Disclaimer
The information contained in this Adobe PDF file is for general information purposes only. Due to the age of the information and the difficulty in converting it to computer formats it may not be up to date or correct, we make no representations or warranties of any kind, express or implied, about the completeness, accuracy, reliability, suitability or availability with respect to the Adobe PDF or the information, products, services, or related graphics contained in the Adobe PDF document for any purpose. Any reliance you place on such information is therefore strictly at your own risk. In no event will we be liable for any loss or damage including without limitation, indirect or consequential loss or damage, or any loss or damage whatsoever arising from loss of data or profits arising out of, or in connection with, the use of this Adobe PDF. This document is available free from cineinformation.org.

leumiq

M A R K S 807 D
SOUND PROJECTOR FOR ALL 8MM GAUGES

Instructions in brief

O Connect the projector to the mains supply. Check the supply voltage and frequency. Swing up the reel arms. Place the reel with Super-8 or single-8 film on the front arm (see page 6 for standa-rd-8). Place the universal reel on the rear arm. Move the main switch to "forward without lamp". Press the threading key.
Image size Running speed adjustment image sharpness Frame line control Elevation control Volume control
Feed the film into the sprocket. Release the key only when the film has run on to the take-up reel. 0 Switch the main switch to "forward projection with lamp".
At a Glance: Playback and sound recording with the EUMIG Mark S 807 D sound projector.
You find on page 11,The projector features Before connecting to the mains supply Changing the film gauge Automatic threading Silent and sound projection Sound recording, Before you start Sound recording procedure Recording by microphone Recording music Music cuts Sound mixing Connecting supplementary units The EUMIG re-recorder lead Changing the lamp replacing the fuse Care of the projector and general hints Technical data Wiring diagram Recommended accessories Sound recording in brief
I ou have chosen wisely, for with a EUMIG sound projector you have acquired one of the most up-to-date units made by the world's largest manufacturer of sound projectors. EUMIG has been making movie projectors for more than forty years. The experience gained over this time ensures that your projector is as modern and as efficient as it possibly can be. The new sound projector offers optimum serviceability with simple operation and maximum reliability. People sometime complain that recording sound for movies is too complicated. In fact, it is quite straightforward as you will see once you have read the following pages. After all, you have acquired a sound projector because you are no longer prepared to make do with silent movies. Follow the advice in the next pages for the unlimited fun to be obtained from adding sound to your films.

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The projector features O 0 O 0 <D Rear reel arm Cover of sound unit Retaining screw for sound unit cover Recording level control Focusing knob Front reel arm Frame line adjustment Elevation control Supply lead Supply voltage selector External speaker socket Carrying handle Loudspeaker Reel arm catch Milled inching knob Sound recording key Earthing socket (provided where required to meet safety regulations of certain countries) Retaining screws for back cover Small type " S " sprocket Sprocket guards Lens Automatic threading key Type " S " film pressure pad Type " S " film gate Large type " S " sprocket Running speed adjustment Lamphouse cover Film trimmer Line output Audio, radio and microphone input Mixing control Volume control Main switch Red recording signal lamp YeHow mixing signal lamp

(A) (B) (C)

Type " S " sleeve for the take-up shaft Sound change-over switch for changing gauges Peg to hold the sleeve for the take-up shaft
Interchangeable components for projection of standard 8 mm films are mounted in the lamphouse cover and in the housing: (e) (F) ^ Film pressure pad Film gate Small sprocket, black Large sprocket, black

Accessories supplied with the projector:
1 Film trimmer Attach the film trimmer to the projector by its self-adhesive base to have it always conveniently at hand. Be sure to fix it in such a position that no film trimmings can drop into the projector. 1 Microphone 1 Fuse 1 Mains supply lead 1 Universal type AS 18 reel (Can be used as an automatic take-up reel and storage reel) 1 Instruction manual 1 Guarantee card 1 Film reel with about 20 feet of edge-striped Super-8 film

790.1122/6

908.103/3 906.721/8

596.0250/8

739.1600/6
Before connecting to the mains supply
. there are a few points which are important for correct operation of the projector:
1 T h e type of supply current, voltage and frequency of your mains supply must match the settings on your projector. If your supply voltage does not correspond to the projector setting, remove the back (unscrew the screws A), pull off the plug B towards the left and attach it to the appropriate terminal (see illustration).
For countries with a supply frequency other than 50 Hz a special version is supplied on which the frequency can be switched. To do this, pull off the blue plug C and attach to the appropriate terminal. Move the lever D at the top right so that the required frequency value appears horizontal. 2. The transport lock. For safety in shipping, the motor has two retaining screws (E) to secure it rigidly in position. These screws must be removed before you first connect the projector to the mains supply unless your photo dealer has already done this for you (see illustration).

Changing the film gauge

Normally the EUMIG multi-gauge projectors are supplied ready for playing Super-8 films. They are however easily converted for projecting standard 8 mm films. Proceed as follows:
Remove the lamphouse cover. Open the sprocket guards and pull off the film sprockets. Replace by the alternative sprockets stored inside the lamphouse cover. Push on and, if necessary, turn to make them engage. Then close both sprocket guards. Turn the milled knob at the back of the projector to bring the red dot to the top. (This retracts the claw to prevent damage.) Fully move the lens forward with the focusing knob. Press the film pressure pad towards the lens and pull out. Press the film gate towards the lens, carefully remove and replace by the alternative film gate E which will be found inside the housing. (First push in fully, then press to the left to make the guide pins engage.) Replace the film pressure pad by the alternative pad D. Fit the light grey adaptor sleeve on the reel shaft for Super-8 and Single-8 projection. Switch over the sound change-over switch.

Small film sprocket

ISH-+S

Standard 8 mm film

Super-8 and Single-8 films

Large film sprocket

Replace the lamphouse cover. Interchangeable components for Standard-8 projection (black): Large film sprocket 718.1173/4 Small film sprocket 707.1170/7 Film pressure pad 718.1131/0 Film gate 718.1139/Alternative components for Super-8 and Single-8 Large type " S " film sprocket, light front face Small type " S " film sprocket, light front face Type " S " film pressure pad Type " S " film gate Light grey type " S " sleeve for the reel shaft projection: 718.1171/0 703.1511/5 718.1132/1 718.1140/0 718.3414/0

