8 5.6 11 Over

When the A-M-C knob is at "A" Note: Should filming be started in low
(automatic), the through-the-lens illumination conditions below the EV
range of the camera, the meter needle will
metering system automatically con- remain stationary; supplementary light
trols the lens diaphragm according to should be added to obtain meter response.
the scene brightness, the ASA speed
of the film and the speed of the
camera. To switch on the meter,
squeeze the trigger halfway to the
first click-stop. The needle in the
viewfinder indicates what aperture
the diaphragm will provide during
exposure. When the available light is
too bright or dim, the needle will
swing into the red zone at the ex-
treme right or left of the aperture
scale to warn you of over- or under-
exposure. Under adverse lighting con-
ditions, switch to a film whose ASA
rating is suitable to the available
light or mount a neutral density (ND)
filter on the lens to reduce the light.
An alternative method is the use of
artificial lighting to increase lumino-
sity.

14 EXPOSURE CONTROLS
A-M-C Knob
The A-M-C knob permits you to hold
the diaphragm at any desired aper-
ture for deliberate under- or over-
exposure, or for special effects. For
manual override of the automatic
exposure control, depress the central
locking button and turn the A-M-C
knob until the needle in the view-
finder points to the desired aperture
setting. The lens is completely closed
when the "C" (closed) mark is op-
posite the white dot.
Depth of Field
Depth of field is a zone extending in
front of and behind the focused
distance. Within this zone blur is too
slight to be noticeable and everything
will appear sharp when the film is
projected on a screen. It extends a
greater distance behind the subject in
focus than in front. Depth of field
depends on three factors: lens aper-
ture, focal length and lens-to-subject
distance. Remember, the smaller the
aperture and the shorter the focal
length of the lens, the greater the
depth of field. Also, the closer the
subject, the smaller the depth of
field. Since these three factors op-
erate interdependently, one may
cancel out the effect of the others
for greater control over final results.
EXPOSURE CONTROLS-15
 Exposure Adjustment Control
When there are high-contrast lighting
conditions, you may often obtain
better results by readjusting the in-
dicated exposure. The exposure ad-
justment control provides exposure
compensation for higher or lower
levels than the indicated exposure.
16- EXPOSURE CONTROLS
For backlighted subjects or a dark
subject against a larger light back-
ground, turn the milled ring counter-
clockwise so that the white indicator
line goes toward the OVER sign to
open up the lens; for a light subject
against a larger dark background,
turn the ring toward the UNDER
sign to stop down the lens. The
numbers on the scale indicate one
whole f/stop while the white lines
between the numbers indicate a half-
stop. The control can be set at any
intermediate setting for more precise
adjustment. Remember always to
reset the ring to normal (0) after use.
W2 • 4 • 81• 161

1/2 • ji.. 8 • 16 1

EXPOSURE CONTROLS - -17

Shooting with the Variable
Shutter Opening
The actual amount of exposure
depends on the angle of the shutter
opening and on the speed at which
the shutter blade travels across the
film. If the speed of travel remains
constant, different exposure times
are obtained solely by variations in
the angle of the opening. This camera
has a variable shutter which can cover
a range of movement from fully open
(160°) to totally closed (0°). When
the shutter is opened at 80°, the
effective exposure time per frame is
thus only half of what it is with the
1600 opening. The closing rate of the
shutter opening can be checked in
the viewfinder through the move-
ment of the red indicator. The table
below .shows the exposure times at
each of three different angles of the
shutter opening at three running
speeds.
Since the shutter opening can be
varied from fully open to fully
closed, the variable shutter provides
another means of exposure control.
It also permits fading during filming.
Its practical use is for cutting the
exposure time. Reduced exposure
time gives the same effect as in-
creased shutter speeds and thus,
small shutter openings are used to
arrest fast movement. To close the
shutter opening, depress the shutter
counterclockwise until the edge of
the red indicator, visible in the view-
finder, is opposite the appropriate

