Kristian Schumacher

Thanks for that John, I'll try to get hold of an adjustable strobe. Do you simply place it one side and look through by eye? Kristian

Hi everyone, I just picked up a Kodak K-100 with an underwater housing off Ebay. I bought it mainly for the housing, but the more I read about the camera, the more I think this could be a cool little camera to use. I have opened up the front, widened the gate and recentered and adjusted the turret mount and run some film through without any scratches. My question is about how the camera sounds when running. It seems to fluctuate in speed - rythmically. Or something in the mechanism changes pitch rythmically - it is hard to tell. It is not a lot, but it seems to be at a rate of a little slower than once per second cycle at 24fps. This also seems to coincide with the foot counter's movement. It does not rotate smoothly, rather ticks like a second hand on a clock. And it follows the rythm of the sound. The more film I have run through, the less pronounced it sounds, I think. I haven't opened up the spring motor side yet. Thought I'd do that to give some oil to the old thing (it has a "serviced by Eastman Kodak 1966" - sticker inside, so maybe it deserves some attention :-) Does anyone know if any part of the machanism can cause this kind of fluctuations in speed? I have a K-3 as well, and that sounds smooth .... ehhmm, maybe not the right word but at least makes the same noise all the time;-) Any input or ideas are appreciated. Kristian

Hi everyone! I have been palying around with the idea of making my own pellicle video tap built into a c-mount to nikon-mount adapter. That way it could be swapped over to different c-mount cameras and easily removed when not needed. But before I spend too much time constructing - maybe this sort of thing exists?? Any input appreciated, Kristian

Hi Jonas, I have the same issue with my K-3. Les Bosher did a very nice s-16 conversion with a Nikon mount on mine, but he explained to me that the viewfinder correction would be very difficult and maybe expensive. I don't remember exactly why, but I am getting used to imagining another 20% to the right of my frame... Please let me know if you find a convenient solution. Thanks, Kristian

First of all, best of luck on your project. It sounds really exciting... Frank, how do we know if he is qualified, we don't really know what his duties are. Hopefully there is more to his job than buying equipment....? And asking for suggestions for this here I don't think is such a bad thing. Kristian

Hi Curtis, No wonder it is a bit confusing for you. It looks as if your film roll is turned tail first.... As Herb says, the shiny dark side faces the inside of the camera, the matte yellow-brown faces the lens. My guess is that your film is not straight out of the packet, but reloaded from another reel onto daylight spools....? It looks to be turned backwards so to speak. If you reload film, you need to do it twice - otherwise the perfs on single-perf film ends up on the wrong side. OK, took a photo...... 1000 words and so on. This is what it should look like ;-) http://kameraundervann.no/images/K3loading.jpg Best of luck, Kristian

Hehe.. And people think I'm crazy..... :P http://kameraundervann.no/k3.html

Hi Layl, Just letting you know that we are in the same boat - 32 and determined to learn this thing :-) I am starting out on 16mm/s16, but I think 8mm can be OK if you get a basic camera with all manual controls. I know this has been discussed before - what format is best to learn on - and I can't tell you.......yet! Best of luck to you, Kristian

The ACL does not use a mirror shutter. It has a focal plane shutter and an oscillating mirror for reflex viewing. The smaller shutter angle needed for s16 is to allow time for the mirror to clear before/after the shutter opens. Kristian

Hahaha! I was seriously considering adding a disclaimer to my post " ....It is in no way my intention to start a which-is-better-r16-s16-or-u16 discussion again...." Maybe I should have :lol: I was honestly just wondering about these two questions - because the other threads tend to - as you may have noticed - derail a bit ;) I don't want to cause any heart attacks or broken families, so I am happy to leave it alone. And for the record, I am developing my own format called MegaDouble16mm. You expose half a frame on a 35mm reel, leave the perfs inside the frame and....Ehh...and then..... Kristian

Hi everyone, I have been looking a little at the U16-thing, among other places here: http://marylandfilms.com/16mm-super16-ultra16-compared.html And now I am wondering about 2 things: 1. Why does the U16 format stop at 1.85:1 and does not go out as far towards the film edge as S16? If it went as close as the S16-forrmat, you would get a 1.92:1 (?) 2. Has anyone opened up the gate to cover both U16 and S16 frames? I know the centre would have to be set for one of them, but depending on lenses used it may be OK? I was thinking that for 16:9 you would frame for S16 and for blow-up to 2.40:1 you could frame for U16. That should still be better than cropping from an S16-frame, if I am getting my head around this right. Kristian