Type " S " reel shaft sleeve

Automatic threading

The film is automatically threaded through to the core of the take-up reel and an ingenious device automatically maintains the correct picture/sound separation (18 frames with Super-8 and Single-8, and 56 frames with Standard-8 mm films). A few points are however important for perfect operation of the automatic threading system : The sprocket guard must be closed, all splices should be perfect and the films must have a leader of about 20 inches (50 cm) length. The end of this leader should be slightly curved inwards, cleanly trimmed and free from creases. Use the film trimmer supplied. Fully press down the threading key and thread the film always with the main switch set to "forward without lamp".
Silent and sound projection
O As soon as the projector is connected to the mains supply, the lamp is pre-heated to ensure maximum burning life. O Erect the reel arms and mount the reels. The full reel goes on the front arm and the empty take-up reel on the rear arm. When you look towards the screen from behind the projector, the film perforations should be on the right; or they should face you as you thread the film from the side. When using a 600 foot (180 m) reel for instance the universal type AS 21 reel raise the catch and fully swing the reel arm upwards. o Turn the main switch to "forward without lamp". O ' Depress the film threading key to close the film track, and feed the film leader into the sprocket. Important: Keep the threading key depressed until the film runs into the take-up reel. Move the main switch to "forward with lamp" Q. The film cannot be threaded with the switch in this position. Important: When running the projector make sure that the air stream emerging from the ventilation openings is not obstructed. If the image is jittery or the projector rattles during running (or both) due to damaged perforations or other causes, briefly depress the threading key during projection. If this does not help, briefly switch from forward to reverse projection (or vice versa). Films can vary appreciably in their handling characteristics, especially with thin film bases. If such films should fail to engage on the take-up reel, lead the film leader into the reel core by hand.
Once the film is threaded and the projector is running:
O Adjust the projected image size by turning the zooming ring. Adjust the image sharpness by turning the fine focusing knob. Adjust the frame line control if two part pictures appear on the projection screen with a line (the frame line) between them.
O Adjust the level of the projected image with the elevation control. 0 Reverse projection: Switch the main switch to "reverse with l a m p " ' 0 \ the film now runs backwards. When changing over the running direction, the frame line usually needs adjustment. Rapid rewinding: After the film has run through, attach the end directly to the front reel and turn the main switch to "reverse without lamp". O" When projecting sound films, adjust the required playback volume by turning the volume control Q to the right. At the end of every show always turn the main switch back to its stop position. Q

Adjusting the running speed
24 H | 18 I 24 m l i 18 Important: Before changing the running speed always turn the main switch to its stop position O ' and connect the projector to the mains supply. After switching from 24 to 18 fps, wait for about two minutes before projection to allow the flywheel speed to stabilise.
SOUND RECORDING Easy sound recording with striped film and automatic control
Sound recording is supremely easy with the EUMIG projectors, because they are designed for magnetic sound films. Once your film has been striped (your photo dealer will do that for you) you can use your EUMIG sound projector virtually like a tape recorder. The fully transistorised sound section with integrated circuits and proved automatic recording level control works largely on its own, so that you can devote your full attention to the film.
Before you start 1. The universal EUMIG re-recording lead
The universal EUMIG re-recording lead (available as an accessory from photo dealers order Nr. 790.0260/2) is a valuable aid to sound recording. With it you can connect virtually all sound sources on the market. Further details on page 16.
For direct re-recording without the re-recording lead the plug must be wired as shown below.
2. The input level control
As different sound sources vary in their output voltage, they should be matched to the amplifier of the projector with the input level control. The input level control is normally set to a mid-position which ensures perfect recording in most cases. However, it also permits individual adjustment for optimum results with the built-in automatic recording level control, to match the sound source used (cassette tape recorder, record player, radio, etc.). If a trial recording shows that the playback level is too low, move the input control slightly upwards. If on the other hand the reproduction is distorted, turn it in the opposite direction. This scale permits easy resetting to an optimum established position for a given sound source. 9

Sound recording possibilities (A) Microphone recording
This is the simplest and most straightforward way of recording sound.

Recording music

Here music is re-recorded directly from a cassette tape recorder, record player, etc. You can also cut the music in abruptly or dissolve gradually.

Sound mixing

Speech or a commentary can be mixed into an already recorded music background during a second run through of the film. The music background is at the same time appropriately attenuated.
Sound recording procedure (A) Recording by microphone
Connect the projector to the mains supply and thread a striped film. O Turn the mixing control fully to the right to engage. Connect the microphone to the s o c k e t. O Q Turn the volume control fully acoustic feedback (whistling). Press the red recording key. Switch the projector to "forward with lamp". When speaking into the microphone hold the latter about 4 inches (10 cm) away from your mouth. The microphone should be as far away from the projector as possible. to the left w , to avoid

v/ Recording music

First the music background is recorded on the sound track. The commentary or special sound effects are then recorded during a further recording run. Valuable aids provided by EUMIG for this purpose are the re-recording lead already mentioned and also available from photo and movie dealers a film music und special sound effects record or a compact cassette with a wide selection of pieces of music and general sound effects (see page 24). The procedure is simple: Connect the cassette recorder, record player, etc. to the socket. O Q o Turn the mixing control fully to the right to engage. ^ Press the red recording key. Turn the main switch to "forward with lamp". The recording from the audio source connected can be monitored via the built-in speaker. Adjust the sound volume as required with the volume control (during playback switch off the audio source).
Music dissolves A soft dissolve from one piece of music to another with shots of similar subject content following each other is most effective. fShot 1 Shot 2 _

Shot 1 Shot 2

Musk % record! g i n
^jprox.3-4 sec. _ Reverse pr ojectlon St<op

Music \

"BBIP

Music 2

1. Record the music for shot No. 1. Stop the projector just after shot No. 2 appears on the screen. (The recording key automatically jumps out.) Switch the main switch to "reverse" and run the film back about three to four seconds beyond the cut.
2. Turn the mixing control fully to the left, press the recording key and switch to "forward with lamp". Then gradually turn the mixing control to the right until it engages. At the same time run the record or tape to record the music for shot No. 2. 11

Abrupt music cuts For transitions between completely different scenes an abrupt music cut is more appropriate. For such a recording the mixing control remains fully turned to the right and engaged all the time.

Shot I

Shot 2
I. S t o p the music recording No. 1 at the first shot and wind the film back exactly to the point of the cut. As the projection lamp glows weakly due to pre-heating even with the main switch set to "stop", you can locate the exact point of the cut by turning the milled inching knob next to the recording key.

