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Peter Gilabert

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Everything posted by Peter Gilabert

  1. You can open up the five screws on the side with an Allen key or star bit that fits and if the teethed clutch belt is toast, buy one of these : https://m.ebay.com/itm/Clutch-Belt-Kit-for-Cinema Excited enough to see anyone post about a CP-16, period.
  2. I've thought about getting a 16mm projector for viewing all types of films- until I saw the price of films! At least on eBay, this just seems like an expensive hobby when you have $30 Popeye cartoons and faded bad features for $300! Am I missing something here? Don't see any rental places either, except MOMA. Any resources I may have missed would be appreciated...
  3. Dom, Olex sent me a scheme that's pretty accurate once I understood it. This one seems off but hey thanks anyway. I actually finally put them in right so I'm good to go!
  4. Dom, Thanks for the ideas. I'll try Olex. 24 different orders plus which way they face is a lot of combinations, although some don't fit behind others (no spacers)
  5. I had some pretty bad fungus on this bayonet lens so I figured I didn't have much to lose by disassembling it. To my surprise I got it open and cleaned the fungus right off. 4 little rear elements popped out too and I think I put them back in the right order but the focusing isn't sharp at all. I think this things been dropped at some point as I see evidence, also I hear a slight movement click if it's set anywhere but at 17mm tight. The 4 small lenses have the inscriptions k,k, backwards N I think and what looks an I and L. I think I've tried all permutations but maybe there's something deeper that's loose. Any suggestions welcome. (besides getting another lens, have that covered :) )
  6. Tell me about it! Don't know anyone here in SD at all -- you can try Alan Gordon in LA on Melrose. They have those.
  7. Instead of getting too hung up on aspect ratio: What I'm really trying to do, since I have one digital and two 16mm cameras ready, is to buckle down, finish pre-production and actually SET a Shooting start Date that I stick with and make this film! There's no way I can let silly little things like MONEY and TIME get in my way Seriously though I'll make it one way or another and I hope it comes out decent!
  8. I enjoyed your thesis film, nice ending. So was there a particular reason you shot in B&W and color? Was that part of the assignment?
  9. Problem solved. Believe it or not, it wasn't the heighth of the sprocket, although that's super important. It was just a matter of ordering that silly little snap-on triangle shaped guide that fits on the entrance to the sprocket. It helped the film stay high enough to keep close to the pawl and sprocket so- no lost loop/jam. What a relief...I was getting pretty frustrated there. K-3 people sent me one for $5 and voila, good to go.
  10. Gareth, I own a quite well maintained CP-16R, but I researched and waited a whole year for a good deal, then pounced and still got lucky. I'd be weary of this listing since the seller may not know if it even runs, unless you can get lots of answers and he/she has a high rating, sounds dicey. I love mine, but it's not a "do it up" camera: the proprietary circuits mean it's kinda like a character in Logan's Run, it has a limited life span. Therefore it's not considered worth converting to Super 16. And the mount means CP mount or Arri adapter, and those Arri lenses have to clear the mirror. So it's basically a very interesting old quiet sync news camera, fun to use but a dead end to develop. Maybe why no one seems to post in the CP-16 forum anymore- it's like an abandoned building! I converted mine to Ultra 16 myself, but that isn't much of a big deal. I'd have fun with the K-3 then if you wanna branch out, take your time and if you don't want a CP, maybe look into an Eclair, an Arri or an Aaton.
  11. yes it does. The perfs aren't ripping, but u sr little dents next to them when the film comes loose. Maybe I'll video tape this to give a better visual. I bought this cheap a couple years ago and it actually needed to be taken apart down to the main spring by me to get working again but strangely, it did run with ought the loop loss. I'm pretty sure this thing has been dropped though. I appreciate the help and suggestions Dom
  12. William, Yes and yes. I'm hip to the pressure plate, that's in. All those rollers that swing out are locked in. It used to be fine. I was talking about that silly v shaped thing that fits on over the T shape door lock, but I don't think that's it.
  13. I know it's just a K-3, but- I've tried everything, taken this little sucker apart and put back together dozens of times, watched all those k-3 threading videos and for the love of God CANNOT FIGURE OUT what is going on to cause the upper loop to disappear and jam. I've raised and lowered the main sprocket, (loop formers are removed), it just won't hold the film in the perfs on the upper loop. ( I can tell by the damage, it goes through ok for a second or two). It couldn't be that silly v shaped plastic thing you snap on the T shape lock is it? Cause I think I tossed that. So frustrating that everything else seems to work... Help! Ideas?
  14. Robert, Yes, that's exactly what I was thinking. I feel like they dumbed it down for me and chose a 16:9 that looked the best to them. Perhaps I should've specifically stated I wanted the whole area to work with. I would've thought since they knew it was an ultra 16 test they'd give me at least all the area evenly on both sides. I still can't believe how easy it was to convert myself, knowing I can always still just use the reg 16mm 4:3 anytime I want later...
  15. An easier, limited time view: https://vimeo.com/199517069
  16. The results of my self-done Ultra 16 conversion, shot on 10 and 20 year old Fuji daylight and tungsten respectively. I'm pleasantly surprised how well the film stock itself looks. The vingetting occuring between 14-25mm isn't surprising but why only ONE side? Any theories welcome, they cropped it at the lab so I may have to inspect the negative closer to figure it out (?) Use password ultra 16 https://vimeo.com/199517069
  17. Sean, As far as K-3 narratives, a couple guys on the east coast shot this feature about 10 yrs ago: https://m.youtube.com/watch?v=FbwB8H5XvZ8 Not speaking for the quality of the story or how well it synced up but they deserve credit for going for it, they refer to it as 'backyard cinema' and it's at least interesting to check out. -PG
  18. Yes J. Winfield, I'm not going to spend a lot of money on actors and locations only to have sketchy film running through a sketchy camera... Hence my leaning towards saving film for just specialty dream sequences, unless my budget allows me to go full force on film as opposed to digital. Best of luck with your S16 feature, feel free to share your experience.
  19. Yeah, I have considered 4:3 and haven't totally ruled it out. Yes I have made shorts. Thanks for all the ideas about proceeding! Best, Peter
  20. Gregg, Yes I am the writer-director in question, and the present cinematographer out of necessity. If you or anyone else is curious, it's a comedy/thriller about a terrible inventor called "Fear of Life" and I've shot a digital teaser: It could be described as if Woody Allen had to write a Twilight Zone episode. I would love to shoot it on film but may have to shoot digitally and use film for dream sequences, etc. We'll see- I'm drawing up budgets for both scenarios. It's written and I'm investigating resources. Really appreciate all the helpful feedback, too.
  21. Yes David, Thanks for the clarification. I didn't really think it through as far as HOW a 1.33 anamorphic adapter on a reg 16mm gate gets a similar aspect as a super16 gate by itself. Two different ways to get to 16:9 (approx.) but not looking like each other in the end. And then there's the red-headed stepchild ultra16, just sitting there all lonely...
  22. https://www.dropbox.com/s/ie55xnk4w4r9w3d/File%20Nov%2026%2C%209%2038%2013%20PM.jpeg?dl=0 That's my ground glass view. I'll see how close my widest angle comes.
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