andrewbuchanan

Try kievcamera.com in Atlanta. They have the K3 kit for like $250.

I have heard of technoscope 2 perf Arri 2C cameras. Which I think is a half sized gate that shoots a scope picture on half a frame of 4 perf 35mm. I don't know anything about movement, lenses etc, but some epics like THX1138 and Leoni's Westerns were shot in this format (or sho I have read). I wonder why you don't hear about technoscope anymore. Seems like a good idea... normal lenses and uses half the film stock of regular 35mm?

JDC (Joe Dunton Camera) rents a set of Cooke S2 and S3 primes that have been rehoused for professional use (follow focus gears, PL mount etc.). I think these were pretty popular at the time (or so I have read... 'cause I was around for most of the 70's). I also read in A.C. that The Limey - at least the daytime shots - was shot on these same lenses (don't know if they came from JDC). I really love the look of that film and think it really captured the late 60's/70's look well. Good luck.

I know this is a bit of a stupid question... but when one has a "macro" lens, is this a lens that has all the abilities of a non-macro len, plus the added benefit of close focus? Or does the macro lens operate differently? For example if I have a 50mm-macro, can I do everything that a normal 50mm would do? Or would the 50mm-macro be more specifically for shooting something small up-close... like a object on a tabletop? Thanks for any advice.

I was wondering if anyone had used this tool. Where did you order it from and what did it cost?

Look for the Zeiss lenses made in the DDR (before it's fall) I think there is a macro or two in that collection... the name of which escapes me right now... but go on ebay do a search for M42 (or practica) and Zeiss. This should give you some results - whether you buy there or not. Good luck.

The lens is pretty bad for a 16mm, but MUCH netter than any S8. At about five times as much frame (res too) the 16mm K3 will give you A LOT more quality, detail, latitude than any super eight. Plus it is not much garder to use. Also, at f1.9 the lens is pretty fast... even if it is not the sharpest glass. I'd give it a try. It'a a cheap way to move into a bigger format.

I measured the lighting in thge warm up to the show, and got everything from a f.07 to f3.5. I knew it would only be "enough" light, so I just opened everything wide and shot (i figure a little over exposure with s8 and s16 is okay). The lights weren't on a controller, just some fat guy with a dangling cigarette raising and lowering levels as he saw fit. So, the show was not exactly what was rehearsed. Plus he blew a fuse and lost several of the white lights... which happened to be the brightest. By this time, I was rolling and had to live with it. I want to get the most footage possible out of what I shot, so I was think of pushing one stop... but it sounds like maybe a straight transfer would be better. I just want my clients to be happy - so they'll keep buying me film! Thanks for the responses.

Just shot a bunch of Super 16 and Super 8 Vision2 500T at a concert this weekend. It was soooo dark. I just set the lenses wide open and shot. I know there was enough light in the brightest moments... but in general things were probably too dark. Are there any processing tricks that might help me out when I develop everything? Thanks for any advice!

How does one check the flange depth? Is this this space from the rear of the mount to the back of the lens in a straight line? I am asking because I have read that some lenses will not clear the mirror on my partciluar camera (a BNCR 2C). I would like to know how to measure this because sometimes I see excellent BNCR lenses for good prices... but don't know if they will clear the mirror. I would really hate to smash my mirror too. Thanks for any advice.

"The added cost of renting a 35mm MOS camera and shooting 35mm will likely be less expensive than the cost of an optical blow-up or DI." Thanks guys. I have strated to run the numbers and it is indeed true... its much less to spend the $ to shoot MOS 35mm that it would be to do a blow-up. Plus, having lost an additional generation, this stuff would not look as pristine as the 35mm. It's just that I have the S16 sitting around... and I am so cheap.

I wonder if anyone has experience using a S16 camera as a B-camera for a 35mm feature. Here are my reasons for asking... I'm working with a couple of people on an producing an indy feature, I have a 35mm camera that will be used as the A and B camera (supplimenting an blimped camera when dialogue is necessary). This camera will be heavily used in production, and thus not available for a second unit. The story has a great deal of "mood" material - timelapse, landscapes, etc - stuff that would not be directly intercut with the 35mm material. Life would be much easier i I could send out a S16 second unit to capture this material then get it blown-up to 35mm when and if anyone wants to distribute the edited film. I know this technique was used a good bit on Touching the Void, which looked f*!%#g fabulous. I didn't even notice the S16. At any rate, is there a good reason NOT to do this?

Thanks guys. I found a couple of Super Baltars that I purchased and they should be in soon for a test. In the meantime, I will look for series II Speed Panchro Cookes. They seem to be the most highly recommended as far as the older stuff goes. In any case, I appreciate the advice.

