Beaulieu 5008 S (1974–1977)

Name: Beaulieu 5008 S
Brand: Beaulieu

At 2.57 kg with the standard Schneider zoom mounted, this is a Super 8 camera that makes you plant your feet.

Overview

The Beaulieu 5008 S was the first Beaulieu with built-in magnetic sound recording. Introduced in February 1974 and built in France through 1977, it came from a company already known for optics and mechanical precision. Super 8 was peaking as a tool for independent filmmakers, and the price showed it: roughly $1,600 to $1,700 in 1974 dollars. That bought an all-metal body, an interchangeable C-mount, and a true single-lens reflex viewing system. Almost nobody else in the consumer format offered that combination.

The lens mount sets the 5008 S apart from the rest of the Super 8 herd. It takes interchangeable C-mount glass, so the Schneider-Kreuznach Optivaron 6-66 mm f/1.8 Macro it typically shipped with is a starting point, not a ceiling. The reflex system uses a vertical 45° mirror shutter that sends light to the viewfinder when the shutter is closed. What you see through the eyepiece is what the film gets, with no parallax error. The viewfinder has a tilting matte screen, an adjustable eyepiece good for plus or minus 2 diopters, and a film-advance indicator in the frame.

It is not a light camera. It weighs 2.57 kg with the standard Schneider mounted and measures 35 cm long, 11 cm wide, and 21 cm tall. Owners report that when it works, it works beautifully. The catch is that the same complexity that made it powerful also makes it a challenge for modern technicians to service.

Key Features

Reflex Viewfinder with Retractable Ground Glass

The single-lens reflex system was a rarity in Super 8, and Beaulieu used it properly. A mirror on the shutter directs light to the viewfinder while the shutter is closed, giving a true through-the-lens image. The retractable ground-glass screen has two viewing modes. With the ultra-luminous ground glass in place, you get precise manual focusing. Without it, you get a brighter, more general view of the scene, which helps when light is scarce. The eyepiece adjusts across a plus-or-minus 2 diopter range, and a film-advance indicator in the frame confirms the film is actually moving.

Interchangeable C-Mount and the Angénieux Option

The C-mount is the 5008 S's real argument. The standard Schneider-Kreuznach Optivaron 6–66 mm f/1.8 Macro focuses from 0 to 1500 mm — just under five feet — with macro capability. But the optional Angénieux 6–80 mm f/1.2–1.4 Macro was the lens owners still rave about: an 11.6x zoom with a T-stop as low as T1.4, capable of pulling focus from infinity down to 0 mm with the macro attachment. That is a serious piece of glass, and paired with Kodak's better stocks it delivered the kind of cinematic image Super 8 was not supposed to be able to produce. The zoom itself runs electrically at speeds adjustable between 4 and 12 seconds, or can be switched to manual for whip-zooms and precise framing.

Magnetic Sound Recording on Film

The 5008 S records single-system magnetic sound straight onto the film, with both auto and manual recording level control. Frequency response reaches 50 to 12 kHz ±1.5 dB at 24 fps, and drops to 50 to 9.5 kHz ±1.5 dB at 18 fps. Those are remarkable numbers for magnetic stripes on 8 mm film. Wow and flutter is held below 0.4%. The microphone input is a DIN 5-pin with three selectable sensitivities: 0.15 mV to 20 mV at Z = 5KΩ, 3 mV to 15 mV at Z = 100KΩ, and 30 mV to 1.2V at Z = 500KΩ. A headphone output rated Z > 1.5 KΩ allows monitoring during the take. A synchronized sound socket and an electrical remote control socket complete the setup, enough to make the camera viable for sync-sound interviews and narrative work, not just voice-over documentaries.

Guillotine Shutter and Exposure Control

The guillotine shutter runs 1/40 sec at 18 fps and 1/60 sec at 24 fps, with a shutter opening angle of less than 180°. That shorter-than-usual angle gives fast action a slightly staccato look, but it also gives the crisp, filmic look owners chase. Exposure is handled through a TTL EE system with a CdS cell, with both auto and manual control. The built-in CdS meter is sensitive to 40-400 ASA films, with manual selection for 40, 50, 100, 200, and 400 ASA. The overview documentation describes the full ASA range as extending down to 25, a discrepancy that matters for anyone relying on the lowest-speed stocks. A built-in Wratten 85 filter handles tungsten-to-daylight correction. Manual fade-in and fade-out are available in-camera, and lap dissolves run up to 100 frames.

Dual-Speed Filming and the 50 ft Cartridge

The base 5008 S films at 18 and 24 fps plus single frame, and it accepts standard 50 ft (15 m) Kodapak cartridges. That is off-the-shelf film with no proprietary loading. The interval timer makes time-lapse work possible. For anyone who wanted more frame rates, the Multispeed variant arrived in 1976 with expanded speeds including 8 and 45 fps. The base camera remained the standard for two years. The 5008 S has no movie light socket, so lighting is your own business.

Historical Context

The 5008 S followed the 5000S Super 8 Sound camera introduced in 1973. It built on that foundation by refining ergonomics, adding dual-speed filming, and improving optical performance. It was designed for both serious amateurs and professionals, and it found use in documentary and short film production, valued for its portability, synchronization capabilities, and all-metal French construction. The multispeed variant, the 5008 S MS, arrived in 1976 with expanded frame rates including 8 and 45 fps. Production of the original 5008 S ended in 1977 as video technology began to eclipse film, and the Super 8 industry collapsed by 1980. A special production run carried a golden Beaulieu logo, and those units are particularly prized by collectors today.

Collectibility & Value

Well-preserved, functional 5008 S units regularly sell for $500 to $2,000 as of 2024, with prices climbing based on condition, included lenses, and operational status. The multispeed variants command a 20-50% premium. Units with the rare golden Beaulieu logo from the special production run sit at the top of the market. Recent listings show the spread: a mechanics-smooth example around $349, a film-tested working body at $1,590, and serviced Multispeed packages with the Schneider Optivaron reaching $2,200 and $2,256.

The camera is considered easily repairable with good parts availability, but its complexity can deter modern technicians who are not familiar with the platform. The most common issue is the obsolete 7.2 V rechargeable battery, rated at 500 mA. It is long out of production, and replacements often need to be sourced or rebuilt. An external heavy-duty battery option exists for the 5008 S and other Beaulieu models, which helps extend runtime. Instruction manuals are accessible online, which makes DIY maintenance more feasible for owners willing to learn the machine.