Shutter blade opening angle (Full-opening) 1600 (1/2) 80° (1/4) 40°
18 1/40.5 sec. 1/81 sec. 1/162 sec.
Running speed (fps) 24 1/54 sec. 1/108 sec. 1/216 sec.
54 1/121 sec. 1/243 sec. 1/486 sec.
18—EXPOSURE CONTROLS
mark in the window. The first mark
represents the 800 opening setting;
the second the 40° setting. When the
edge of the red indicator reaches the
bottom end of the window, the shut-
ter is completely closed.
The manual use of the shutter blade
opening control should be avoided
except for the 80° or 40° setting.
160°
800
4(r
()"
Exposure Compensation Exposure Control with Running
When the angle of the shutter open- Speeds
ing is altered, the lens aperture must The different running speeds of the
be adjusted to compensate for the camera provide further means of
change. The table below gives the exposure control since the exposure
exposure compensation for each time is inversely proportional to the
opening. To compensate, turn the camera speed: the exposure per
adjustment control until the white frame at 18 fps is three times as long
line is opposite the appropriate num- as at 54 fps. Since films are usually
ber. shot at 18 fps, do not use this
Shutter blade
method of exposure control except
160° 80° 40° for special effects.
opening angle
Compensation 0 +1 +2
EXPOSURE CONTROLS 19
EYEPIECE SHUTTER
CONTROL
• •
For remote control or special effects
the eyepiece can be closed to prevent
extraneous light from entering the
eyepiece. To close, push the black
slide at the top of the camera
towards the lens.
20 EYEPIECE SHUTTER CONTROL! BUILT-IN FILTER! TAPE RECORDER SYNCH TERMINAL
BUILT-IN FILTER TAPE RECORDER
• SYNCH TERMINAL
The camera has a built-in type A The tape-recorder synch terminal
filter for shooting outdoors with accepts the accessory tape recorder
Kodachrome* Type A film, which is synch cord. Pressing the trigger acti-
intended for tungsten (artificial) vates the tape recorder. This synchro-
lighting. When filming indoors under nizes filming and taping during the
artificial light, displace the filter by filming process.
inserting the filter key plate (in-
cluded) into the movie light slot on
top of the camera. When a standard
Super-8 movie light is mounted on
the camera, the filter is displaced
automatically. When not in use, store
the filter key plate in the key holder
of the wriststrap.
Note: When using type G Ektachrome 160
film in either natural or artificial lighting
conditions, do not insert the filter key plate
as there is no need for exposure compensa-
tion. Insertion of the filter key plate or
mounting of a standard Super-8 movie light
may result in underexposure.
*Kodachrome is a registered trademark of
the Eastman Kodak Company.
ELECTRONIC FLASH CINEMICROGRAPHY
TERMINAL
• •
Accepts the synch cord, via which The R8 is fully capable of taking
electronic flash units may be used to cinemicrographs by the simple use of
illuminate single-frame shots with the the accessory close-up lens EC-1 and
correct flash intensity and without the microscope adapter EM-1. The
the adverse effects of excessive heat adapter may be used with a Nikon
radiation. The camera synchronizes microscope or a non-Nikon brand
with electronic flash units at 160° and is attached to the eyepiece tube.
fully open (1/40.5 sec.). Attachment:
Screw the adapter EM-1 into the
EC-1 lens and mount these two to
the lens of the R8 Super Zoom cine
camera.
Focusing:
Set the focusing ring of the camera
to infinity (00). Then adjust focusing
by means of the microscope coaxial
magnifi-
Y P
23.2 mm or 30mm
Note: Before using the R8 for cinemicro-
graphy, thoroughly study the instruction
manual supplied with the microscope
adapter EM-1.
ELECTRONIC FLASH TERMINAL/CINEMICROGRAPHY/REMINDER CHECKLIST
REMINDER CHECKLIST
Double-check before you start
shooting.
1. Check the batteries.
2. Set the exposure control on Auto
(or Override).
3. Check the running speed control
(fps).
4. Set the exposure adjustment
control at 0.
5. Set the REW/FOW selector switch
at FOW.
6. Check the inspection window
inside the viewfinder to see that
the variable shutter is fully
opened.
7. Check the zoom ring on Normal
(or Macro) control.
8. Release the lock-run control.
Note: The setting of the OL/DE switch
(at either OL or DE) has no affect on
normal filming.
21
ONE-TECHNIQUES
e
The variable shutter and automatic
film rewind (up to approx:100 frames)
the Nikon R8 Super Zoom cine
camera permit professional film ef-
fects such as overlaps, double
Footage Counter
Film Effect (FE) Control
22 CINE-TECHNIQUES
exposures, fading and reverse filming.
The viewfinder image remains bright
during these operations and the auto-
matic exposure control performs
during all phases of shooting. All the
controls are localized on one side for
easy location by touch when your
eye is at the viewfinder.
OL/DE Switch
REW/FOW Switch
Shutter Blade Opening Control
Fade-Out/Fade-In Operation
A cinematic device used to dramati-
cally darken a scene gradually until it
becomes entirely black (fade-out) or
appears gradually out of darkness
(fade-in) while the camera is running.
Manual fading
1. Begin filming in the normal manner.
2. To FADE-OUT: Depress the shut-
ter blade opening control and slow-
ly turn counterclockwise. Continue
turninguntil the right-hand window
in the viewfinder is completely red;
this indicates that the shutter is
completely closed. After finishing
the fade-out sequence, release the
trigger and return the shutter blade
to its fully open condition by turn-
ing the shutter blade opening con-
trol clockwise.
3. To FADE-IN: Stop normal filming
and close the shutter by turning
the shutter blade opening control
counterclockwise. Resume normal
filming and gradually open the
shutter by turning the shutter
blade opening control clockwise.
During the process of opening the
shutter blade, the red indicator in
the viewfinder will move upward
until no longer visible; at this time 3. To FADE-IN: Stop normal filming
the shutter blade is fully open and
the fade-in is completed.
Power fading
1. Begin filming in the normal manner.
2. To FADE-OUT: Simply push the
FE control upward (to FO) and
hold until the right-hand window
in the viewfinder is completely
red; this indicates that the shutter
blade is closed. After finishing the
fade-out sequence, release the
trigger and return the shutter to its
fully open condition by depressing
and turning the shutter blade open-
ing control.
and close the shutter blade using
the shutter blade opening control,
as in manual fading. Resume nor-
mal filming and push the FE con-
trol downward (to F I), holding
until the red indicator in the view-
finder moves upward and is no
longer visible. At this time the
shutter blade is fully open and the
fade-in sequence is completed.
CINE-TECHNIQUES
Overlap (OL) Operation
The overlap (also known as the dissolve or lap-dissolve) is a photographic
effect whereby one scene gradually fades away, at the same time another
scene gradually appears and takes its place.
1. Set the OL/DE switch to the OL position.
2. Aim the camera at the first scene and depress the trigger while maintaining
the FE control in the forward position. Fade-out filming automatically
stops (in about 5.5 sec. at 18 fps).
3. Set the REW/FOW switch to the REW position.
4. Depressing the trigger rewinds the film. Be sure to continue to hold the
trigger depressed for rewinding until the film automatically stops. The film
is now at the exact frame at which the fade-out began.
5. Set the REW/FOW switch to the FOW position.
6. To start the next scene with its superimposed fade-in, squeeze the trigger
while maintaining the FE control in the downward position (Fl).
Caution: Do not attempt overlap shooting when the footage counter needle is
within the first and last 5-foot zones and when shooting at 54 fps.

