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Martin Baumgarten

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About Martin Baumgarten

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    Industry Rep
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    Plattsburgh, New York U.S.A.
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    Nizo, Beaulieu, Sankyo, Canon, Nikon, Bolex, Leicina, GAF, Chinon, Revue, Porst, Bauer, Yaschica, Argus, Revere, Kodak
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    Photography, Cinematography, Videography, Filmmaking, Laboratory Still & Cine Processing & other services, Camera & AV Repair, Chrysler, Air Cooled VW, Citroen, camera collecting.

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  1. The difference between a hand held Exposure Meter and the Super 8mm camera's built in meter is significant. Some cameras, usually lower end models or those intended for very low light filming use an exterior meter window on the camera and are not TTL (thru the lens metering). The early KODAK XL cameras had a great design, 230 degree shutter opening, non reflex and external meter window to avoid robbing any light going to the film. So they are still unbeat in low light filming [of course, 99.9% of these are no longer running due to the neoprene drive gear on the motor shaft having crumbled
  2. Since you asked here though, I will answer. I have pushed and pulled both new and old films. I have pushed my own Super 8mm EKTACHROME 160A films up to 3 stops, and yes, there was a huge increase in film grain, and some contrast increase, and possibly some color shifting, but shooting at low available light levels, color was odd anyhow. Remember, you can't really increase the film's sensitivity, so what actually happens is that this is compensated processing to get the film's density up near normal. Those areas within a scene that fall well below the film's sensitivity rating, and thus ar
  3. I thought I'd add something else. I recommend doing just a short test using the lens cap method. If you don't have either a Craven Film Rewinder or the EWA Film Rewinder, no problem. Use this method: First film anything for at least the first 5 feet of the cartridge. This is to avoid a jam or pulling the film off the take up core when pushing it back into the supply side. Tape over the cartridge take up core, this will prevent it rotating and taking up the film slack. Set your lens cap half over the First Side, shoot your scene of not more than 100 - 300 frames. Remove the car
  4. Already there have been many useful and articulate replies to help you sort this issue out. I just want to add some information. Covering the cartridge, as mentioned, isn't possible....since the claw needs to advance the film on the one side.....and tape would be problematic, so this is not an option at all. To mask the tiny Super 8mm gate, while possible (if you were to use the very thin aluminum metal tape) just isn't practical and even with the greatest care, you might still have some split registration issues. The tape is thin enough, and if wiped with Silicone and th
  5. These were well made cameras. Sound striped film was available for quite a few years for these cameras, offered by both ESO-S Pictures and Superior Bulk Film Company [which sold KODACHROME-II, Anscochrome, DuPont and 2 of their own brand, as well as offered raw stock sound pre-striping at $4.00 per 100ft with $10 minimum...so that's 2 sound stripe tracks on the 16mm width Double 8mm 50ft spool film]. These days aside from getting film custom sound striped on raw film stock, the camera issues are the rechargeable battery, and hoping the recording electronics still work. All this can
  6. Yes, thank you. I should've mentioned the ADOX cartridges, but haven't seen one in my hand yet. Since Fabrice is in France, he might have easier access to obtaining one of these. Sie sind doch 100% korrekt Herr Doktor, Friedemann Wachsmuth hat sich einen ausgezeichnet Video hergestellt. Sein Deutsch ist ein bischen schnell gesprochen, aber Ich kann es folgen. Der Video ist aber trotzdem benutzbar auch wenn mann nicht Deutsch verstehen kann. [The video is quite useful even for non german speakers, since it displays all necessary to reload those ADOX cartridges. And some of his
  7. Those reloadable cartridge prices are outrageous! Just get some old cartridges and practice with the ones you are able to open successfully. Use a single edged razor blade, carefully, and score all around the seams of the cartridge, paying special attention to the small plastic weld spots that they are cut/broken through [on the label side is important since that is the film supply side]. You will have to be quite firm with the razor blade or X-acto knife, or box cutter blade, when scoring the core film takeup side of the cartridge. It is best to go over these areas and score it fully to
  8. Usually the black edge, or rather, the surrounding region other than the image frame....would be indicative of a Reversal Film, either original or print. Clear surround usually is a Negative, but if a Positive it would usually be a print, contact print if the emulsion position is inward....or optical print if emulsion position is outward.
  9. You can use most M42 Praktica/Pentax type screw mount 35mm SLR lenses on the K-3. The exceptions would be a few ultra wide angle lenses that are of older design and intrude into the lens chamber risking hitting the rotating mirror-shutter......and some very old designs with have deep flanges.....from the days long before automatic apertures....just the old preset lenses. Just keep in mind that the effective focal length is longer. A 24mm ultra wide angle lens from a 35mm SLR on a 16mm motion picture camera would only yield a 'normal' focal length. So you can also make use of various exten
  10. Sorry, no......the film is either in focus or it's not. Low contrast, incorrect processing causing severe color cross-over, can make an image seem softer...but upon critical examination...if it's in focus....it's in focus. Despite what you said about that lens....I would just double check everything. A critical focus examination of the camera's optical system would be helpful. If you can mount the camera on a tripod, bring it close to some newsprint taped to a wall, and focus.......if you open the back of the camera, keep the shutter open, and use a small piece of frosted glass or ground
  11. It looks a lot like remjet particles sticking to the film after it was dried. You could examine those sections of the film with a strong loupe, and then try removing it with some 90% or greater Isopropyl alcohol. If it comes off, and the image area under still shows normal density and develoment...then that is the problem. If on the other hand, that part of the film is blank/clear....then something stuck to the emulsion and also prevented effective development of that part of the film.
  12. The BOLEX is a wonderful camera in any of its incarnations. Ultra 16 seems very practical, but there are downsides to it....namely lack of sufficient laboratory support, and along the one side are the edge code numbers for editing. Personally, I would leave the camera as is, and consider shooting anamorphically. There are now 1.33x anamorphic lenses what will give you that aspect ratio usable in the 16:9 to 1.85:1 ratios........or you could use any of the more standard 1.5x, 1.75x and 2x anamorphic lenses. There are plenty of 2x affordable lenses on eBay these days coming out of Russia
  13. Hi, KODAK 4X 7277 was discontinued ages ago. So unless it has been stored frozen all this time since it was new......it will most certainly have suffered age effects, most notably age fog. This will prevent the film from a satisfactory reversal processing...although you could attempt it on a small piece of film to see how it responds. Usually, if processed reversal, even with age time compensation in the First Developer, the film will still yield weak extremely low contrast images with cloudiness (mottling). For such old film, the best approach is processing it as a Negative, and use a
  14. Hi, The K-3 uses what is known as the Praktica/Pentax M42 lens mount. As such, the flange to film (not sensor, ha) distance is the same, so virtually most M42 screw mount lenses will work fine on the K-3 camera. There's even an ultra wide angle/fish eye lens that's 8mm made that works fine on it also. Of course, the effective focal length is approximately double that of those lenses when used on 35mm SLR full frame cameras. So, even a 24mm ultra wide angle lens becomes a virtual 'normal' focal length in the 16mm cine camera format. Good luck and have fun, it's a great little camera......
  15. Early methods to rewind a portion of Super 8mm cartridge film was basically to stop the film core from rotating by taping it over......filming up to 300 frames and then via cartridge removal, use a specially made device such as the EWA Film Rewinder or Craven Film Rewinder. Going the full maximum of 300 frames though could sometimes cause marks on the film due to the bunching up inside. The Super 8mm cartridge is a coaxial design, in which film runs from one side of the cartridge through a somewhat torturous path, to the take up core side of the cartridge. There isn't any feasibl
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