Ciao Nicola! I didn't see your comment until now so I'm sorry for the slow response.

Super 8 workflow is very easy, however not economical because of the cost of the stock, which including developing and transfer will average out at about $10-$15/minute or more (o hai Britain, most expensive place evar.).

You buy your stock from a lab, and you normally buy it "process paid", which means it includes the cost of development. You can also probably pay for your transfer in advance too. Try to pick a lab that 1) does the bath in house (many places send their films to germany or far away for development, which means a more scratched up neg due to being shaken about in the post) and 2) offers a transfer to hard drive for editing in Final Cut. Many labs do this. The transfer rate ends up being at about 9-10Mbps data rate, eg about 2x resolution of miniDV.

In order to reduce grain, choose the slowest stock you can use given your light - the above piece was shot on Kodak Vision2 200T, which is a negative film. All Super8 film is very high in the reds but the negative film is a little bit less spastic / "retro-vision" / Circuschrome than the 64T, which is positive ("reversal") film. NOT ALL LABS PROCESS REVERSAL, so do check if you are not buying your stock process paid.

You shoot. Bear in mind a roll of Super8 is a mere 50ft long, so that is 3 minutes at 18fps (default super8 frame rate) or a little over 2 minutes at 24/25fps (if you're cutting it together with film or other format footage, which I do a lot). Personally I think it's very important to get a Super8 camera which will do 24/25fps as well as 18 - and if it will do 36fps slo mo and single frame (for stop motion), so much the better. My camera's a Braun Nizo 4080 and I'm very fond of it. Good Schneider lens too. Canons, Nizos and Beaulieus normally get biggest thumbs up from Super8 nerds, but beware that the high end Beaulieus are very expensive. $100 on eBay should get you an awesome Super8 cam.

The cool thing about Super8 is that there are no flash frames between takes, so you can cut direct in camera from one scene to another, and it works well for stop motion.

When you then take the film in to be developed (and be careful, Super8 is VERY delicate and scratches if you even just cross your eyes at it), you bring a hard drive and they develop the film and give you back the neg plus a *mov of the footage. Edit as normal in FCP (or Avid).

Piece was colour corrected in Final Cut.

If you find your footage is very shaky, this is NOT AN INHERENT FAULT OF SUPER8, it is that the pins in your camera that press the film against the gage need tightening up as they have loosened over time. Many people seem to think Super8 cameras magically don't need servicing. This is incorrect.

Wow, what a very long post. I hope this provided some useful information. For some really exhaustive writing on Super8, visit the Cinematography.com super8 forums.
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The super-8 image look is very very nice, far more better that any super-mega-hd. I've always wondered what is the workflow to shoot in super-8 and what are the production costs. Could you give some hint about them?

I disagree with your observation this is "not professional quality". I found this (and particularly the colour correction technique) captivating.

Smooth. Takes me back to an era that I'm not old enough to ever have lived in, but I still somehow miss.