Music record* ng 1

St<Dp

Rever s e projecltion

2. Press the recording key, switch to "forward with lamp" and record the music for shot No. 2.

Shot 1 Shot 2 ^

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(g) Sound mixing

Often a music background is all you need. But sometimes you may also want to add a spoken commentary or special sound effects. This is easy with the mixing control. 12

A^Uck'

Once the music is recorded, re-thread the film and connect the microphone to the s o c k e t Q Q T h e n : O Turn the mixing control fully to the left. Q Turn the volume control also fully to the left. G Switch to sound recording: Press the recording key. O Turn the main switch to "forward with lamp". 5. Before speaking into the microphone turn the mixing control to the right. If you speak a brief cueing word for instance "attention" into the microphone immediately before operating the mixing control, the automatic recording level control suppresses unwanted room noise during mixing. This mixing procedure attenuates the background music and records the spoken commentary. The degree of music attenuation and the volume level of the mixed-in commentary is controlled by the position of the mixing control. 6. When you have finished speaking, turn the mixing control back to the left. This terminates the mixing procedure and the music regains its original level. This procedure of mixing in and out is carried out at every speech section. As when recording in the way already described, turning the main switch back to "stop" disengages the recording setting.
L o w m i x i n g - i n level - / slight attenuation /
High m i x i n g - i n level -

Operational controls

1. Switching to recording. First press the red recording key (which causes the red indicator lamp to light up) and then quickly turn the main switch to "forward with lamp". Going through the setting "forward without lamp" Q ' You can only record sound with the main switch in this position and the recording key depressed. On switching back to "forward without lamp" O , or "stop", the projector automatically returns to playback mode. The audio source should then be switched off.

2. The mixing control allows, as we have seen, soft music dissolves and over-recording of commentary or sound effects while attenuating an already recorded music background. This mode of sound recording is in operation when the yellow mixing signal lamp is alight. As marked on the scale, you can also have intermediate positions. With the knob turned fully to the left nothing records; in the left-hand half of the scale you get a low level of mixed in recording and low attenuation of music. In the right-hand range of the scale you have a high level of new recording and appreciable attenuation of the music background. The extreme right-hand position provides full recording and complete erasure of previous recordings.
3. The volume control adjusts the playback volume and the monitoring volume of audio sources connected to the projector during the recording. As the recording level is controlled automatically, the position of the volume control during the recording does not affect the recording level. To avoid acoustic feedback (whistling) during recording via the microphone, the volume control should however be turned fully to the left. The same applies to reverse projection. 14
4. Erasure of a previous sound recording takes place automatically during every new recording. The only exception is during mixing (page 12). But you can also erase a track without recording a new one, by switching the main switch to "forward with lamp" with the recording key depressed but no sound source plugged into the audio socket.
5. Connecting supplementary units You can also connect an external loudspeaker to your EUMIG sound film projector and set it up near the projection screen. This switches off the built-in speaker. H i However check the specifications of the external speaker: It must have an impedance of 4 ohms or more. When connecting several speaker in parallel, note that two speakers of 4 ohms each in parallel have an effective impedance of only 2 ohms. An impedance below 4 ohms can damage the built-in amplifier.
You can also feed the projector output into an amplifier. Plug the latter into the line output ( [ | > | ). Note the wiring of the connecting lead.

Important: To avoid radio interference do not connect an external speaker during recording. Use only the built-in loudspeaker of the projector for monitoring. 15
6. The universal EUMIG re-recording lead Order No. 790.0260/2 Unfortunately audio units do not have standardised output sockets, nor are connecting leads wired consistently. EUMIG therefore designed a universal re-recording lead to permit connection of every kind of audio source to your sound movie projector. With the various adapters enclosed you can plug into virtually all audio units on the market. Operation is again simple: 1. Select the appropriate adapter and plug it into the sound source. 2. Connect the lead to the projector ( Q Q ) 3. Plug the lead into the adapter. 4. If the projector does not record properly (too low a sound level or distorted sound) due to a mismatch with the circuit of the sound source, try plugging the lead into the adapter with the polarity reversed.

Sound source

Adapter

-HI] -H&i

Changing the lamp
Disconnect the mains lead first Lamp for the Mark 807 D: 75 watt, 12 volt tungsten-halogen lamp with diathermic reflector Order No. 931.005/8 Nothing, not even the best lamp, lasts for ever. If the lamp burns out, it is easy to change: 1. Remove the lamphouse cover. O Pull off the lamp plug from the rear. G Press down the lamp retaining spring and disengage by swinging to the left. Remove the lamp. With multi-gauge projectors be sure not to change the settings of the coils on the sound change-over switch changing the film gauge. 4. Inserting the new lamp: Never touch the lamp envelope and inside of the reflector with the bare fingers. If you have touched them accidentally, clean with alcohol or methylated spirits. Raise the lamp retaining spring and push the lamp, in contact with ( the lamp holder, into the bottom centering guide. The centering lug must engage in the opening provided for it. 5. Press down the lamp retaining spring and engage by pushing to the right. The lamp unit does not need subsequent centering. 6. Re-attach the lamp plug and replace the lamphouse cover.

Replacing the fuse

Disconnect the mains plug first
The fuse rarely needs changing, but here is what you do: The thermal fuse protects the amplifier against overloading, but not the projector against damage through connection to the incorrect mains voltage. On removing the back cover the thermal fuse is visible at the left of the voltage selector panel. 1. Open the fuse cover by turning anti-clockwise with a screwdriver. 2. Remove the faulty fuse from the cover and replace with a new one. Use a 5 x 20 mm surgeresisting 2 amp fuse, order No. 906.721/8. 3. Replace the fuse cover together with the new fuse in the holder and secure by turning to the right.

Care of the projector and general hints
EUMIG sound movie projectors generally need no maintenance, as all moving parts are permanently lubricated. The only sensitive points are the film track and gate which may collect dust and film debris. Remove this with a soft rag or a sable brush, scraping it with a wooden stick if necessary. The film guide elements are easily removed for cleaning: Turn the milled knob (15) to bring the red dot to the top. This withdraws the claw to protect it against damage. O Move the lens fully forward by turning the focusing knob. Then press the film pressure pad towards the lens and pull out. G Press the film gate towards the lens and carefully withdraw. Note: The lens is fully removable on slightly pulling out the focusing knob and withdrawing the lens from the carrier tube. The lens can now also be cleaned. Before replacing it check that one of the two engagement grooves of the lens faces you (see illustration). Now push the lens into the lens carrier until it engages audibly.

Film care

Various film preservatives are available from photo dealers and should be used for periodic treatment of your films. The best way is to run the film through a soft cloth soaked with the cleaning agent. Films which are to be striped should only be cleaned with a soft and fluffless linen cloth dampened with surgical spirit. Important notes on good sound quality with striped films: 1. 2. 3. 4. 5. 18 Check that splices are neat and preferably within the film thickness. Have the film edge striped only after editing, otherwise the splices can cause sound drop-outs and/or noise. Do not use an anti-static agent before striping, as this can interfere with adhesion of the stripe. Clean the films preferably with an anti-static cloth. Store the films protected against dust, preferably in suitable reel cans with film humidifier added.

