James Gordon

thanks. i hadnt thought to look internationally i figured it would be even more. Good to know.

Am i tripping? Web searches show ARRI Sr-2's going for around $3000 around 2016. I see them now going for nearly $10,000 Is this accurate? If so what is up with that? Also I am curious if anyone has one for sale or knows of one for sale.

So I just received my Peleng 8mm wide angle lens. I'm using it on my Krasnogorsk K-3 Ultra 16mm camera. Thing is, it barely seems to focus when I adjust it. Is this typical for this lens? I've read some mixed experiences. It's like I cannot focus specifically at any range. I can only detect a very subtle difference in focus when pointing closely at an object. And its still VERY subtle. Does this sound like a lens issue? Seems odd that you can swing the focus dial completely back and forth and get no real noticeable difference.

Glad i could be a springboard for this saga. lol. Good lord i've never been less sure of a decision. Going with 2k however. This is a killer thread, if anyone wants to write me a check for being a catylyst for great knowledge, pm me.

Hi Perry, Does your scanner and Metropost's Director accommodate Ultra 16mm?

This has been a great thread, thanks to everyone. So I was going to have Fotokem do a 2k scan after all, but after clarifying to them that this is ULTRA 16mm, I got the following message: Additional reminder that we cannot get all of the film info of the ultra 16mm. The camera files out of the extra area next to the perfs are on the left side. The Spirit does not have a skid plate to capture the image. So... looks like the 2k Spirit scan does not accommodate Ultra 16mm. Is that correct?

Any opinions on a spirit scanner at 2k? Also, I'm using Adobe premiere elements for editing. I don't understand the difference between dnxhd files vs. Pro res. How critical is this? And for color grading, if I were to get a flat 2k scan, would I be handing a pro Res file to whoever color grades it? I keep reading about how people use a local colorist, what does this entail? Giving them the compressed file?

Hi, I have 5 100 foot rolls of 16mm Kodak sitting at Fotokem, and I'm trying to decide on a scan option. So my end goal is to put it on Vimeo, and upload it to facebook, or eventually upload as high quality a file as possible onto my own website. That said, I have a question about DPX scanning vs telecine. I'm going with 4k. Is it worthwhile to get a DPX scan, and then have that turned into a DNxHD file, for the internet? Obviously having the uncompressed files in possession is cool, but is this a normal practice? As opposed to just doing a straight data telecine scan.

FWIW, i sent it off for repair. it was only the viewfinder that was screwed up. A little backstory, is that I had it converted to Ultra 16mm by the same technician. He put some lines in the viewfinder to approximate what is being exposed. So when he repaired it, he put some new lines in which are now slightly, yet noticeably skewed. Instead of two straight horizontal lines, it is now two slanting lines within the viewfinder. He said he worked like crazy, but it was the best he could do. I believe him and everything...but man is it frustrating. And distracting. And it wasn't cheap to fix. About the same price for having it converted to Ultra. Not sure why i'm sharing this, but I'm just pretty deflated. Although in the end, i am still able to get normal images...just with a very distracting and irritating viewing system that once worked just fine. I feel like a jerk for dropping it.

My stupid strap connected to the camera slipped and my K-3 fell from thigh height down onto concrete sidewalk. I had it modified to Ultra 16, and there were lines in the viewfinder, given by the technician. When i looked through the viewfinder, the lines were all tilted, the image was way off center. Not good. But the lens focuses normally, the light comes though fine. Everything else appeared normal. Just the appearance had been shifted. I sent it off for possible repair...but i'm wondering if anyone can tell me based on my description if there is any hope for this camera.

thanks a lot this was all great, some good food for thought. I can't get enough of comparing 16mm film. When you want to devour examples of it online, you really get a sense for how rare it is these days. I think i've seen almost every bit 16mm footage on youtube.