24 CINE-TECHNIQUES
Fade-out l is Fade-in

I
1 -3

CINE-TECHNIQUES 25
Double Exposure (DE) Operation
The automatic film rewind permits double exposures on the same strip of
film. This is used for the creation of a ghost image or in the titling effect
where white lettering is superimposed on a scene shot in a previous exposure.
1. Set the OL/DE switch to the DE position.
2. Aim the camera at the first scene and depress the trigger while maintaining
the FE control in the forward position. The camera automatically stops
(in about 5.5 sec. at 18 fps).
3. Set the REW/FOW switch to the REW position.
4. Cover the lens with a lens cap or close the shutter opening with the
shutter blade opening control.
5. Depressing the trigger rewinds the film. Be sure to continue to hold the
trigger depressed for rewinding until the film automatically stops. The film
is now at the exact frame at which the double-exposure run began.
6. Remove the lens cap or open the shutter.
7. Set the REW/FOW switch to the FOW position.
8. Depress the trigger for double exposures (at 18 fps: 5.5 sec.).
Note 1: A scene with letters or figures against a large, dark background is likely to
deflate the exposure reading. To compensate, place a piece of non-glare paper or the grey
side of a neutral test card in the copy position and read the light reflected from the
paper. Then lock the exposure reading using the A-M-C knob.
Note 2: Occasionally during double-exposure filming the first one or two frames or the
last few frames do not match exactly and should be removed by editing.
Caution: Do not perform double-exposure filming when the footage counter needle is
within the first and last 5-foot zones and when shooting at 54 fps.