Technical data

Microphone input: Audio input Automatic recording level control: Frequency range with edge stripe: Line output: Amplifier output: Loudspeaker: Recording indicator: Mixing indicator: Picture/sound separation (standard): 0. 3 - mV, 200-4000 ohms 0.3 mV 2 V, 4.7 K o h m s - 1 Mohm Compensates level fluctuations up to 30 dB. Response time 150 milliseconds, hold-time depending on input level duration up to 50 seconds. 18 fps: - 8,000 Hz 24 fps: 75-10,000 Hz Nominal 100 Kohms impedance, 450 mV 3 watts 4 - 8 Ohms, 2 - 6 watts. Red signal lamp Yellow signal lamp Automatic switch-over to the appropriate picture/sound separation (18 frames with Super-8 and 56 frames with Standard-8 films).

2 S7S R L 43 C3G A 01

'Spomungen bei AUFNAHKC Voltages at RECORDING Tensions a la PRISE DE SON 1 Sparwungen bet WIEDERGABE
ohne Signal gemessen gegen Masse ( 2 , Instrument Ri r 100.000 Ohm/V measured to groundO with out signal voltmeter Ri 100.000 Ohm/Volt mesure sur masse [ 2 sans signal voltm^tie Ri = 100.000 Ohm/Volt

(X) B100

10O 11 12

y n 21 2920

22 2* 2T 52 2S 30 23

100 101

In filming with the eumig mini you have the world at your finger tips
Today's style of life is spontaneous, active and free. The Eumig mini matches that style. For the Eumig mini zoom reflex is compact, handy and light. You are faster on the draw and always sure of automatically correct exposures. And thanks to Eumig's unique patented "Servofocus" system your shots are always pin sharp.

eumig mini o

ZOOM REFLEX O

Eumig movie light

Pin-sharp movies from near to far even when you are zooming. High-speed 3 : 1 zoom lens, two running speeds (18 and 24 f.p.s.). With the Viennette 3 you just look through the finder and every shot is automatically sharp.
Be independent of sunshine; carry your own movie sun with you. This 650 watt movie light gives you fantastic indoor and night shots. It is simple to use, easily mounted on all Super-8 cameras with lamp slot. But you can also use the Eumig movie light independently of the camera, for instance on a tripod.

Eumig bevel-edge splicer

Good films need care; in particular they must be properly edited and spliced. That is what the Eumig splicer is for. It is supremely easy to use your photo dealer will show you how. The splices are perfect and permanent.

Eumig Chemo splicer

The simplest yet most advanced way of film splicing ever known! With the new Eumig Chemo splicer system the film ends are intercut with a serrated edge. That means no more scraping. The effective joint edge is longer, the film ends mate exactly and the splice gains in strength. Use the Eumig Chemo splicer to make splicing really easy. With the Chemo splicer use Eumig cement.
Eumig universal re-recording lead
(Order No. 790.0260) This is Eumig's aid to make your Eumig sound movie projector easy to link with any playback unit. For this purpose Eumig has developed a universal re-recording lead with various special adapters. You can get it from your movie dealer. See also page 16.
Eumig effects record Eumig music cassette
Film music and sound effects for home sound enthusiasts. Provides a wide selection of musical passages and background sound effects the ideal aid to adding sound to your films.
Universal AS 18 take-up and ^ library reel for 400 feet (120 m) and AS 21 reel for 600 feet (180 m), for Super-8 and Standard-8 films, in cardboard box. EUMIG take-up and storage reels in library case, 200 feet and 400 feet (60 m and 120 m) for Super-8 and Standard-8 films. EUMIG EUROPA universal reel in library case, for 200 feet, 400 feet and 600 feet (60, 120 and 180 m) of Super-8 and Standard-8 film, j

Two booklets of movie hints available in many languages from photo dealers:
"Movie making without tears"
Max Abegg, internationally famous author in the movie field, draws on his many years of experience to give valuable hints for all movie makers.
Dust cover for Eumig projectors
It not only protects your projector against dust during storage, but also takes various accessories such as the mains lead, spare reel etc. Durably made. When ordering please indicate the projector model.
EUMIG makes sound movies easy
The author shows how easy adding sound is with a Eumig sound movie projector and how to combine and organise fully professional sound effects. Contains a wealth of practical hints. 24
Perfect sound recording in brief
Connect the projector to the mains supply thread a striped film. Music recording Connect the music source (cassette recorder, record player, etc.).
n the microphone and.w.rn the mixing control fully to the left.
Turn the mixing control fully to the right to engage.
Press the red recording key and turn the main switch directly to "forward with lamp".
Before starting to speak turn the mixing control to the right. (Turned ully to the left no speech is recorded, nor music attenuated.) eft hand scale range = slight attenuation of music Right hand scale range = strong attenuation of music
At the end of the music recording turn the main switch to "stop". After rewinding, the film is ready for mixing in the speech or for immediate screening with a music background.
At the end of the commentary recording turn the mixing control fully to the left.
Repeat this fading in and fading out procedure at every point where speech is to be recorded.
Construction modifications with reservation. Printed by EUMIG in Austria. 740.9205/4 english

Disclaimer

The information contained in this Adobe PDF file is for general information purposes only. Due to the age of the information and the difficulty in converting it to computer formats it may not be up to date or correct, we make no representations or warranties of any kind, express or implied, about the completeness, accuracy, reliability, suitability or availability with respect to the Adobe PDF or the information, products, services, or related graphics contained in the Adobe PDF document for any purpose. Any reliance you place on such information is therefore strictly at your own risk. In no event will we be liable for any loss or damage including without limitation, indirect or consequential loss or damage, or any loss or damage whatsoever arising from loss of data or profits arising out of, or in connection with, the use of this Adobe PDF. This document is available free from cineinformation.org.

ht" sho

size (by zooming)

Makro-Viennon (860

m lock/automatic control/plus-one-stop-correction) itch Tlme-l,an~~R filming 11 Variotimer 12 Forehead rest 13 Eyecup 14 Viewfinder eY~9pileCE! 15 Fil ntification window oor latch 17 Fast-speed key for slow-slow motion 18 Film-plane mark 19 Focusing ring 20 Lens
leu.lhig High ((J),uality ~ound
of sound never before achieved. Accurate sound reproduction also the critical bass treble ranges. This what EUMIG offers with its three HIGH-QUALITY SOUND projectors:

