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Manuel Goetz

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About Manuel Goetz

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  • Occupation
    Student
  • Location
    New York, Vienna
  1. Hi all, I've got a problem with my Krasnogorsk K3 that I'm sure can be solved with the help of this forum. I've observed my camera scratching the film on the base side, and sometimes loosing the loop, which interestingly only ever occurs with black and white material, hence is presumably due to the slightly thinner material. So I've inspected the drive mechanism, ruling out where the scratches come from, with the felt pen method, and it turns out they're occuring in the first pair or rollers, after the film comes off the feeding spool. The loop formers are removed. Taking a closer look, it seems that the main axis, where the sprocket wheel is attached, is not in the center of the hole in the cover plate where it is supposed to be, but slightly to the right. This makes the path for the film thinner on the right side than on the left side, squeezing the film between the sprocket and the rollers, thus scratching the film. So far my theory. I'm attaching a photo that might help to illustrate the issue. I've tried several times to dis- and reasseemble the main cover, playing around with the position of the gear wheel that connects to the drive mechanism, but each time I engage the spring, the cover slips in what is presumably the correct position, which in my case puts the cover a little bit too far to the left, or to the bottom side of the camera, thus placing the axis too far right, or to far up. Any ideas on that problem? I'd really appreciate your guy's help! Cheers, Manuel
  2. Thanks Aapo and Tyler for your very useful remarks. I'm going to start with your very last remark, Tyler. I know the K3 is generally anything but stable in its performance, but I must have picked up a good model. I've shot loads with it and everything came out really well, no scratches, no flicker, no leaks, no nothing. And I like my Pentax lenses, so I don't really see a point in changing gear. Obviously though, I wouldn't mind shooting on an Aaton beauty or SR3, but I dont have that kind of cash ready. One thing I don't quite get, sorry, is what you mean with the center line. Are you saying having a mark in one of the viewfinder lenses to know about the edges of the regular 16mm frame? Or is it marking the old frame edge in the pressure plate? Sorry didnt quite catch that.. Do you guys know how the rollers are adapted for S16? I've havent experienced any scratches in the sound area so far, but will run some blank film through to make sure. The thing with the scan is that through my work I have a somewhat easier access to an Arriscan and laser. Thus the preference of this workflow...
  3. Hi all, I'm a keen observer of this forum and appreciate all the information thats out there about the K3 camera. There's still a few things im unsure about concerning a Super 16 film I'm planning, and I'd be glad about some thoughts of the community here. I've had my K3 for a good while now and it does a great job. For an upcoming project I'm planning to shoot in the Super 16 format, scan the negatives, edt digitally and laser the files out to 35mm print film for projection. About the upgrade of the K3: I'm aware this requires a change of the gates. However, I've read that sending in the camera for an upgrade sometimes also involves a change of the film rollers. I don't see why that is done, considering that film passing through the camera stays the same. Is there a point I am missing, and do I need to change the rollers too (I'm planning to do the conversion myself)? I've already removed the loop formers. This is quite important, as I'm planing to afterwards shoot in regular 16mm again, as I prefer this format due to its possiblitiy of directly striking 16mm prints. Thus I'd like the 'upgrade' to be reversible rather easily. I'm not using the original zoom lens for this project, but two Pentax M42 lenses, that should cover more than then entire S16 area. Hence, am I correct in thinking that I won't need the recentering ring? I am also aware that the viewfinder only covers the R16mm area. I've read about the possibility of adapting the viewfinder to cover more then that. Does someone has an experience with this adaption? About film formats: The only reason why I'm converting my camera to S16 is the blowup to 35mm. If the recording to 35 is done without any kind of mattes, would the scanned image come out as a 1:1.66 on 35mm film as well? And is this a format cinemas with 35mm projectors can screen? Or is it necessary to crop the image to 1:1.85? I'm really not an expert in formats, so any advice is appreciated. About an optical Blow-Up: I'm thinking about, after having done the digital blow-up, to also conform the negative to the digital version, enabling the possibilty of an optical blow-up. The main idea being - besides the fascination with negative editing - the creation of a second (different) porjection print, and a comparison for future workflows. I'm aware there's a difference in the grain structure between an optical blow-up and a D.I.? Any thoughts on that matter? Maybe even any projects done in that vein? Do I have to think about this already when shooting (i.e. overexposing my neg when going optical?) Thanks for reading, any help is greatly appreciated. Best, Manuel
  4. thanks guys, that helps a lot! i like the idea of pushing the film, that might enable me to shoot without any additional light and just the candles. need to check though. maybe this gives me just the extra f stop i need. is there anything that I need to take into account when measuring the light with the light meter (except for trying not to burn the thing) - or do I use it just like i would for any other setup? luckily its not a professional production - so i only need to watch out to not burn down my miniature set...
  5. Hello all! I'm about to shoot a small scene with my new K3 16mm and I intend to light it exclusively with candles. It's going to be shot with a pretty slow f4 Takumar 50mm macro lens - so I'll have a lot of candles. Depending on the actual situation (I haven't made any tests yet) I might also use a filling light, which would be tungsten (=the ceiling lamp in my room). The stock will be Orwo's N74, which has an ISO 400 for daylight and 250 for tungsten. Now my question is - with candle light, on my light meter do I assume the speed to be 250 or 400 (or something in between)? Thanks! Manuel
  6. hi aapo, thanks for this, this is great news! I'll start with the diopters and then see if I need to get any closer. I'm not planning to do any crazy microscopic stuff, so I'm fine with the inferior quality of the diopters and the not over the top quality. later on I'll probably invest in the extension tubes and a fixed 50mm lens. i bought the k3, which has a 77mm lens diameter. will any diopters with 77mm diameter work? or do i have to watch out for different threads or something like that?
  7. Hi community, I have two questions related to poor-man's macro solutions. I am about to purchase a Krasnogorsk K3 and look for ways to shoot in macro with it. One idea was to just put a diopter - these close-up rings - in front of the lens. I know it's a super cheap solution, but that's how I roll. Does anybody have any experiences in that regard? At a later stage I'd buy a macro lens for it. I know it has a Pentax mount, so am I assuming correctly that I can just use any fitting macro lens with that mount then? Thanks for helping me out! Manuel
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