Norbert Shieh

Thanks for all that inquired. SOLD!

Up for sale is a Krasnogorsk-3 converted to Super 16mm with a Clive Tobin TXM-20 Motor. Ran only a few hundred feet of film with it after purchasing the camera from the previous owner who converted to S16 through Du-All Camera. I'm selling this camera to fund a few mark ii accessories. The K3 will be good for any beginning filmmakers or for use as a B-Unit camera on larger s16 shoots. The camera body is in great condition. The loop formers, which have been known to cause trouble when loading, have been removed. Mechanically, the camera runs very well. Viewfinder is clean, with adjustment for the 16x9 frame. The lens is a Meteor 17-69mm f/1.9 Pentax mount and is in terrific condition. Vignettes at the wide end (until about 20-24mm) because of the S16 conversion. Also included is a rare Nikon Mount adapter for any Nikon F-Mount 35mm lenses. The Tobin TXM-20 originally sold for $450 (+now discontinued!), and allowed you to shoot sync-sound and with HMI lighting without flicker. Crystal syncs at 12/15/24/30/48/60 FPS. The motor requires a 12volt 4pin XLR battery to work, which is not included in this auction. You can buy a good Bescor or NRG battery pack from B&H. I've included a link to the TXM-20 manual below. Letting this camera go for $600, plus shipping. Any questions feel free to ask. -Norbert norbshieh ( a t ) gmail.com ----------------- ----------------- A list of what's included: 77mm filters: 2 x Yellow Filters 1 x ND 2 Filtter 1 x x2 Close-Up Diopter 1 x UV Filter (on lens) 1 x Tiffen Sky1-A 1 x Hoya 85 -K3 Body with Super 16mm Gate, loop formers removed & 16x9 framed viewfinder. -Meteor 17-69mm f/1.9 lens Pentax mount w/zoom lever & lens hood. -Front and Back Caps for lens. -Original Leather Bag. -Shoulder Brace & Pistol Grip. -Clive Tobin CX-20 Motor. -Nikon Lens Mount adapter. ----------------- Links for more Krasnogorsk-3 Info: K3 Manual: http://www.k3camera.com/k3/k3pdfs/2004k3man.pdf TXM-20 Manual: http://www.tobincinemasystems.com/TCS_Public_PDF/TXM20.pdf Bescor - Battery XLR 4 pin 12 Volt: http://www.bhphotovideo.com/c/product/1136..._Lead_Acid.html

juergen: smallformat is/was a terrific publication. thanks for your work on it. maybe you can bring it back with a working subscription model online? best of luck on your future endeavors.

Looking to shoot 4-6 fps with a Bolex. The lowest it'll go is 12 fps with the motor. Is there anyway to shoot faster than a single frame a second with an intervolometer? Would this be capable with using the shutter release cable and trying to time 4 fps? Thanks!

Has anyone used the original CP-16R video tap that was developed for the camera? I received one with the camera and am having troubles getting picture up. I connect the right cables, and then the power supply, but it looks like nothing is being powered or no signal is being sent. The Operations/Maintenance Manual has few words on how to get the system running. :(

Sorry here are some more details. Fuji 500T, Ext. Forest, Campfire.

Quick question. Shooting 500T at night, and am curious would an HMI read too blue for moonlight? How much color correction would you add on? Thanks!

Ozu's films (Early Summer, Floating Weeds, Tokyo Story) come to mind as classic examples. For more contemporary films, look into both Hou Hsiao Hsien (Cafe Lumiere, City of Sadness) and Tsia Ming-Liang (What time is it there?, Goodbye Dragon Inn) who both use composed shots without much camera movement. Gus Van Sant's latest, Last Days, is a pretty good example too.

Hey everyone, got a quick question. I'm shooting some 16mm Plus-X in the early morning hours (sunrise) with heavy fog set in the scene. The setup's simple; no lights, just natural lighting with a person walking around in the fog. I'm not sure if the reflected light readings I'll get would be effected by the fog, or if i would be exposing right for the high contrast. Any tips on getting something accurate or how to properly expose in this situation? Thanks!

This Kino essay had some info about the lighting techniques Doyle used for the film. Apart from that, not that much technical data is out there. From article's I've read, Doyle mentions that he wasn't yet in his handheld phase in "Days of Being Wild," so most of the film was on tripod/dolly. The rest of the article is linked below. http://www.kino.com/daysofbeingwild/essay.html "LIGHTING Much of the visual effect of the film comes through its lighting, or better, its lack of it. An amazing amount of time is spent in the dark or in the rain, or both, which leads to a slow, stylized expressivity--so similar to later films like Happy Days and In the Mood for Love--that never contains more than a modicum of narrative information and perfectly matches the mood of the rest of the film. Contrasting moments of intense light, as for example when Yuddy visits his mother?s palatial estate in the Philippines, are very powerful and seem to betoken an unreal world beyond the grasp of the characters and perhaps beyond our ken as well, since we have learned in this film that the real world is nearly always murky and difficult to decipher (a knowledge abetted by all the mirror shots that remove us even further from a direct perception of ?reality?). Regarding the lighting, Wong has said that ?Days of Being Wild was a reaction against my first film, As Tears Go By, which was full of harsh light and neon. I told Chris [Doyle, his cinematographer and cameraman] I wanted to do a ?monochrome? film, almost drained of colour. It?s a film about different kinds of depression, and it needed to be very blank, very thin in texture. That created many problems for Chris: many filters, few lights, very hard to control focus. That?s one reason it took so long to shoot.? In fact, Wong explained to Austrian critic Andreas Ungerböck, he originally wanted to make the film in black & white but the producer wouldn?t let him. He wanted ?the light to be very weak, without contrast, as in the paintings of Edward Hopper. I didn?t want the light to disturb or to be too obtrusive.?"

Dreyer's definately one of the few silent film directors that made the transition over to sound beautifully.... I'd suggest viewing his later film "Ordet," which is just as powerful as "The Passion of Joan of Arc."

I shot about 4 cartridges (2 k40, 1 tri-x, 1 plus-x) of super 8 while traveling in Asia last month. Went through 5 different airports, hand checked film in 2 of them, but got them carry-on scanned at the others. Just recieved the processed film last week and everything seemed fine. Do your best and NOT LEAVE film in your baggage, as those scanners are more intense and may fog up your film. Also, if you ask security to hand check your film, mention that you have motion picture film not 35mm. Otherwise, they'll just tell you that film under 800 ASA is fine to be scanned.

San Diego is very much a Videographer's town (at least from what I've seen). No labs, and the rental houses are mostly equipped for video/stage/event production. Here are links to the larger rental places. Broadcast Rentals VER

These links helped me out as well. I was wondering if anyone had information about the Grad Programs in China, HK, or Taiwan. Thanks!

did you see a print of "ashes in time?" as far as i know, all the dvd transfers of it are crap.