Mark S 810

standard
Electric eye for automa PM asp uperwid er) er 25 Remote-release jack 26 Sync socket for electronic flash and double-system sound
27 FA(jA-inJ1fadA-c,ut9Iitje
Film-sequence timer knob Film-sequence timer tripping slide Footage counter (resettable) Marker dial Footage-counter reset knob Eyepiece lockwheel Film-speed selec 1lorkn()b Battery-check knob Mode switch Zoom-lever extension Electric remote release Wriststrap External-power plug receptable Onloff switch (locks for shooting from tripod) Tripod socket (standard 11/' thread) Battery-compartment lockscrew
Your new Eumig movie camera is a technological marvel. It is made to order for the serious moviemaker. With it, you can let your imagination run wild and your Eumig camera will keep up with you. Its lavish sophistication lends itself to truly innovative moviemaking. Be as creative as you want. You'll love the programming capabilities of your Eumig camera: With the Varlotimer (intervalometer) you can space single-frame exposu res from fractions of a one minute for time-lapse filming. feature provides for exposure 9 conditions. Here, too, expos 10 seconds. With the electronic transi trol is automatic. up to
nee timer permits you to preselect the screen time of a take
e-out featu re you can achieve professional scene
Eumig movie camera matches its electrical and mechanical The 0 performance: Macro-focus capabif right down to the front of the lens for screen-filling supercloseups of a honeybee, a caterpillar, a ladybug. Three times more picture at the same camera-tosubject distance through the distortionfree Eumig PM aspheric superwide-angle lens. Before making any especially important movies (on a trip or some special event), expose a cartridge of film and check the results. This will confirm to you that your equipmer1t working properly. If you have any questions, contact your Eumig dealer or Eumig directly. But your new Eumig movie camera can do a lot more. To the most out of read You'll find out that your creativity is limited only by your ImcaglnatiOln.

Contents

Before you start shooting. Inserting the batteries AC operation On/off switch Checking the battery corldition Adjusting the eyepiece Stray-light suppressor Selecting the Im~::an,) Q117~ Focusing Universal focus Automatic exposure control Manual electric-eye override Diaphragm lock and manual exposure control 10 Viewfinder signals 11 Filming speeds 12 Single-frame exposures 9

lens 22 Camera care 23 Accessories supplied with camera 23 Optional accessories 24- 31 Depth-of-field tables 32-35 Technical data

Beforeyou

Insertin~~

rt shooting.

b,~atte;ries
. you'll do well to familiarize yourself with all camera functions on oper instructions. Put the camera through its paces in a run, even your first movie' will be a success.
The camera is powered by penlight types as defective batteries can ruin camera. Camera due to is not covered recommend alkaline-manganese batteries such MN 1500, by the warranty. t:VE~re(iav E 91, RCA VS Ray-DAM '1500, or Varta If the camera is idle for some remove the corrosion (For longthe retncerator.i with a cover

UQjIIIQMv'

the other fou r again the h~ttorioc One end of an arrow. That arrow should socket as the holder is holder makes it easier to but if you it you batteries 4. Replace the cover and turn the lockscrew clockwise.

Checkingthe batterycond

oc(:asiion~ally narla~lrlp with
before using your camera. To left hand, thereby automaticactuating the switch. Do not pull the trigger. Turn the n~TTAn;/-C':lnAr~K knob momentarily clockwise as far as it will go.

SDI!n:-lrnala8

rarlgetflnrder, it is

es~;ential

viewfinder a of
eveotece clockwise until the outline actuated at any distance or turning the lockwheel,

ling the imc:lgE~ sl:ze

zoom lever on , _.,.,. ele!ctrlca,IIY, with the two-speed.,.,. _."'.'. (telephoto) or servomotor smooth, continuous var'jation or zO()mina movement in the desired din3ction. Press harder in the second, faster zooming speed.

For maXifTlUfTl

a(~Curacy,

in its telephoto

IJV,JlIU'U'1 J.
two halves of the split image meet.

telE~photo

position is good over the entire zo()miing remains the same. Now you can

field.

re1~er to the depth-ot-field tables on page 24. The reference distance is the film-plane mark (4)) on your camera.
partic:ulElrlV important in poor light.
___ _ __ _ __ is no time to __ _ __ alll'~lt:I'" up the uble on the zoom combination, you'll get a depth to in poor light, and

I.IIICI

nivers.al focus set
the universal focus setting on I r on the focusing ring and index marks. With this from about 61/ 2 feet the hip"
of the light. The exdiaphragm to the the viewfinder. Knowdetern'inE~S the depth of field. The automatic switch is overexposure underexposure warnings. A red-white signal at the beginning of aperture. scale., befor.e f/1.8, warns underexposure. barely enough light. You can still but if the warning signal is. , larg~r than as shown, film will be A red-white signal the end of the aperture scale, after f/22, warns against overexposure. "Almost too much You can stiflshoot; but if the warning signal is larger than as shown, your will be overexposed. The remedy for too much. light is a neutral-density 4 x filter (an accessory that is available from your dealer). It screws right onto the lens.

WI.8. 1 D2.

Manual

etrie-eyeove,rride

autorna1Uc exposure-control system of your camera can cope with all normally enconditions. Manual override is indicated only under extreme shooting h-contrast situations or to achieve special effects. The electric eye the light falling on the it integrates the reflected by the light and the scene. Now when subject of major is influenced by its sUlrrOILln(:lin!~s, a plus-one-stop aperture correction is called for. It is the exposure-control knob to corr. +".

Here is an exa

of when to use it:
a snow scene with a skier. The snow-covered area covers twoimage in the viewfinder and therefore will influence the subject of major namely, the skier. Without correction, the skier unICJer'eXIDo~)ea since the whitp. area would cause the exposure-control system to diaphragm at too small an ap4:!rtllre. Similar situations are enCOILInterE~ with backlight, in fog and at the beach.

let's thirds interest,

Without aperture correction

With aperture correction

DiaPhragm I
and manual exposure control

eXIDo~;ur~e-con1:rol

selected by the autoknob will enable you want the most a girl against a Then lock and shoot for
In addition, any desired can be selected manU~!lIIY of the manual rocker switch on top of The automatic system then is disabled. You want to make use of provision occasionally to achieve effects, such as intentional under- or overexposures. Don't forget to return the exposure-control knob to "autom. " on completion of the take to restore automatic exposure control. As a safety provision, a warning signal in the viewfinder indicates that the diaphragm is locked.

inder signals

Plus-one-stop correction or diaphragm-lock indication.

Sir.gl~!-frame

exposures

eXIJo~.une-con~trol

knob to "stop tne manual exposure-control rocker switch. on your electronic flash unit to determine the correct Howlower on the dial than indicated on the sheet example, to ASA 16 (13 DIN) instead of ASA 25 as in daylight
You can use the sync outlet also to synchronize double-system sound (one pulse per frame).

Inserting the cartridge

otage counter
tells you how much film in your 50-ft. cartridge. fresh the red arc of the film stands at start (0) and then toward the end position as shooting way. It automatically to the start mark when the is removed. take a cartridge out before all of the film has been exposed, you can the marker to a memo" of the footage-counter position at which you shooting. Here's Let's say you've exposed one-fourth of the film and change cartridges.
~::irtrirtnA II ''''v' LvU.
you're about cOlntirlue with the partly exposed cartridge, turn the footage-counter knob clockwise until the red arc is opposite the white index dot. You can tell both from the TnC)TR(,lA-i~nllnTj~r (end) position and from the red warning signal in the viewfinder that you're of film. The word "Exposed" then appears in the film aperture of the cartridge.