26—CINE-TECHNIQU ES
Reverse Filming Operation
Reverse filming not only makes fascinating cinematography possible but it
also achieves a number of special effects that would be impossible when
filmed in the normal way.
1. Cover the lens with a lens cap or close the shutter opening with the
shutter blade opening control.
2. Depress the trigger while maintaining the FE control in the forward
position. Winding stops automatically (in about 5.5 sec. at 18 fps).
3. Set the REW/FOW switch to the REW position.
4. Reverse the operation performed in step 1 by either removing the lens cap
or fully opening the shutter.
5. Depressing the trigger performs reverse filming. Filming automatically
stops (in approximately 5.5 sec. at 18 fps).
6. Replace the lens cap or reclose the shutter opening.
7. Set the REW/FOW switch to the FOW position.
8. Depress the trigger to wind back the film sequence (at 18fps: 5.5 sec.). To
prevent undesired double exposures at the end of the reverse action
sequence, rewinding should be performed for a period longer than the
already exposed frames; rewind for more than 100 frames and edit the
unexposed film after development. After rewinding, resume normal
filming by either removing the lens cap or fully open the shutter.
Note: Although the 100-frame reverse filming sequence is performed automatically, it
can be shortened to less than 100 frames by releasing your hold on the trigger before the
filming automatically stops.
Caution: Do not perform reverse filming when the footage counter needle is within the
first and last 5-foot zones and at a film speed of 54 fps.
CINE-TECHNIQUES 27
TIPS FOR BETTER HOME MOVIES
•
Knowledgeable use of a few basic
techniques is what distinguishes pro-
fessional moviemakers. The following
are some simple suggestions designed
to help you improve your own home
movies. With just a little practice,
you can increase your pleasure in
creating movies. And your audiences
will get more pleasure from seeing
your efforts, too.
28 TIPS FOR BETTER HOME MOVIES
Hold the Camera Level:
Hold the camera level with respect to
the horizon when shooting. A tilted
horizon line can disturb the overall
effect when projected on a screen.
Hold the Camera Steady:
Practice holding the camera steady.
Camera movement is the worst
enemy of sharpness and results in
bouncy, amateurish-looking films.
For critical shooting at close range, it
would be wise to mount the camera
on a tripod or other firm support.
Hold Your Shots Long Enough:
Avoid short bursts. Make each shot
at least seven seconds long and use
longer shots for interesting action.
Shoot "Reaction" Shots:
While you are filming a race, football
game or other event, shoot close-ups
of the spectators' faces as they react
to peaks of action. Splice these into
the main footage and they will add
drama and human interest to your
film.
When Shooting From a Car:
Set the lens at wideangle, shoot
preferably at 24 fps and point the
camera no more than 45 degrees
away from the direction in which the
car is traveling. This will help to
smooth out bumps and prevent blur.
Shooting directly across the direction
of travel will cause an unpleasant
blurry appearance.
Zooming:
Power zooming presents an almost
irresistible temptation to include a
zoom effect in every sequence. The
result, however, is dizzying footage
which will leave your audience bored
by repetitiveness. Use the zoom
sparingly or it will lose its effective-
ness altogether. The secret of a good
zoom is to hold the camera steady
for a few seconds both before and
after a zoom shot.
Panning:
Moving the camera to follow a
moving subject or sweep across a
panoramic scene is called panning.
Use this technique sparingly and if
you do pan, use a tripod with a pan
head for the best results. Practice
moving the camera slowly and even-
ly. Hold the camera steady on the
first part of the scene for a moment,
then pivot and follow through with
the movement until after you have
released the trigger.
Have a Story:
Before beginning a filming session
establish a general story line to
follow. In this way, your movie will
contain scenes that take place in a
natural, logical order.
Edit Your Films:
When you're shooting action-packed
sporting events or a baby's first steps,
you don't have time to think about
the best sequence of takes. Concen-
trate on getting what you want on
film. Later on, snip out unwanted
frames and arrange your best footage
for maximum interest and drama.
For home movies that look profes-
sional, an inexpensive movie editor is
one of the best investments you can
make.
TIPS FOR BETTER HOME MOVIES 29
DEPTH-OF-HELD TABLES
(ft) (m)
f=7.5 mm Focused
f/1.8 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16
Distance
.0 86"-.0 7'8"-.0 5'7"-00 4'-.0 211"-.0 22"-.0 l'8"-.0 1'3"-.0
.. 2.59-00 2.34-0. 1.70-m 1.21-0. 0.89-.0 0.65-- 0.50-‘. 0.37-..
50 7'4"-.0 613"-.0 5'-00 3'9"-"' 2'9"-00 21"-"' l'7"-.0 1'2"-0.
10 2.08-- 1.92-- 1.47-m 1.09-"' 0.83-- 0.61-- 0.48-- 0.36-0.,
20 6'1"-.0 5'8"-o" 4'5"-0. 3'5"-.0 2'7"-.0 2'-" 1'6"-.0 12"-.0
5 1.74-0. 1.63-- 1.29-a. 1.00-.0 0.77-00 0.59-.0 0.46-0- 0.35-..
10 49"-0. 4'6"-0. 38"-.0 211"-0. 2'4"-00 1 10"-.0 1'5"-0. 1'1"-.0
3 1.43-00 1.35-.0 1.12-.. 0.90-00 0.71-00 0.55-.. 0.44-00 0.34.-,..
7 4'-37'2" 3'10"-73'1" 3'3"-.0 28"-0. 2'2"-00 l'9"-" 1'5"-.0 1'1"-0*
2 1.17-8.22 1.12-12.8 0.96-00 0.79-00 0.65-" 0.52- 0.42-., 0.33-=0
5 3'3"-11'4" 3'2"-13'4" 2'9"-44'4" 2'4"-0. 2'-0. 1.7"-.0 1'4"-.0 191"-.0
1.5 0.99-3.34 0.95-3.88 0.84-11.7 0.71-" 0.60-00 0.49-00 0.40-00 0.32-..
4 2'10"-7' 2'9"-7'9" 2'6"-12'10" 22"-00 l'10"-0. 1'6"-.. 13"-" 1'-0.
1.2 0.86-2.09 0.83-2.29 0.74-3.70 0.64-87 0.55-" 0.46-- 0.38-.. 0.31-..