The take up spool that came with my k-3 had teeth inside that caught the film. The leftover reel from my 50D does not. So do I just use the leftover film reel as my new take up spool? In other words, do people just recycle the spool as they go?

Thanks for this, do you have any scans of your stuff from any of these labs? Like a youtube channel or vimeo?

Anybody know of a place that will process ultra 16 in california? I haven't even considered that yet.

Thanks, I didn't realize it varied so greatly. The place I contacted quoted for a minimum of 1 hour labor, less than 30 minutes of film they still charge for an hour..umm. We'll see. After researching I'd prefer a Data scan, 4 k. I think for where I am at and for my goals, I'll never be sending in more than 10 or 15 minutes a film at a time for scanning...if that much.

Thanks, yes i thought there was some connection there between 16:9 and Ultra 16mm. Thanks for clarifying. I just heard a quote for what the hour minimum charge for a 2k scan was and i'm actually a bit stunned. I knew it wasn't cheap but I didn't think it was quite that much. I won't list what I was told, but can anyone chime in on what they would pay for an hours worth of 2k scan?

Hi again, thanks for that link I'm studying it. If the cost jump from 2k to 4k is reasonable, i'll just do 4k. As for aspect ratio, I really don't know. I have a 16mm camera modified to Ultra 16mm, so I know this widens the image a bit. The immediate goal is to show it on facebook. There's a few things to consider: I don't know how facebook crops the videos..or what the limitations are there. I suppose I could upload on youtube and link to FB from there. Also, I'm using Adobe Premiere Elements, which sounds like it does not support DPX files. Bit of an impulsive buy, not sure If I shot myself in the foot with it. So short answer is I have no idea. All I know Is I just want the best resolution, and to see the entire Ultra 16 image properly..but I know there are nuances about this I don't yet understand.

Hi, I'd like to send my 16mm film for scanning at cinelicious. I've done some reading about scan options, but I'm having trouble determining what would be best for my situation. My goal is to have an edited 3 minute run of footage on my facebook page. Eventually on a website. Obviously, I want the highest quality scan possible. Money isn't too much of an issue, i have a decent budget to play with. So HD, 2k, and 4k for resolution, these are corresponding jumps in image resolution, correct? Also direct to drive options.... (Pro Res 422/ 4444, Avid DV, Meridian 7 DNxHD)) and data format ....(10-bit or 16-bit DPX (LOG/LIN), 16-bit TIFF) ...is a complete mystery to me. I'd be grateful for a little breakdown on these options, thank you.

Thank you all for the advice and tips, this is a great forum. I ran the camera and looked through the prism and confirmed my roll was over. Saw the pressure plate. I'll have to read up on how to use the film counter in the future. Thanks to the above poster for the tips on packaging it, i will do this. Thank you all

do i need to run the shutter to check? or would it always be visible? I'm not sure what im looking for... i have the lens off now. Also, when all film has been used does it end up completely on the take-up spool? I'm not sure how to properly retrieve the film before i go process it.

some good responses, thank you guys. this would be ideal, and no, you are able to remove the lenses..it is an m42 pentax screw mount.

if i open it up in pitch black, can i safely check it?

ok but i have film in there now. what can i do?

Im shooting my first roll of 50D film in a Krasnogorsk K3 16mm camera. How do I know when I have run out of film? On a still camera it is obvious when you've run out. Do i just need to open it in pitch black to see if there is still film passing through? Or should i monitor the film counter in the future? I don't see any other way of knowing, because the camera sounds and functions the same with or without film. Thanks

Hi I've searched the forums but still haven't found the information I'm looking for. I'd like to buy a digital light meter to begin shooting with a Krasnogorsk K-3 16mm film camera. I'm willing to spend up to $400 dollars or so, and I want it to be a digital meter. Do i need a cine light meter specifically? Or will any normal photography meter do? If anyone has recommendations within that price range, that would be great. I've seen a few cine meters made by sekonic on amazon, but I want to hear others thoughts.