Daylight and artificial-

t filming
The usual super-8 films come with type A emulsion, balanced for tungsten illumination. The camera's buitt-in fitter provides proper color balance when you're shooting in daylight.

or other will swing

sources, insert the filter key fi Iter out of the way. To make

Fade-ins and fade-outs

Your of it, press camera has built-in orc)viS,iOn for electronic fade-in and onloff exposure-control knob

T.Rl1IA-(}UT_

take with a fade-out, At the COrlClljSICtn of the camera automatically

Fade-In

Push the slide switch up and frame the trigger and at the same time now with a fade-in. effective and fade-outs even with etc.), thread a aeeesserv a'vaillabile from your dealer) on in
subjects x filter (an of the lens.

tic time

recontrol
This enables you to film stationary subjects (such as the interiors of churches and m under extremely unfavorable lighting conditions, the tripod, of course. The exposure times controlled by the electronic time-exposure range from 1/12 sec. to 60 sec. frame. for automatic With the mode switch in the "t,T" position, the camera is time-exposure operation. Flip the on/off switch to it for tripod use, shutter either with the filming-speed selector knob t09 fps, and or the electric the film-sequence timer tripping slide (see remote release. For special effects with matnuaJ SlrIOU;l-rr"afTle operation, switch to 00

Note: The electric eye which measures the light for automatic time exposures is calibrated g with the diaphragm open (f/1.8) with films rated at ASA 25 or 40 (15 or When films rated at ASA 100 or 160 (21 or 23 DIN) are used, the diaphragm must be set to and locked at aperture f/2.8.
When the shutter is tripped, the diaphragm opens, then closes after sufficient time for exposure of one frame has elapsed. A new automatic pulse then triggers another exposure and so forth until the take is completed. Take care that the electric eye for automatic time-exposure control (below the lens) is not accidentally covered.
to "norm" itself at slide.
Note: The Variotimer will with the filming-speed selector knob in any position. due to the startup of the motor, the automatic exposure-control system work properly only when the switch is in the single-exposure ([] [] ) position. You'll want to use the Variotimer whenever an event that takes place over an extended period of time is to be compressed into a few seconds on the screen, as, for example, a
a flower or the sun rising over the horizon and into the sky. But you other dramatic effects. Wt1len u5~in~lttleValrioti~mE~r for time-lapse photography, bear in mind that 90 single-frame on the screen for only about 5 seconds, assuming a projection speed can use the film-sequence de1terlnjrle the length of a time-lapse se,quence, rdlcatirlg instrument. When you're through using the Variotimer, set the mode switch to "norm". ing of a blossoming flower, for example, can extend over many hours. Save by using the AC adapter, an optional accessory available from your dealer. as possible in indoor shooting, too. underexposure warning in the viewfInder, plug in your electronic flash.

.a,nd macrofilming

ozoom lens of camera vastly broadens your moviemaking scope and up a fascinating is closed to cameras lacking the extremely-closeg abil of your Eumig camera. It lets you go from infinity all the way to the front of the lens without additional means and with the full benefit of split-image cusing.

No,rmal near-focus limit

The normal focusing range allows you to get as close to your subject as 3 ft. In the full telephoto position (48 mm. or 56 mm., respe'ctively), the picture area then is 3.6 x 2.7 in. or 3.3 x 2.4 in., respectively.

e front of the lens

release the macro lock by pushing the back automatically), zoom lever or the

tooosma

within the macro

a soft

of the macro range. before. Do not use
may aC(~jdE~nt(~lIy means you've in, release the macro

macro attachment lens

ming with
With the Eumig macro kit a lot It consists of title a cOlmbinSttioln ereceorno section. The macro bracket ample room for proper focus (that is, of the macro or drawn macro which slide out of focus This makes for very. Unscrew the lens hood.
2. Push the slideholder onto the lens as far
as it will go. 3. Slip in the slide. 4. Turn the focusing ring to 00. 5. Release the macro lock. Zoom from the range into the macro range by means the zoom lever. Focus with the split-image rangefinder, using the zoom lever. 6. Shoot the slide and zoom into the wideangle range, either manually or with the oowerzoorn rocker.
You can, of course, make this shift in focus from the macro ra'nge to the wide-angle range also without slideholder and slide and achieve intriguing optical transitions, with one scene dissolving into a blur out of which the next scene comes into focus. add more variety to your movies, you can, for a moving title, slide a home-made title clear acetate through the slideholder. Or you can use the wiping mask. Here you lock the diaphragm (by turning the exposure-control knob to "stop @") before shooting the outgoing scene. Then slide the mask through the slideholder. (Since the diaphragm is locked, the gradual blacking out of the scene does not affect the automatic exposurecontrol system.) For the next scene, you push the wiping mask through the slideholder from the other side, after locking the diaphragm at the f/stop selected by the automatic exposurecontrol system on the basis of the incoming scene. For an occasional simulated peek through a keyhole or a binocular, use the appropriate cutout in the combination mask that comes with the macro kit. For these special effects, too, you have to lock the diaphragm. Don't forget to switch back to "autom. @" when you're through.
Filmin'g with the Eumig PM aspheric lens
broad focal-length range of the high-performance zoom lens of your Eumig camera usually give you the desired picture area between the wide-angle and telephoto ends. However, there will be times when you have your back against the wall and there is no of taki the whole scene even in the full wide-angle position. for such situations that Eumig has designed its PM aspheric superwide-angle lens. This attachment lens comes with your camera as standard, not optional, equipment. It extends the wide-angle range of the prime lens down to 4 mrn., which means that it will give you three times as much picture.

1. Unscrew the lens hood.

aSI)hE~ric toc~USllna

the prime

ring to

4. Release you can with the from the
the macro lock and move as into the macro range as go, using the zoom lever. Then slowly and focus split-image now extends front element
Drc.ao Ot:)DII1-0T-TliBIO
t the most out of the extremely focus on a 24 in. field extending from to

Camera care

Your Eumig camera requires a camel's hair brush or a antireflection coating, be the camera is not in use. Dcca little in the way of maintenance,. Do clean the lens with cloth when While it has a scuff-resistant scratch the lens keep the lens on when the cartridge chamber with a soft
Never keep your camera in the glove comp,artment or on the rear shelf of your car. If it is likely to be idle for some time, remove the batteries and store them in a cool, dry place.
Accessories supplied with camera:
g PM attachment Electric remote Filter key Lens hood Filter-key slot cover
Ord. No. 593.2475/2 Ord. No. 930.122/7 Ord. No. 515.3058/2 Ord. No. 593.6557/2 Ord. No. 529.4325/2
Eyecup Fo ead rest Zoom-lever extension Wriststrap Lenscap plus warranty card and instructions
Ord. No. 523.5300/0 Ord. No. 523.5290/0 Ord. No. 593.6642/4 Ord. No. 593.2370/0 Ord. No. 523.5190/7 operating
Optional al"'l"'t.~~~ori
Macro kit Macro attachment lens AC adapter for 120 or 220 volts
carried by camera stores:
F oe Ord. No. 593.0402/9 Electric remote-release 33-ft. extension cord Ord. No. 593.0401/7 Carrying case Ord. No. 930.121/5
Ord. No. 593.0397/9 Ord. No. 593.0396/7 in preparation