Allow me to touch on a couple of points... First, the battery compartment. NCS makes a battery adapter (which is just a little machined piece of brass). It allows you to use watch or hearing aid batteries of the same voltage as the originals is place of the big lead ones. You could make one yourself... but the adapter is only $25 and will save you lots of time and frustration. It comes with info and six(?) batteries. Also, watch for used K3's with clunky mounts. The pitch of the threads is really tight and if you crank a lens on to the mount to hard just one time it can really tear up the threads. I don't know of a cheaper nikon mount other than the reel trading one. You could probably make one yourself with an nikon to c mount adapter... if you are ambitious and have some nice machining tools around. Just be sure to get your mount recentered if you have an S16 K3. Oh yeah, if you live in a decent sized city, go look at the local used camera store for m42 or practica lenses. They are cheap, will fit the K3's tock mount, and are MUCH better than the stock glass. Sometimes you can even find some cheap Zeiss DDR lenses this way. Zooming... who uses zooms anyway? Finally, on the finder - I know it sucks and it's dark and it can't be recentered for S16... but what do want from a $175 camera? We aren't talking about an SR3 Advanced here. And as far as a bolex goes, most are darker than the K3 (in my experience). As I mentioned before, the K3 has lots of faults, but it also has lots of character, features, and DID I MENTION IT COST UNDER $200? Quit 'yer snivvlin'. ;)

Great camera... I used to have one. But great as a 16 not an S16. Why? Because it is steep to convert (much more than an NPR or ACL). Plus, if your are going to drop all that cash, wouldn't a blimped camera be nice? If I were going to do an Arri 16, I'd look for an BL to convert (though it sufferes the same problem... more work has to ben done to mechanically recenter everything ans thus is very expensive. (My two cents) If you want a low cost MOS super 16 a K3 or Bolex is the way to go. If you want a low cost blimped camera try an ACL or NPR... they are cheap to buy and convert. I sold my Arri in favor of my S16, PL mount NPR which is rock-steady, quiet, and though as nails... and I got it for $1,700 (before conversion etc.).

[You recommend getting the Nikon lens mount for the front end... As a still photographer, I know Nikon makes amazing lenses for their cameras, but what would you recommend for this camera? ] Yeah I think nikons would be good. Trouble is that they are pretty steep in cost in the sub 24mm "super wide" range. And remember that the 16mm frame will only use 50% of the field of view of 35mm - so a 8mm will look a lot like a 16mm. I have the nikon mount Peleng 8mm which is pretty good (not as good as a nikkor, but decent) that I paid $175 for - new. I also use a Zenit 16mm ($125 new), which is really good (but pretty slow at f3.5) and all my telephotos are nikkor-Q (and look positively sick when used properly). I guess I'd recommend wide nikkors if you already have some, but if you are going to purchase stuff, I might get something cheaper. ALSO, if you want to stick to the M42 Practica/pentax mount that comes on the camera, Carl Zeiss made some really decent East German lenses - the name of which escapes me right now. These will go on a K3 M42 and give you really decent quality at a cheapish price. Also they are 35mm and will cover your S16 gate without trouble. Other things I love about the K3... open the door to the film compartment and flash the film with sunlight for some really cool burns. Spin the speed dial while in the middle of a shot. I wish someone would start a k3 festival just for these little cameras. They really are something that anyone can use and afford. POWER TO THE PEOPLE!

K3 Camera, a tasty purchase. I have used mine on two projects, as B-Camera for a Pana Elaine and again as B-Camera for a SR3 Advanced. The results were really, really good. I could intercut the footage (which had been telecined, mind you, not projected) and there was little or no decernable difference. I'm sure it would have been different on the big screen, but I was never going for projection. Considering that I paid $178 for my K3 (direct for the Ukraine) and the SR3 and Elaine cost $70,000 + with no support equipment, I have to call this little camera the steal of the century. Alas, nothing is without faults. The stock lens SUCKS (even though it is very fast) and the cameras are noisey as hell, but all in all, for under $200 bucks they can't be beat. Did I mention that the built-in light meter (with added battery adapter from NCS) is spot on with my $600 Sekonic 508 Cine EVERYTIME! My gripes: noise, lens (and most M42's stink), the regular 16mm, run button is hard to use on tripod, and that winder always seems to run out when you are getting your best stuff. What to do. Forget the "pro" upgrade the camera works great without it (unless you use it wrong). Get a Super 16 gate installed and a nikon mount for the front end (about $700). You'll have a great little Super 16 MOS for under $1,000.

Hello all. Amateur cinematographer here. I've just started playing with super-16 and 35mm a lot (and I am hooked like it was crack). I'm not near any decent rental places, and don't do enough high-end work to buy my own good (Zeiss or Cooke) lenses... yet. I have aquired several nikkors (and a few nikon mount russian lenses such as the Peleng 8mm and Zenit 16mm) to get started. I have been happy with the look of the nikon telephtotos (135mm, 200mm), but rather disappointed with the look of the normal to wide lenses (especially the russian glass) with these still lenses. :angry: Could anyone offer advice about some cheapish, but great preforming lenses in the normal to wide range? I've seen Speed Panchros that were in good shape for a couple hunderd bucks, but don't have any experience with them. I occasionally see Arri-S mount Zeiss MK1 at decent rates too. I don't shoot too much in low light, so speed isn't a huge factor... yet. :huh: If any of you experienced DP types could offer advice on what you would buy if you had a day job, or your experience with some of the older lenses, it would be greatly appreciated. :D