f=20 mm Focused
f/1.8 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16
Distance
.0 585"-.. 527"-0. 37'7"-.0 264"-.0 8'10"-.0 133"-00 98"-0. 68"-.0
.0 17.8-" 16.0-.0 11.5-, - 8.03-.0 5.74-.. 4.03-m 2.94-.. 2.03-e.
50 27'-346' 258"-.0 21'6"-0. 17'3"-0. 13'9"-.0 105"-.0 81"-" 510"-.0
10 6.41-22.76 6.16-26.5 5.34-78.4 4.46-0. 3.65-.. 2.87-.. 2.27-m 1.68-00
20 14'11"-30'4" 14'6"-32'2" 13'1"-42'7" 11'5"-82'8" 99"-0. 8'-.0 66"-.0 5'-00
5 3.91-6.94 3.82-7.25 3.49-8.84 3.09-13.2 2.68-38.4 2.24-.. 1.85-00 1.44-..
10 8'7"-12'1" 8'5"-12'4" 7'11"-13'7" 73-16 .1" 6'7"-21'2" 5'9"-40'8" 411"-.0 4'-00
3 2.57-3.60 2.53-3.68 2.38-4.05 2.19-4.77 1.98-6.24 1.73-11.6 1.49-.. 1.21--
7 6'3"-7'11" 6'2"-8'1" 5'11"-8'7" 5'7"-9'6" 5'2"-11'1" 4'7"-14'9" 4'1"-25'3" 3'5"-0*
2 1.80-2.25 1.78-2.28 1.71-2.41 1.61-2.65 1.49-3.05 1.34-3.93 1.20-6.19 1.01-138
5 4'7"-5'6" 4'7"-5'6" 4'5"-5'9" 4'3"-6'2" 4'-6'9" 3'8"-8' 3'4"-10'3" 211"-19'9"
1.5 1.39-1.63 1.37-1.65 1.33-1.72 1.27-1.84 1.19-2.02 1.10-2.37 1.00-3.03 0.87-5.65
4 3'9"-4'3" 3'9"-4'4" 3'8"-4'6" 3'6"-4'9" 3'4"-5'1" 3'1"-5'8" 2'10"-6'9" 2'6"-9'10"
1.2 1.13-1.28 1.12-1.29 1.09-1.34 1.05-1.40 1.00-1.51 0.93-1.69 0.86-2.00 0.76-2.88

