Dan Horstman

If you are in North America (or any conuntry on Alternating Current) shoot at 24. If you are in Europe (or any country on Direct Current) use 25.

I would check with Bernie O'Doherty. I know he does 16mm Eclairs.

16mm shot at 24 frames per second runs at 36 feet per minute...so divide your total feet by 36 to get the running time.

I sent you a PM. If you are shooting less than 100 feet and are just checking registration, exposure, scratching and framing...then we'll do it at a greatly reduced rate. PM me for details. Dan @ Colorlab

I use a Sekonic L-508-Cine. It is great. It will store readings and allow you to average them, you can adjust the shutter angle, frame rate and setup for 2 ASA numbers so you can have one mag loaded with one stock and a second loaded with another. You can also set it up to compensate for your 85 filter, 85N3, 85N6, 85N9, and ND filters. Does both incident and spot (which I use a ton) I used a Spectra and Sekonic studio meter (both analogue with needles and high slides etc) in college and I will never go back to those after using the L-508.

Is your K3 an M42 Screw mount or bayo version? If it is M42 - look for M42 still lenses on Ebay.

There is a similar SR II on ebay right now. Watch that and it should give you a decent estimate of what you could get for the camera you have. Also what kind of lens do you have? Is the camera super 16?

Does the lens have a thread on the front? If so find out the diameter in MM. Then buy a threaded filter or a series adapter ring and series filter. You can also find series filters that attach to the outside of the lens with a screw...so you don't need a thread on the front of the lens. Are the behind the lens filters made of glass or gel? If they are gel you can buy an 85B gel filter and cut it to fit your current behind the lens filter holders.

Yes. Example: 9.5-57mm - all the way wide is at 9.5mm all the way zoomed is at 57mm Some more info: Normal Perspective (like your eye) - in 16mm film is a 25mm lens, in 35mm film is a 50mm lens Wide Angle Perspective - in 16mm film is less than 25mm lens, in 35mm film is less than 50mm - the wider you go the wider field of view, greater depth of field and more distortion (the image will stretch at the edges...especially noticable when doing closeups) Telephoto Perspective - in 16mm film is greater than 25mm lens, in 35mm is greater than 50mm lens - the longer you go, the more narrow field of view and less depth of field And some more info you didn't ask for: A telephoto lens makes side to side and up and down motion seem faster. You want a whip pan that really whips...use a long lens. It makes motion coming towards and going away from the camera seem slower. A long lens will also magnify any bumps on the path of the dolly or shakiness of the camera operator while doing hand held. A wide angle lens makes motion towards and away from the camera seem faster. Want a fast dolly in...use a wide lens. Lateral motion seems slower. This makes it good to use a wide lens for hand held work as it will dampen the amount of jiggle, jitter or bumpiness.

There are two kinds of light meters, Incident and Spot. The incident meter is the one with the white globe you describe. You hold the meter so the globe faces the camera. This will read the amount of light falling on your subject from the angle that your camera is facing. Use this for taking a general reading. To take a meter reading with a spot meter, you point the meter at the subject. This measures the amount of light reflecting off the subject. Use this to check your highlights and shadows to see what will be exposed. The spot meter can also be used to take a general reading by placing an 18% gray card in the scene and spot reading the card. If you are new to filmmaking use the Incident meter and forget about the spot meter right now.

Shoot tests, shoot more tests, and then shoot some more tests just to be sure.

It also depends on the ASA of the film. If it is a low speed stock 100T or 50D then it will last longer than a 500T stock. I've seen 800T that has gone bad in a couple months. It really depends on how it is stored. I just shot a roll of 7293 (EXR 200T) last week and it looks beautiful. If you have old stock that you want to shoot, send it to your lab and have them do a density test. They will clip off a couple feet, process it and read the density. Then you compare those numbers to the factory numbers (available from kodak) and you can see how the film is aging. A good rule is to overexpose old stock by 1-1.5 stops. This will help cut through the age fog, keep the grain down and make the blacks blacker.

Yea, to me it sounds like a telecine problem. I have seen this before when supervising a session. But I've never seen it layed down to tape that way.

If all else fails, Colorlab in the US can do a Super 8 to Standard Def PAL transfer and you could then upconvert to HD (we can't do it here yet though)

I've never seen one. You could check with B&H or Birns and Sawyer.

Sir Al, Shoot off a couple feet on the K3 and shoot off a couple feet on your other Super 16 camera and we'll compare the two...see if the image size is close enough not to worry. Dan

So it is a short...not a feature.

I would suggest keeping an eye on ebay. I've scored a lot of reversal film there for really cheap...and it has all turned out ok (I cross process it...haven't run any of it VNF)

Sir Al, I know I already replied to this question via email. But I just had another thought...you should get in touch with www.k3camera.com they have Super 16 gate kits for about $300.00 (and less if you send them your old gate) Dan

That is about whay you would pay on Ebay. Maybe a little more expensive...but not much. I would recomend removing the plastic loop formers for the auto load feature as they can cause the film to jam I hear. I took mine out when I got my K3 and have never had any problems.

Unfortunately any degree that says Bachelor of the Arts is pretty much useless for getting a "real job" I have a BA and it hasn't done a thing for me. But the friends I made in school (University of Maryland Baltimore County) were totally worth the money. It is a good way to build a network of peers to look at your work and to work with. It is also a good safe environment where you can take chances, experiment, make mistakes and learn. Then after school is done you can help each other make films while you work on getting a "real job" and then while you work on getting an "industry job" But the thing I would look for in a Film Program is how much equipment do they have compared to the number of students. UMBC had a bunch of different cameras and editing suites (enough that each level of classes moved up to the next level of cameras and editing equipment), so it wasn't hard to get the gear you needed for your project. And if you worked in the equipment cage, you could check out equipment over the summer and winter breaks. That is a very important thing about film school. Don't JUST make projects for your classes, then you will become dependent on deadlines to motivate you in making films...when you finish school and have no pending deadlines you won't make films...I've seen it happen to a lot of people I went to school with and have fought with it myself.

You could still use the lenses that don't cover super 16, but then you wouldn't get the advantage of super 16, the greater image area. You would want to tell your telecine facility to transfer the film with 4:3 center framing. This would crop the sides of the film to the regular 16 frame size so the edges where the lens is vignetting wouldn't show up on screen. You would still have to do a 35mm blow up to make a film print as your image center is for Super 16 and will now be creeping into the sound track area. But you could get by with a regular 16 lens on a super 16 camera while you save up for a super 16 lens.

The ACL has a C mount and an ACL adapter mount. The C mount is the small inner thread. The ACL adapter mount is the outer thread. You can use any C mount lens or C mount adapter (to Nikon F, Canon FD, Minolta, M42 etc.) on the ACL. You can get ACL adapters for Arri Standard mount, Eclair mount, Arri Bayo, PL etc. They are a lot more sturdy than the C mount so if you can get one of these specific ACL mounts it is worth it. But without adapters you can only use C mount lenses. The different mounts are all very different...so you can't put an Arri Bayo lens on an Arri Standard mount.

For the dressing room with the mirror. If it has a bunch of regular lights around it you might want to replace the bulbs with reveal or photoflood bulbs to get closer to 3200K color temp.

I have Dichroic Glass filters for my lights. I have used gels in the past and I don't notice a difference in the quality of the light between the gel and the Dichroic. The Dichroic might let a little more light through than the gels, but I haven't compared them in this manner. I like them for the reasons you listed. They are easy to use, hold up well, and keep the lighting kit looking neat.