Bogdan Radulescu

Hi there. I am shooting in this moment a medium feature with a Sony HD SR1E video camera. After the post I will try to make a direct to print on the AGFA 35 mm Color Positive motion picture. Does anyone knows how could eb the pictoruial impact of HD images on AGFA color positive? Thank you

Sorry, guys. Does anyone could tell me what results if I will direct-to-print from HD final digital version of my movie into 35 mm AGFA color positive motion picture. I get few reel of this kind of motion picture as donation from AGFA and I intent to use for printing from HD digital to 35 mm. What about AGFA positive motion picture? ThanK YOU.

Will, Could you be more explicite. What does mean in your opinion "little more investement on the hardware" and what about those 200$? In my opinion the real and limited improuving option has already posted on www.k3.com and it could cost more than 200$ (conversion to super 16 mm, sync electric motor, maybe some additional lenses). So? :unsure:

Thank you Ian. This a very good advise. I will quickly put into practice. I dont know if you really realize how important is for me your guiding and your experience with this kind of camera. Why? Because I made an important financial effort in order to buy this Krasnogosrsk camera from ebay, from a guy from Ukraine. I hardly need it because I am shooting an artistic movie with a Sony HD video camera and inside the digital edited final version of my movie I want to insert few fragments of maximum 10 minutes from motion picture's Krasnogorsk K3 images (then make the telecine transfer of them for include them in the editing process). I want to make this insertion of motion picture film by pictorial and esthetic reasons, by the necessity to have inside the all shooting very pictorial images (depth of field, other kind of emulsion and granulation, other receptivity of the light, especially for the very photographycal sequences). Even if I' m deeply convinced that Krasnogorsk is not an appropiate camera for professional job, it was all I could afford from financially point of view for my project. For this reason, I have to be very suspicious and carefull in order to have a camera in very good working conditions. Sorry for this long lamento. I hope you will understand me. Other question is related to your previous assertion: "I fit new light trap foam". How and why?

Sorry, Ian. You are perfectely right. Is Kodak VISION3 500T, not 500D But let me ask you something new, even if I coul appear like the fool of the village. In one previous message of you you wrote is as follows - and I quote you - "My first task was to strip it down, loose the loop formers, clean & lubricate, free off a couple of seized rollers and fit new light trap foam." So, in this moment do you have the loop formers inside your camera or not?

Chinon Pacific 12 SRM

Thank you so much Ronaldo. I think I will make all necesary efforts to put on my Chinon an adapter like the one you mentioned here. I hope I will find on internet a good adapter for Chinon. And you know why? Because I already shot a medium feature with a Sony HD video camera (ratio 16:9) and in the final version of my digital movie I try to insert few fragments of motion picture film (super 16 mm and super 8 mm), all of them, of course, calibrated for HD projection. As I now so far pro8mm.com has special stock of super 8 mm already prepared for HD dimension. It is true? (I appreciate your effort in answering me)

To Joseph the Great, I took into account your idea - even if launched to me in a very flegmatic style - and I already started a new topic. I considered that it was a good idea, unfortunately, comming from a unappropiate person. I hope now you will feel your self "piggy-backed" no more. So, thank you for your super 8 mm kindness :P

Hi there. I got a CHINON PACIFIC 12 SMR SUPER 8mm Movie Camera and I dare to ask you tell me about the visual capabilities of it and about other additional convertor and lenses which could be used for it. Let's talk about this kind of supre 8 mm camera.

Who has the amiability to tell me please what kind of optical capabilities and image quality has CHINON PACIFIC 12 SMR SUPER 8mm Movie Camera?

Hi there. Could someone tell me how is the iamge quality of a CHINON PACIFIC 12 SMR SUPER 8mm Movie Camera? I recentely paid one from ebay and I want to use it to shot images and than to edit in HD ratio. Thank you.

Dear Ian, By everything you told me, you stimulate my admiration for the wonderful job you have done. Yes, I already imagined that the "sound design" of your youtube movie was a combination between studio's sound effects and some direct sound from the shooting's location. How many people could really understand that the incredible efforts made in order to make a motion picture film means a sorte of dedication for the film art, instead to simply and confortably use a video camera? In my opinion what you have done is little piece of art. Regarding my own film test from the recently got Russian camera Krasnogorsk k3 was just with Kodak Vision 2 200 T. So far, I never used 50D or 100D. I really think that Tungsten is more appropiate for the indoor shooting (interior sequences) and is not so advisable for outdoor shooting. In the next future I will try to use Kodak vision 3 500D for exterior and Kodak vision 3 500T for the interior shooting. Thank you again for your amiability. Keep in touch.

Dear Ian, First of all congratulations for your brilliant shot with Krasnogorsk k3 posted on youtube. I am a Romanian independent filmmaker. Now I am shooting a medium feature artistic film with Sony HD video camera. But, I have also a old soviet camera Krasnogorsk K3 and few short fragments shot with it. I will try to mix with video images in the same final digital format. Looking at your movie on youtube shot at Talyllyn I was wondering: 1. Do you recreated the sound design - sound effects of the train - in the studio? Do you recorded the sound of the train instantly (direct recording), during the shooting. If so, why we are not hearing the well konwn noise from your Krasnogorsk spring. 2. What kind of modification did you made from the clasical type of Krasnogorsk? Lenses, filters, etc..? 3. Counting on your filmmaker experience, could you tell me please what kind of Kodak motion picture (Tungsten or Daily) is better working with Krasnogorsk system of lenses? Thank you