I am currently in negotiations with Todd-AO here in London for a more sizeable HD Telecine project using 10-bit uncompressed direct to hard disk.
I have been shown a testreel of Super 8 7217 that was (as I would need it to be for my purposes) pillardboxed to accomodate the full 1:1.33 Super 8 frame and I must say it did blow me away. The texture, photographic layering of the emulsion comes out beautifully, and there is no trace of "that" coarse-grainy look if one does not want it to be there. Plus: color-grading achieves amazing results when a talented person does it.
I came to the conclusion that Super 8 has actually much more potential than Kodak allows it to have. And Rochester just started to take it serious as a cinematographic medium 2 years ago...
It is very impressive what one can get out of Super 8 if you take the production chain serious and don't get booged down in those "half-good is good enough for S8" ideas.
There was a huge debate here last year whether such an approach - I call it now "Santo's method" - is meaningful. But Daniel's "Halogenuros" project that 4K'd Super 8 showcased it most positively. And what I have seen so far on "merely" uncompressed HD plus downconverted media-output on Blu-ray Disc, Super 8 can really develop a cinematographic material-aesthetic outside that "1970s-family-film" stereotype it is mostly known and used for today in the industry.
For those doing high end work but can't afford HD, uncompressed or digital betacam, betacam sp is a very solid video transfer format to work with as well. I've now seen 6 hours of super-8 transfer footage and all of the characteristics described above exist even when super-8 film is transferred to betacam sp.