30 -DEPTH-OF-FIELD TABLES
 (ft) (m)
f=40 mm Focused
f/1.8 f/2 f/2.8 f/4 f/5.6 f/8 f/11 f/16
Distance
ao 233'-co 210'-c. 150'-.* 105'-.. 75'-.., 52'4"-as 38'-.. 26'1"-..
- 71-0. 64-00 46--c. 32-.. ' 16-00 12-00 8--
50 41'1"-63'9" 40'4"-65'9" 37'5"-75'3" 33'9"-96' 29'10"-152' 25'5"-.* 21'5"-a* 17'--
10 8.75-11.7 8.63-11.9 8.18-12.8 7.59 6 7 6.11-27.0 5.33-74 4.39--
20 18'5"-21'11" 18'3"-22'2" 17'7"-23'2" 16'9"-241 0" 15'9"-27'5" 14'5"-32'7" 13'-42'8" 11'2"-87'
5 4.66-5.39 4.63-5.43 4.49-5.63 1.08 , "I 7.34 3.46-8.89 3.03-13.7
10 9'7"-10'6" 9'6"-10'6" 9'4"-10'9" 9'1"-11'1" 8'9"-11'7" 8'4"-12'6" 7'10"-13'9" 7'2"-16'6"
3 2.87-3.14 2.86-3.15 2.81-3.22 2.717 2.64 2 1.72 2.36-4.09 2.15-4.89
7 6'9"-7'3" 6'9"-7'3" 6'8"-7'4" 6'6"-7'6" 6'4"-7'9" 6'2"--8'2" 5'10"-8'8" 5'5"-9'9"
2 1.94-2.06 1.94-2.07 1.91-2.10 1.88 II 1.83-2 ,) 1., . , 2.30 1 I, 1.58-2.71
5 4'11"-5'1" 4'11"-5'2" 4'10"-5'2" 4'9"-5'3" 4'8"-5'5" 4'6"-5'7" 45 -510" 4'2"-6'3"
1.5 1.47-1.54 1.46-1.54 1.45-1.56 1.43-1.58 1.40-1.61 1.36-1.67 1 .74 1.24-1.88
4 3'11"-4'1" 3'11"-4'1" 3'11"-4'11" 3'10"-4.2" 3'9"-4'3" 3'8"-4'4" 3'7"-4'6" 3'5"-4'10"
1.2 1.18-1.22 1.18-1.23 1.17-1.24 1.15-1.25 1.13-1.27 1.11-1.31 1.08-1.35 1.03-1.44

