Giray Izcan
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Sorry, when I had one of these cameras years ago, I used it as is since it's not a worthwhile investment to sink any money in this "toy" camera... I would much rather get an Arri st or sb or something more precise and professional with the possibility of putting a 400ft roll - if I were set on getting an MOS camera. Especially these days, I see ludicrous prices for these K3 cameras, literally the same price or a couple of hundred short from getting an Arri ST, SB with their pin registration etc.. the quality difference between these cameras will be night and day too.. all to save a few hundred, which is really a roll of film. It's not cute to put all the time and effort in shooting something with a substandard camera only to find out it's unusable due to camera issues.. of course, because it was shot on film, people pat themselves on their backs to justify their money wasting by saying stuff like " it's organic, it's good enough, erc..." after spending thousands, it better be perfect or near it..
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Good luck.
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You do not as in you do not agree with others on suitability of this camera for such tasks. Maybe I'm misreading it. You know better than I do so obviously you do you know. I hope it works out for you.
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"For the rest I don't know, clearly you think that I am so completely out of my mind that I think that a modded K3 is suitable for full or even short narrative movie productions - I do not, there's no "pecking" to be done, or planned at any time, imaginary or real." Aren't you suggesting k3 is suitable for full or short narrative fllm production and disagree with others on its unsuiatbility for such tasks. what I am trying to say is that I would not waste any resource or money on that camera and try to move on to more of an actual real sync sound camera with proper 400 ft rolls. But of course you do you you know.
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Go ahead and shoot a narrative film on your K3 then. I'm sure those 30 secondsat best of run time will yield to great dialog coverage. Or, get a blimp made and spend more on it than a functioning ACL or an NPR. And still be limited to 30 seconds. I understand you are enthusiastic about shooting on film, which is why I am trying to have you avoid some big mistakes and learn it the hard way.. I would strongly recommend you get an NPR or an ACL and worry about the story as opposed to technicalities like the loud camera and workaround it, daylight loads with 30 second on a good day run time at a time. You are trying to use one tool for a purpose that is not intended. K3 is only good for beginners, or just to go grab a quick shot or something like that. I used to have a K3 by the way. It's just a camera that you grow out of very quickly if you want to pursue cinematography professionally.
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K3 is not suitable for narrative filmmaking.. sorry. Daylight spool is not enough to shoot narrative scenes effectively, not to mention how loud it is too.. you're setting yourself up for a failure.. sorry to be the bad news bearer.
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I look forward to that test. Is that going to be 16 or 35? I haven't got a chance to play with those stocks. But I remember Orwo sent me one of their black and white stocks for me to test for a feature film project. The feature film never happened so that was that however.
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It is a public forum, therefore, I do not have to ask you for your permission whether I can or cannot post. You've been all talk but nothing to show for. Like I said, and there's nothing wrong with it, matter of fact I actually enjoy the fact that you enjoy film this much because I am actually through and through film person I get that you just probably discovered shooting on film and love everything about it and you should it's a great format. I don't only shoot on film, I also print on film and scan that print, no di or anything like that. I shared the stuff I shot with you so that you can see I'm not just some digital guy who's hating on film. Otherwise I couldn't care less about impressing you or not. My advice to you is not to get pigeonholed by a format. Push for film if there's budget for it but if there's not, don't burn Bridges with people by rejecting who want to collaborate with you just so you are loyal to one format. Be flexible
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No, believe me I have been reading all your comments, which is why I asked you if you were like a new filmmaker who just started shooting on film and can't stop talking about it. Maybe you didn't catch that. I mean don't get me wrong I love film I always prefer filmbut i'm with Tyler as far as like if the budget is there I'll always shoot film but I will not let go of production quality just to feed the camera.
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Thank you by the way as far as your comments about my lighting goes. The idea behind good cinematography for the most part is having a non-intrusive lighting so it doesn't come before the story., the whole place was lit, everything was lit for intended contrast ratios. This is something you have to learn if you are serious about shooting on film. As a cinematographer, you are there to tell stories that support the director's intent without worrying about showcasing your lighting skills.
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Maybe you can spare us your attitude and maybe show us what you've shot so maybe we can see your expertise and hopefully learn something from you.
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Ahahaha ok..
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Funny.. I thought you were going to call me out and say it is digital because I shot it in raw on Sony f55. The only thing I did in post was to use CST to change the color space to Cineon Log and applied a film print lut that comes with Davinci and mimicked 1 light photochemical finish in terms of controls.. just color balanced to my chart. I set the camera at 4000 amd dropped the nd9 so the ASA got knocked down to 500 ASA, which I rated at 320, very much like shooting and lighting on film. Exact same lighting as if I was shooting on film..
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You are talking about TV shows, which only the lower budget ones opted to shoot on s16.. there is a reason Monk's pilot was shot on 35 and the same thing with Sex and the City.. Believe me, if those productions were budgeted to shoot on 35, they would have, but it is TV and s16 is good enough.
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Sync sound with a coffee grinder of a camera.. that makes sense.. all that effort to make it work, you coukd easily acquire an NPR or and ACL with proper 400ft loads and steadiness.
