My documentary journey with a modified Crystal Synced 16mm K3

[Aristeidis Tyropolis]

Part One

A bit of a background on how the whole thing started:

I have said this elsewhere in the forums, but I've been shooting digitally with various systems since the early naughts, film was always the preferred but the absolutely impossible for me choice - came close many-many years ago but not close enough.

Had a super 8mm Agfa camera lying around for quite some time till I pulled the plug last year and loaded basically all Kodak stocks except the b&w and the reversal ones. Results came out great but that only grew my desire to work on 16mm.

Unfortunately this is not 2017 where you could find an SR for three thousand euros.

So, I decided on a K3 with with an EF mount and an Ultra16 gate which arrived having the wrong flange focal distance, non polished gate, completely mistimed shutter and pieces of foam lying around. In retrospect, a Bolex EBM electric might have been a better choice.

Two wasted rolls (plus development and scanning) later, I fixed the camera, did a temporary inaccurate-idiotically-made flange myself and used other pieces of another run-down K3 I found for cheap, plus another catch-all gate that does both Ultra 16 and Super 16, I polished that one myself as well to be safe, a member of this forum helped me out on my initial journey, so thank you for this precious bits of initial help.

But...using a spring-loaded twenty-second-run camera with no sync-sound is nice within a very small confine of things I wanted (and still want) to do.

Fast forward a few months later, my Crystal sync K3 CLA'd and prepared by non-other than Monsieur Aapo Leitinen himself arrived in the mail.

The concept for my documentary has been building up for more than a year but the moving pieces starting falling into place the past summer. My initial intent was to shoot with my fuji XT-3 plus external recorder for ProRes in log, plus its own rig for its supporting functions etc. But in my mind it was, what if I could do the most irrational thing ever and just shoot with what I always wanted to shoot with: 16mm

But it would have to be with the K3 and sound should be live, the question was: Is this possible? 

Obviously the answer is no, but whatever...

My aim was to:

• Examine 50D for morning and evening shots when/where applicable.
• Examine utilisation of 250D FOR 60-70% of interviews plus b-roll.
• Examine 500T for some interior and all night shots
• 200T I tested prior to camera conversion to crystal sync and it didn't do it for me.
• Test Wolfen NC400 for a select few shots that would cover a specific context-based portion of the documentary
• The test for NC200 is already posted here separately but that stock is not formally available so it's unclear
• Test the new Verita Film stock if I can get my hands on it in the next two months.
• Test a few lens combinations:
  • Tokina ATX-PRO 24-80 2.8 F mount
  • Tokina 11-16 Cine T3 EF mount
  • Meike 25mm T2.5 EF mount
  • Nikon ED 80-200 F mount
• Test audio capture using both Lav and NTG mikes from Rode recording float32 audio.
• How loud is the sound in actuality and can I work with it? (Answer in part two)
• Check various configurations of the camera rig
• Make sure I can work nicely in handheld and tripod and switch quickly between the two
• Establish quick load/unload process and do it the same every time
• Shoot at least 1000' feet of film in a short period to establish consistency in operation.
• Explain why I haven't completely lost my mind to everyone around me.

Since we're keen on trains in this forum for some weird reason, here is a test of 50D with AHU backing on a Nikon F mount-based plus EF conversion mount on the Tokina ATX-PRO 24-80 2.8 with an ND16 at 35mm - stopped at  F5.6: Sound is live and synced.

I was actually surprised to find that 50D handled underexposure better than expected - (not in this clip) but I didn't  particularly like how that Tokina handles objects not in focus, and bokeh when present was unpleasing to me.

This is the camera plus configuration during shooting at different iteration levels:

 

 

 

 

 

Edited April 28 by Aristeidis Tyropolis
clarity

[Aristeidis Tyropolis]

Part Two

This part is about following on some of the topics of part one such as using 500T for interior night shots, the camera rig configuration. the loudness of the camera with microphones in proximity, quick load changes, handheld to tripod and vice versa plus shooting alot of film back-to-back with no issues.

The current tally is 1300' feet with no particular issues to speak of, I did notice a bit of scratching in some rolls mostly due to having a larger loop than necessary - I have since found the absolute optimal loop size (for my camera at least) that mitigates scratches to be almost zero - outside factors beyond my control, such emulsion issues etc:

 

Sound issues:

The camera is way more quiet compared to before, as the crystal sync modification enforces the removal of alot of parts. In the end you end up with a 'flutter' that for the most part can be masked appropriately.

My first shoot that is acting as a prelude of sorts to my documentary, but was essentially meant to be a demonstrator, with no real expectations on the outcome as I was testing too many things, in the end it wound up being something that I do like despite its faults (and they are quite a few).

Sound was recorded using one RØDE Wireless Pro using its default mike left in an general spot and another with the RØDE VideoMic NTG connected to another Wireless Pro module, both recordings are float32 - it's essentially live sound from inside the studio - this was a improvisation rehearsal from a local group called the "Les Rêveries Acoustiques". The sound heard is partially emanating by some metal sheets hanged from the ceiling, seen briefly in the clip.

Shot with the Tokina 11-16mm T3 at 3.2, using Vision3 500T (with AHU) Shot to a large degree on a tripod and the rest handheld, with absolutely no stabilization applied.

 

Edited May 1 by Aristeidis Tyropolis
typos, clarity

[Giray Izcan]

Nice work.  How do you like the lens? I am thinking to buy the same lens myself.

[Aristeidis Tyropolis]

15 hours ago, Giray Izcan said:

Nice work.  How do you like the lens? I am thinking to buy the same lens myself.

Thank you!

I've used it in multiple occasions already - also on the first interview segment for the documentary shoot two weeks ago.

It's an honest piece of kit, solid construction, plenty of flaring (check the Color 200 footage I posted here) and can produce solid images especially when stopped down a bit - it won't ever be a five thousand euro lens obviously, but it does a really good job.

No particular distortion (obviously it exists, it's just not particularly apparent) and covers the standard cinema "wide ranges" for the most part - used in all kinds of conditions and it has been rock solid, works great with focus motor etc.

I decided to sell it in two weeks (approx) because am going to be hopefully receiving its biggest brother the Tokina 11-20 Cine T2.9, which is more of an endorsement of its capabilities than anything else.

My biggest want, is that I want I bit of extra zoom usually - hence my decision to get the bigger one. I'd be willing to sell it for big discount to a fellow shooter, so message me if you do want it - will post an ad here as well obviously.

Edited May 2 by Aristeidis Tyropolis

[Giray Izcan]

I honestly didn't read it well as to what the lens was.. I saw Tokina, and assumed it was the 11-20 cine version.. that's the one I am contemplating to purchase.. 

[Aristeidis Tyropolis]

Well I will be posting updates on that one probably next month when I would have used it in some shoots by then.