Thanks to both of you for your kind advice! I guess that makes me even more certain the ACL is the one for me. I really want to be able to use c-mount lenses as well as renting say Zeiss primes. Size, profile and fps is also important as I will be trying to fit it all into an underwater housing. I have one nice c-mount wide lens and several Nikkors with an adapter, and I am using c-mount for high-speed with my Milliken camera. Kristian

Thanks for that Rob, Could you let me know what you like better with the LTR? And anything that you don't like about either cam... Greatly appreciated, Kristian

Hi everyone, I am looking into getting another 16mm/s16 camera and here is my order of priorities: c-mount Reflex (not pellicle) S16/S16 convertable High frame rate Magazines (100, 200, 400, whatever..) Crystal sync small/low profile From this, I have landed on the Eclair ACL as my preference, but I would love to have any other ideas pointed out to me. Thanks, Kristian

Hmmm........ Well I will show you..... I will show you all!!.... MMMUAHHAHAHAH..... Seriously, that is pretty cool. Thanks Aapo! And thanks to Olex for your advice on this and my other russian camera. I am sure more questions will follow... Kristian

Haha.... No I wouldn't worry. The camera is being safely stored under my bed......

Thanks Alessandro, My film is all negative, so at least that makes me feel better. We'll see... Kristian

Hi again, I am sorry, but I totally missed the last few, very useful posts from over a month back... my bad and thanks, Mitch, Phil and Freya. I will check to see which pins I ended up connecting on the XLR3. I used the camera on a shoot last Saturday, and so far we haven't had any fireworks :lol: Kristian

The manual is now here: http://kameraundervann.no/MillikenManual.pdf I just had to compress it a bit as my account was filling up. It should also be a bit easier to read as a .pdf, allthough a couple of pages are missing. Kristian

Hi, I have never seen the Fuji spools, but I would have to presume that they are the same as the Kodaks (?) If that is the case, and hopefully someone here could confirm this, then they will fit. I just had my first shoot with the Milliken yesterday, when I transferred film from a plastic core to a 400' daylight reel. That worked fine. I think the DBM4 is the same, but with a 200' load and so a bit smaller alltogether. I also have the manual for the DBM-4 models (a,b and c i think) Let me know if you want it. And good luck shooting your water scenes - I am currently building an underwater housing for mine, and would be very happy to hear how yours works out. Kristian Here is a photo from yesterdays shoot: http://kameraundervann.no/MillikenManual/MillikenSmaller.jpg

Thanks for that, Then I'll keep shooting in the same way and plan to fix it in post. And when desaturating, I guess that should reduce the tint a little. Kristian

Hi everyone, I am making my first film using a combination of HDV, Fuji 8650/8630 shot with a K-3 in s-16, and one roll of Kodak 7218 regular-16 shot with a Milliken high speed camera. For different reasons (forgetfulness being one of them;-) I have shot all the 16mm footage so far in sunlight with no filter. I have some more outdoor stuff to shoot, and thought I'd keep shooting without filter to make it all match. This footage is for a music video that we'd like to have quite a desaturated, coldish look in the end. But can anyone tell me (or better yet, show me...) just how blue and "off" such unfiltered footage will look? How easy/successful would it be to correct the colour back to normal balance in post? If needed, would it be better to ask for this colour correction from the processing/scanning company? As a first-timer, I would really appreciate your views on this. Thanks, Kristian

Thanks for that, I have just ordered a 0.5x adapter, and I'll see how it works. If it is no good, at least it wasn't too expensive.

It is a c-mount. I tried it today on a really old, simple Kodak E that I have widened the gate on to s-16. But it is still centered for regular 16mm. I want to use it with my Milliken camera. Kristian

Hi everyone! I just got my new lens off ebay, the Schneider 10/1.8 Paid a bit too much, but the lens is absolutely mint and beautiful. I tried it on a 16mm cam with widened gate but centered for standard16, and it still seems to cover just fine. I was thinking about getting something a bit wider too, between 5 and 7mm. Has anyone tried using the 10mm schneider or similar with an adapter: 0,45x - 0,7x ?? There are quite a few on ebay, and very reasonably priced. Any input greatly appreciated, Kristian