alex mitchell

You think they'd be willing to talk me through servicing this thing on my own? I'd love to learn how to work with this thing a little better. I've already removed the loop formers and fixed the footage counter on my own, but I'm not sure how I'd clean/lube/maintain the thing if need be. Are there manuals or anything online for that sort of gig that aren't on k3camera.com? I may send you some messages Olex! I've read some of your posts and it looks like I could learn a lot from you. :-)

Hey guys! I just bought myself a K-3 and put it through its paces by running a 30m of Vision 3 through it. I was fortunate enough to get Technicolor to donate the processing and transfer for free as a camera test, and I am very pleased with their results. I've encoded the raw Di-Min/Di-Max telecine footage in low resolution to my website, although I'm thinking I should also upload the 1080p version somewhere else too. Anyway, I have it on my website as an H.264 in a <video> tag, so make sure you look at it in a browser that supports that codec for HTML 5. K-3/Vision 3 500T Test Also, here's the exposure data from the shoot: Shot 1: Test Charts - 24 FPS, 250 ISO, f≤4 Shot 2: Woman Typing - 24 FPS, 250 ISO, f1.9 Shot 3: Fridge - 24 FPS, 250 ISO, f2/2.8 Shot(s) 4: Woman on Phone - 24 FPS, 500 ISO, f1.9 Shot 5: Woman in Stairwell - 24 FPS, 500 ISO, f1.9 Shot(s) 6: Night Time Streets - 24 FPS, 500 ISO, f1.9 Shot 7: Bedside Table - 24 FPS, 250 ISO, f2.8 Shot 8: iPhone Timing Test - 24 FPS, 250 ISO, f2 I rated the film at different speeds when I could because I wanted to try to overexpose by about a stop, just because I had a feeling that both my lens and my light meter were going to lean in the other direction pretty hard. Anyway, if I ever get around to it I'll have to do some colour correction and reframing for 1.78. P.S. I'm cross posting this in the Russian Camera section as well. Hope that's alright!

Any word on this? I'm looking to mod my K-3 as well and I'd like to get it recentered.

Is this going through a DI? Do you have to shoot a regular 16 gate for the anamorphic system, or does this tronchet system use 1.42:1 anamorphic lenses that use the full Super16 aperture? What's the final destination of the project? Personally, I'd bet that shooting spherically and doing an extraction would be much easier while still producing good results.

Oh this is going to give me trouble but I'm going to say it any way: there is no reason to shoot Super 8 except for the quaint aesthetic that it provides, unless you're trying to learn film cinematography basics at a cheap price. Anyone that shoots Super 8 now or in the future does so because they prefer something about the untamed and imperfect look that isn't easy to duplicate digitally. People like Super 8 because it's a challenging format and because it looks bad, but in a way that a lot of people like. Just... We should really cut this adversarial bullshit. The guys saying that film is dead really ought to try working with film for a little bit, and all the cronies in the film camp should try shooting on a Red. There's a lot to learn from both disciplines.

You know how using anamorphic optics lets you project a wider frame? If you shot your project with the lens rotated 90 degrees, and projected it the same way, you'd get a taller frame. This way, you could shoot 2-perf Super35 and save money on film stock costs while retaining your ability to use 1.85, or something. Frankly I don't think I'd go to that much trouble; I'd just shoot 2-perf and go DI to reduce grain for the conversion to another aspect ratio. Mind you, that might offset the cost savings of shooting 2-perf in the first place.

Intriguing! Perhaps now I might go look for a 4008. Anyone know if Du-All Camera is a reliable dealer?

The handle on the XL-S 1014 rests beside the lens when you've got it mounted on a plate, which means that the gear attachment wouldn't fit. I don't really want to try my hand at modifying the camera, just in case I break it.

So I started shooting Super 8 a few months ago and I'm really enjoying it. I hand develop my own B&W, I transfer it in town on a Workprinter XP telecine in town, and it looks great. That said, I'd like to have a few more professional features on my camera. For starters, I'd like slow motion and crystal sync, and the lens has to be able to open up to f1.4 and be automatic and manual whenever I need it to be. The last thing I'd need is for the lens to be completely unobstructed, because I have a Redrock Micro follow focus that I really like. The setup looks kinda like this so far. Anyway, I have a feeling that I'd like to go the Beaulieu route, but the stock cameras all have those handles that protrude from the bottom, and I need the camera flush with the baseplate so that the follow focus attaches properly. The Nikon R-10 and the Canon 814 and 1014 XL-S cameras are out because of this too. The only models I've narrowed it down to so far are the Leicia Special and Pro8's Classic 8 camera. Let's just say for now that price is no object and leave it at that. Which camera is right for me? P.S. I know that the Leicina only does 25 FPS and that is kind of a problem for me. Anyway to mod this?

Is it possible to widen the gate in the Canon 814 AutoZoom Original?