DEPTH OF FIELD TAB

for EUMIG 860 PMA with MAKRO-VIENNON 8-48 lens and EUMIG 880 PMA with MAKRO-V1ENNON 7-56 lens
Distance measures from the film plane

<t>

m 00 10
1,82- 00 1,54-00 1,34- 00 1,14- 00 0,96- 00 0,83-9 0,73-3,5 0,65-2,23
1,17- 00 1,05-00 0,95- 00 0,85-00 0, F4 0,66-00 0,60- 00 0,54-7

0,91.. 00 0,84- 00 0,77-00

0~70- 00

5,0 -00 3,3 -00 2,51-00 1,88-7,5 1,43-3,3 ','6-2,15 0,97-1,58 0,84-1,25
3,6 -00 2,64- 00 2,09- 00 1,64-19 ',29-4,6 1,06-2,59 0,90-1,81
5,3 -00 3,5 -9,1 2,37-4,11 1,70-2,44 ',33-1,74 1,0.9-1,35 0,92-1,10 -00
5,0 -00 3,3 -10 2,31-4,29 1,17-2,50 ',3'-1,77 1,08-1,37 0,91-1,12 -00

OilS-oo

0,57.. 00 0,52- 00 0,48- 00 1,79- 00 1,52-00 1,32-00 '1,12- 00 0,95- 00

0,73-3,5

0,1S-2,23 3,6 -00 2,13- 00 2,09- 00 1,13-19 1,29-4,6 1,06-2,60 0,90-1,81
0,88-1,17 '4 -00 5,8 -35 3,7 -7,8 2,48-3,82 1,76-2,34 1,36-1,68 1,11-1,32

0,79-1,39 7,0 -00

4,1 -00 2,92-18 2,11-5,3
9,8 -00 5,0 -00 3,3 -10 6,9 -18 4,1 -6,5 2,64-3,48 1,84-2,21 1,14-1,27 0,96-1,05 6,6 -20

= 28mm

2,48-00 1,87-7,7 1,43-3,4 1,15-2,17

4,0 -1,7

2,61-3,55 1,82-2,23 1,14-1,28 0,96-1,06
2,30-4,3 1,67-2,52 1,31-1,78 1,07-1,37 0,91-1,12

1,56-2,80

',24-1,91

1,41-1,62- 1,40-1,13

0,94-3,9 0,81-2,36

0,72-1,69

0,82-9 0,72-3,7

0,1S-2,28

',03-1,45 0,88-1,17

0,97-1,59 0,84-1,26

0,94-1,08

0,79-1,40

f = 36 mm
8,1 -00 4,5 -00 3,1 -13 2,19-4,8 1,61-2,66 1,27-1,85 1,05-1,41 0,90-1,15

5,9 -00 3,7

4,1 - 00 2,89- 00 2,24- 00 1,73-12 1,34-4 1,10-2,39 0,93-1,71 0,81-1,33
2,95- 00 2,28- 00 1,86- 00 1,49- 00 1,20-6,2 1,00-3,1 0,86-2,03 0,75-1,52 3,3 -00 2,48- 00 1,99- 00 1,57-00 1,25-5,1 1,03-2,77 0,88-1,90

0,n-1,44

7,8 -14 4,4 -5,8 2,77-3,28 1,90-2,12 1,45-1,57 1,17-1,25 0,98-1,03 -00
7,6 -14 4,3 -5,9 2,75-3,31 1,89-2,14 1,44-1,58 1,16-1,25 0,98-1,04 -00
7,0 -18 4,1 -6,4 2,66-3,45 1,85-2,19 1,41-1,61 1,15-1,27 0,96-1,05 -00
6,2 -26 3,8 -7,2 2,54-3,69 1,79-2,29 1,38-1,66 1,12-1,30 0,95-1,07
5,4 -00 3,5 -8,8 2,39-4,05 1,71-2,42 1,33-1,73 1,09-1,34 0,93-1,10 -00
2,71- 00 1,99-6,1 1,50-3 1,20-2,02 1,00-1,51 0,86-1,21 6,6 -00 4,0 -00 2,84-21 2,06-5,5 1,54-2,88 1,23-1,95 1,02-1,47 0,87-1,18

1,00 18

f=38mm
8,0 -13,3 4,5 -5,7 2,80-3,25 1,91-2,11 1,45-1,56 1,17-1,24 0,98-1,03
7,8 -14 4,4 -5,8 2,77-3,28 1,90-2,12 1,45-1,57 1,17-1,25 0,98-1,03
7,2 -16 4,2 -6,2 2,69-3,40 1,86-2,17 1,42-1,60 1,15-1,26 0,97-1,05
6,4 -22 3,9 -6,9 2,58-3,60 1,81-2,25 1,39-1,64 1,13-1,29 0,95-1,06
5,6 -00 3,6 -8,2 2,44-3,91 1,74-2,37 1,35-1,70 1,10-1,33 0,93-1,09
4,7 -00 3,2 -11 2,26-4,5 1,64-2,57 1,29-1,80 1,06-1,39 0,91-1,13
3,1 -00 2,38- 00 1,81-9 1,39-3,6

1,~3-2,25

0,95-1,64 0,82-1,29

DEPTH OF FIELD TABLE

for EUMIG 860 PMA with MAKROVIENNON 8-48 lens and EUMIG 880 PMA with MAKROVIENNON 7-56 lens with EUMIG MAKRO lens Distances measures 30.4 em. from the film plane Quoted in em.

f=48mm f= 56mm

f= 8mm

f = 12mm

f =28mm

f = 38mm

1,8++ 2,1 2,0++ 2,4 2,8++ 3,6

1,5++ 1,7 -', '++ 0;

17.-.J.
-0,2+ +0,2 -0,2++0,2 -0,3++0,3 -0,4++0,4 -0,6++0,6 -0,8+ +0,8

-0,1++0,1 -0,'++0,1

-0,05+ +0,05 -0,057 +0,05 -0,057 +0,05 -0,1 ++0,' -0,1 ++0,1
-0,47+0,4 -0,5++0,5 -0,8++0,8 -1,1++1,1 -1,5++1.6 -2,9++3,4 -3,9-:- +4,9
2,3";'+ 2,8 -1,1++ 1,2 4,3 -1,5++ 1,7

