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Sean DelGatto

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  • Occupation
  • Location
    Portland, Oregon
  • My Gear
    K-3 super 16
  • Specialties
    SFX, CG, and incorporating them with live action footage.

    I'm back to shooting film after being dissatisfied with digital. Picked up a K-3 and shot a narrative short, EASY MONEY, up on YouTube. Turns out its the only narrative short film shot on the K-3. At least that I could find. And I have been looking. I had to Robert Rodriguez my way to getting sound and dialog but it works. There is a couple digital shots with film effects (latest from adobe) thrown in to see if people can tell, or what have you. We mostly were checking the functionality of the camera we just bought, and thought, well hell lets shoot a few rolls through and throw together a short film. Now I have more interesting projects ahead for this little 16mm wonder.

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  1. Oh man, that just killed the happiness. RIP John, thank you for your contribution to this Forum.
  2. @ Don - Love learning stuff like that. I'm not only into cinematography but love film history, already been to Chaplin studios. One of the things I just notice, that while, as you pointed out, not all gates have rounded corners. Whenever I'm doing research, typically you do see them. Just was wondering if any film camera history guys happened to know the answer. I'm just going to have to settle with that it sped up manufacturing process. A machinist asked me when he was expanding my gate to Super 16 if he needed to keep the corners round, he asked me why they were, and I just didn't know.
  3. I have never been able to find the answer as to why film gates have rounded corners. The question pops up when ever a 16mm gate is widened to super 16. But I generally cannot find the answer. the only possible reason I could think of is if its trivial to have right angles and speeds up the machining processes after milling, not to have to go in and clean up the corners. Any Ideas anyone?
  4. Sweet!!!! Thank you so much for the your. This definitely helps. I spoke with pro8mm. Theybdont work on these cameras so i figured i would confirm.
  5. So is the center Pin 4.8V, side tab 2.4, and side wall Ground? Or is the center tab 4.8V and the side tab ground?
  6. Na no problem, the only reason I'm shooting on Digital at all is cause the funds for Filming on my S16MM Camera didn't come within the time frame I was hoping. So this was just a fall back to camera, and will use those funds instead for promotion and theatrical exhibition.
  7. That's what I was afraid of. I avoid using the monitor with my Canon, and I think from here on out I'm just going to avoid Canon products. This will be the last project I shoot on this camera.
  8. I resolved the issue with the camera blinking the monitor, apparently you change it from HDMI to DVI. Second problem, and more severe, is an issue where the camera will not turn back on. So here is what happens. We shoot, and when we take a break, I turn the camera and the Lilliput off. When I go to turn it back on, I here the mirrored shutter open, I turn on the Lilliput, and the Camera doesn't respond, no signal goes to the monitor, nothing. The only thing I could do is, pull out the battery, and try again. I almost wanna just Turn on the camera first, wait a while, then turn on the monitor. Has anyone had this issue. I need to solve this ASAP. I just was called last minute to shoot a project. Got towards the end of the shoot when I started having these issues. Luckily that was done, but in two weeks I got another shoot for the entire month, as well as the following two months. Please let me know, I'm anxious to hear more about this issue. -Sean
  9. Ok, no worries. I was hoping to record out to a SSD, but that's fine. Might end up shooting on a Sony A7sii anyway.
  10. Ok, the big question I have is: 1. Can the Canon T2i possibly, as it currently is, or with a software hack, capture footage and store it to an external hard drive? 2. If it can do this, is it possible for it to film in RAW? I'm not super excited about having to fall back to shooting on Digital, but my Film camera is being converted to ULTRA 16, and it won't be ready in time. So, I'm going to try to squeeze the best out of this little devil as possible. Thank you for your time and input. Sean
  11. Thank you guys! One of the things I like about going back to film, its like I'm going back to school. Digital is too easy cause Ya can look and see if its right on the spot, where as film, ya gotta really know what's going on otherwise it can cost ya. Someone once mentioned that that kind of training is getting lost in the digital world. You still have to know your lenses. But overall, they can guess there way through it. I don't ever see anyone using a tape measure to check critical focus.
  12. Sorry cant seem to edit it. I meant that 50mm on 16mm film doesn't change the focal plane, I do realize your using lese of the lens and the resulting image won't be as wide as if it were exposed to the 35mm it was intended for
  13. I have a lens and F stop question. I know that Using a 35mm lens on 16mm film doesn't change the Focal length. Its fair to assume that the F stop doesn't change as well? An F 5 exposure reading on the light meter, you'd set it on the lens just as you would if it were on a 35mm camera? I'm pretty sure that this is true. I seem to see good enough results. But I just want to be positive. Cause in my head, weather its 35mm or 16mm is just a matter of how much being projected onto at focal plane is actually being used. I hope this wasn't already brought up in some other forum. Since this is usually related to the K-3 as we are often using 35mm M42 lenses on it. Confirmation would be far better than assuming things. Thank you for your time.,
  14. OMG!!!! Thanks for the video share! Ive been looking and looking for narratives shot on the K-3!!!! Hopefully I can find more. lol. So often I run into "Ya can't do that" kinda folks. And I don't like giving up without at least trying. Again thank you!
  15. As I'm reading this a part of me is wondering if ever a possibility of purchasing greater lengths of the film without the cartridge, where the camera its self, the claw, the registration pin, the back plate, is responsible for the film "handling" through the gate. Of course handling a core with 400 feet of super 8 would be flimsy as hell and might unspool, but it does make me like to think about that though.
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