25," another K-14 product. This film was kept in production until 2006, coinciding with the discontinuation of Kodachrome 40A in that same year. Foma R-100 film also continues to be produced by the European manufacturer Foma. Film stocks The most commonly used film stocks were produced by Kodak. In particular, the 10 ASA Kodachrome colour reversal stock, with its distinctive colour rendition and fine grain, was closely associated with the format. Kodachrome II, rated at 25 ASA, was introduced in the early 1960s. Kodak continued to produce standard 8 mm film directly up until 1992, although its 16mm stocks are still re-perforated and respooled by other companies. Other film stocks from different manufacturers, such as Agfa's Agfachrome, were also available. And independent suppliers made additional film stocks available, resprocketing and respooling such film as Kodak' black and white Tri X, rated at ASA 200. Kodachrome's excellent archival qualities mean that old 8mm film can still appear remarkably fresh if stored in the correct conditions. Standard 8mm variants Various attempts were made to simplify use of standard 8mm film over the years, but none was especially successful. The Straight Eight format, using pre-prepared 8mm wide film, had some popularity in Europe, where Agfa manufactured their own stock. Kodak eventually introduced a magazine-loading system, but it was never as popular as spooled 8mm film and was discontinued by the early 1980s. Some manufacturers (e.g. Pentacon in East Germany) made cameras with special magazines that could be pre-loaded with 8 mm spools. They were simply pulled out and flipped in mid-roll, avoiding re-threading the film. Sound Although few cameras were made that could record the sound directly onto the film (Fairchild Cinephonic Eight cameras, Fairchild Professional 900 cameras, and Pictorial cameras), there were many projectors that could record and replay sound on a magnetic stripe. For cameras, this stripe had to be added to the film before it had been exposed. For projectors, the stripe had to be added to the film after it had been processed. The stripe was added between the perforations and the edge of the film (see illustration at head of article). Sometimes a balance stripe was added on the opposite edge. This had no purpose other than to allow the film to be completely flat in front of the projection window. For synchronised sound, the sound was specified as 56 frames in advance of the picture. On the