f=60 mm Focused
f/1.8 f/2 f/2.8 f/4 f/5.6 f/8 fill f/16
Distance
524'-‘. 473'-a. 338'-e. 236'-o. 168'-os 118'-- 86'-., 59'-..
c-o 160-00 144-- 103-., 72-- 51---. 36-.0 26-., 18--
50 45'7"-55'4" 45'2"-56' 43'5"-59' 41'1"-64' 38'5"-71'6" 34'11 '-88' 31'4"-122' 26'9"-344'
10 9.39-10.7 9.33-10.8 9.09-11.1 8.75-11.7 8.33-12.5 7.77-14.0 7.16-16.4 6.34-23.0
20 19'3"-20'10"19'2"-20'11" 18'10', -21'4"18'4"-21'11" 17'9"-22'10" 17'-24'4" 16'1"-26'5" 14'9"-30'10"
5 4.84-5.17 4.82-5.19 4.75-5.27 4.66-5.40 4.53-5.57 4.36-5.86 4.1 3.82
10 9'10"-10'3" 9'9"-10'3" 9'8"-10'4" 9'7"-10'6" 9'5"-10'8" 9'2"-1V 8'10"-11'5" 8'5.......3"
3 2." 1.06 2.93-3.07 2.91-3.10 ' 1 2.82-3.20 2 " 1.30 2.7 .43 2.57 6
7 6'11"-7'1" 6'11"-7'1" 6'10"-7'2" 6'9"-7'3" 6'9"-7'4" 6'7"-7'6" 6'5"-7'9" 62-81"
2 1." 1.97-2.03 1.96-2.05 1.94-2.07 1 2.09 1 .1, 1.84-2.19 1.77 29
5 4'11"-5'1" 4'11"-5'1" 4'11"-5'1" 4'11"-5'2" 4'10"-5'2" 4'9"-5'3" 4'8"-5'4" 4'6"-5'7"
1.5 1. 1 1 .52 1.48-1.52 1.47-1.53 1.46-1.54 1 1.43-1 1.40-1.61 1.36-1.66
4 4'-4'1" 4'-4'1" 3'11'-4'1" 3'11'-4'1" 3'11"-4'2" 3'10"-4'2" 3'9"-4'3" 3'8"-4'4"
1.2 1.19-1.21 1.19-1.21 1.18-1.22 1.18-1.21 1 .24 1.15-1.25 1.13-1.27 1. 1
Note: The depth of field is measured from the film plane marked 4) on the side of the camera.
Disc of confusion: 1/80 mm dia. DEPTH-OF-FIELD TABLES 31
CAMERA CARE
•
Good camera care is primarily com-
mon sense care. Treat your camera as
you would treat any valuable pre-
cision instrument. Although the
Nikon R8 Super Zoom cine camera is
ruggedly built, it may be damaged by
shock, heat, water or misuse. The
following are basic tips for keeping
your camera in top condition.
Storage
Store the camera in a carrying case
when not in use to protect it from
dust. Avoid storing the camera in
excessively hot, cold or damp places.
Always attach a lens cap to the lens
when storing the camera to prevent
dust from settling on the lens sur-
face.
Do not leave film in the camera for
long periods of time.
Remove exhausted batteries before
storing the camera for any length of
time.
32 CAMERA CARE
Lens Prior to taking a holiday trip or being
Keep the lens surface free from assigned an important photo job, test
fingerprints and dust as much as your camera by making trial se-
possible. Remove dust with a blower quences. Check the meter. Remem-
brush or lens tissue. ber, it takes at least two or three
Never use cloth or ordinary tissue. weeks for processing the test film and
Do not use water on the lens' glass making any needed repair or adjust-
surfaces. If smudges or fingerprints ment.
persist, use lens tissue moistened
sparingly with alcohol or lens
cleaner. Remember that even ap-
proved lens cleaner can cause damage
if it seeps into the lens mount.
Keep the Camera Away From Water
Avoid excessive moisture. When
using the camera near water, guard
against splashes, especially salt water
spray.
Never Oil Any Part of the Camera
Lubrication should be left to an
authorized serviceman.
ACCESSORIES
•
Hard Leather Case
Stores the camera with its lens hood left
on the lens, spare batteries and various
accessories. Two outside pockets hold
spare cartridges and other small items.
Holds the cine camera only.
Sde Copy Adapter ES 11
Used in combination with the lens macro
control, the ES-2 allows you to copy
standard 35mm format color or B & W
transparencies.
Rubber Lens Hood HR-2
Its use is recommended to prevent stray
light from striking lens surfaces and as an
added measure of lens protection. A screw
thread accepts a 52mm lens cap. Be
careful of slight vignetting which occurs
when using the hood at wideangle.
52mm Snap-On Lens Cap
Filters
52mm screw-in filters are available
(Polarizing filter cannot be used).