5,&

3,8-:-+ 5,5 - 3,2 6,5++14,6 8,2++26
-0,2++0,2 -0,1 -;.-+0,1 -0,1 ++0,1 -0,3++0,3 -0,2 ++0,2 -0,15+ +0,15 -0,4++0,4 -0,3 ++0,3 -0,2 -0,6++0,6 -0,4 ++0,4 -0,3 ++0,3 -0,9++0,9 -0,5 ++0,5 -0,4 -1,2+ +1,2 -0.7 ++0,8 -0,6 +0,4 t,6.
5,0-:-+ 8,6 - 4,2++ 6,5 -2,1++ 2,5

1&

5,6+ +10,4 -2,9++ 3,'
7,17+17 9,2-;.-+36 -5,3++ 8,5 -6,87 +13,'
-3,9++ f,3 -2,0++2,3 +1,6 -2,1+ +2,3

-10,3-:-+76 -12,2++00

-11 ++00
Example: Focal length setting 30.4 em., focal distance: f

12 mm. Aperture

Depth of field: 30.4 em.

= 25.5 em.+34.1 em.

for EUMIG 860 PMA with MAKROVIENNON 8-48 lens and EUMIG 880 PMA with MAKROVIENNON 7 - 56 lens In the MAKRO RANGE Quoted in em. Focal length adjustment: 00, B-:= width of image field

B = 150mm

B = 100mm

B = 65mm

B = 45mm

B = 30mm

2,3 2,0 2,6

+ 1,0 + 1,6

-0,4- + 0,4 + 0,5 -0,60,7 -08-+ itO ,1 1,51,4 2,2
-0,2-+0,2 -0,2-+0,2 -0,3-+0,3 -0,4-+0,5 -0,5-+0,7 -0,7-+1,0 -1,0- +1,5 -1,3- +2,4 -1,6-+3,9

-0,9-+ 1,1

-0,1-+0,1 -0,1 +0,1

6,1 5,0-+ 9,8

-1,8-+ 2,5 -2,4-+ 3,7 -3,2-+ 6,1 -4,0-+10,1 -5,1- +23 -6,1-+87
-0,2- +0,2 -0,3-+0,3 -0,3-+0,4 -0,5- +0,6 -0,6-+0,9 -0,8-+1,4

6,4-+ 18 7,8-+ 37

-1,9-+ 3,4 -2,5-+ 6,0 -3,1- +11,2

'1'11') v._

-11,2- +

Example:

Width of image field: 65 mm. Aperture: 5.6 Depth of field: 2.5 em.

Techni

Film format: Film speed's:

I data Eum

860 PMA and 880 PMA movie cameras
50 ft. silent or sound super-8 cartridge. ASA 25 and 100 (15 and 2,1 DIN) daylight. ASA 40 and 160 (17 and 23 DIN) tungsten. Film speed sets automatically (also with typ,e G film) as cartridge is inserted.

Conversion filter:

The built-in conversion filter is auto,matically flipped out of the optical path when a movie light is mounted on the camera. 01 through insertion of filter key; automatic Manual filtet c control through notch in cartridge.
MA: f/1. -48 mm. 13-element Makro-Viennon zoom lens. Focuses down to 3 ft., in the macro, mode down to the, lens vertex. Focallength range: 8 to 48 mm.; in combination with the Eumig PM aspheric attachment lens, down to 4 mm. superwide angle. Eumig 880 PMA: f/1.- 56 mm. 13-element Makro-Viennon zoom lens. Focuses down to 3 ft., in the macro mode down to the lens vertex. FocalI : 7to 56 mm.; in combination with the' Eumig PM asphe ttachment lens, down to 4 mm. s.uperwide angle.

Filter thread:

55 mm. (for both lenses). Manual and two-speed power zoom.

Focusing:

age focusing by ting on horizontal lines. (Accurate focusing also in the macro range.) Parallax- and flickerfree reflex finder (prismatic). Eyepiece adjustment 5 diopters. Eyepiece cover for stray-light suppression. a) s Green blink' rt. oes out at end malfunction. signal indicates proper film film or with a filmtransport

Viewfinder:

Viewfinder signals:
ery check: Red signal indicates that batteries are good. pointer.

c) Diaphragm lock: Wa

d) Plus-one-stop correction: Warning p'ointer, e) End of film: Red signal goes on. f) No-cartridge indicator: Red signal. g) Display of f/stop in use; under- and overexposure warnings.

Automatic on/off switch:

Electronic circuits and automatic exposure-control systems are energized as handgrip is grasped. On/off switch can be locked for shooting from tripod. Five alkaline-manganese penlight (AA) batteries. Possible with 7.5-volt AC adapter. Permanent-magnet-excited DC motor.
Batteries: AC operation: Drive motor: Filming speeds:
9, 18 and 24 45-fps slow-slow motion (may be locked in or cut in at any filming speed), single-frame.
nn!::n.lr'\o set manually with marker dial when a partly exposed film cartridge is used. Resets automatically.

ge counter:

Exposure control:
Fully automatic throu servomotor and CdS photoresistor in voltage-independent ge circuit. Control range: f/1.8 to f/64. Automatically allows for conversion filter. Diaphragm may be manually set to and locked at any desired f/stop.

Diaphragm lock:

Plus-one-stop correction: Manual electric-eye override to open up one flstop. Sh release: mote release: Shutter sector: Sync socket: Electromagnetic. Jack accepting subminiature phone plug for single-frame and continuous-run operation. 190 degrees (both models). Jack conforming to DIN 19003 for single-frame operation with electronic flash and for synchronizing double-system sound (one pulse per Timeinterval continuously variable from 4 - 5 fps to about one frame per minute. rom
Variotimer (Intervalometer) : Time-e sure control: uence timer:
matic single-frame operation with extended exposure times 1/12 sec. to about one minute per frame.
Duration of take may reset over a range continuously variable to about 10 seconds, based on a projection speed of 18 fps. fade-out tripped by slide switch. Duration ds at 18 fps (7 f/stops). Camera shuts at conclusion of fade.

Fade-in/fade-out:

EUMIG sound projectors have won world-wide acclaim.
EUMIG Mark S 807 for seper s
EUMIG Mark S for super 8 and standard 8
EUMIG Mark S 802 for super 8

..g High @uality ~ound i

never before achieved. Accurate sound reproduction also in the critical treble ranges. This what EUMIG offers with its three HIGH-QUALITY SOUND projectors:

Mark S 810 super

splicer
I-'r(')('1lJC~lA Innl~.1=1Atina

conventional splices.

A unique splicing technique. Fast. No mess, no trouble. Recommended partiefor sound films.
Subject to design changes without notice. Printed at Eumlg In Austria.