Tape Recorder Synch Cord EA -2
Connects the tape recorder synch socket
on the camera with a tape recorder and
allows you to synchronize the film/tape
recorder run.
Attached in front of the camera lens, the
EC-1 focuses down to approximately 1:1
reproduction ratio. It allows you to per-
form close-up cinematography at short
distances in narrow, inaccessible places.
It can also be used with the EM-1 Micro-
scope Adapter for micro-cinematography.
Remote Control Unit EA-1
Allows you to start and stop the camera
from up to 10 feet away.
ACCESSORIES 33
SPECIFICATIONS
•
Film:
Super-8 cartridges with automatic film
speed setting from ASA 10-400 (day-
light) and 16-640 (tungsten light)
Lens:
Cine-Nikkor Zoom lens 7.5mm-60mm
f/1.8 (Zooming ratio 1:8) with macro-
focus and two-speed power zoom with
manual override, focusing from infinity
(.0) to 4 feet (1.2m) on normal control
and from 26m down to 130mm from film
plane on macro; multi-layer coating on
glass surfaces; attachment size 52mm dia.
(P=0.75mm)
Viewfinder:
SLR type finder with split-image range-
finder; 0.55X to 4.4X magnification with
eyesight adjustment from —5 to +3 di-
opters; f/number display with under- or
overexposure warning marks, film-end
mark, with eyepiece shutter control and
rubber eyecup. Shutter blade opening
visible in inspection window.
Film Speeds:
18, 24, 54 fps driven by a micromotor
plus single frame
Variable Shutter:
160° to 0 movement range
34 SPECIFICATIONS
Exposure Meter: Type A Filter:
Fully automatic TTL instant response Built-in for color temperature compensa-
control with manual override powered by tion
two 1.3 V mercury batteries; high contrast
Speedlight Synch Terminal:
light compensation from —1 stop to +2 Accepts a standard synch cord for auto-
stops by scale. matic illumination of single frames
Footage Counter:
Tape Recorder Synch Terminal:
Additive, automatic resetting
Accepts accessory cord to synchronize
Shutter Release: film/tape recorder run
By electromagnetic, dual-action trigger
Remote Control Socket:
with lock, cable release or remote control Accepts remote control unit
Film-Rewind: Dimensions:
Automatic up to approx.100-frame rewind 68mm x 198 (100.5)mm x 220mm
Fade:
Weight:
Automatic fade-in, fade-out with manual
override 1.57kg
Overlap: Hand-Grip:
Through variable shutter and film rewind Fixed
Double Exposures:
Automatic up to approx. 100 frames
Reverse Filming:
Automatic up.to approx. 100 frames
Power Source:
Six 1.5V penlight batteries power motor
of film transport and zoom motor. The
exposure meter is powered by two 1.3V
mercury batteries.
Designs and specifications are subject
Battery Checker:
to change without notice.
Both penlight and mercury batteries in-
dicated in the viewfinder.
NIKON WARRANTY

The Nikon Worldwide Service War-

ranty Registration Card, which identi-
fies your Nikon R8 Super Zoom
cine camera by its serial number,
is your guarantee that the camera
you buy is a new one. When you
return this card to a Nikon distributor
you will receive your Nikon World-
wide Service Warranty Certificate,
which entitles you to a one-year
warranty anywhere throughout the
world, subject to the conditions listed
in the certificate.
Only an authorized Nikon dealer can
provide you with a Nikon Warranty
Registration Card. We cannot guar-
antee any camera or lens sold to you
by an unauthorized dealer without a
Warranty Registration Card, since it
may be second-hand equipment.

NIKON WARRANTY 35
 (Nikon)
NIPPON KOGAKU K.K.

No reproduction in any form of this book, in

whole or in part (except for brief quotation in
critical articles or reviews), may be made without
written authorization from the publishers. Printed in japan (77.3.13) &-7