Sean DelGatto

Oh man, that just killed the happiness. RIP John, thank you for your contribution to this Forum.

@ 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.

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?

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.

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?

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.

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.

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

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.

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

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.

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

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.,

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!

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.

Ya know what I had this same damn thing happen, and I thought, Awe hell I bought a bad camera. Till I looked at the film ar realized one of the Sprocket holes was ripped Long ways, so the little pull down was just flicking up and down, on little torn perf was all it took. go figure. wasn't really obvious till I knew what to look for.

Its a short film we did just to experiment and test a K-3 we just bought. Now we are having it modified to super 16, getting rid of the loop formers as we noticed some scratches, and we are sticking with the M4s (mount type) lens and not using the Zoom lens that it came with. I wasn't too happy with that lens and with the change of gate size, I'd rather not worry about vignetting off to the side it was widening. Also looking into an anamorphic adapter to get a nice 2.39:1 ratio. If you like the footage, share it. I've been trying to dig up films shot on a K-3 and not turning up much, let alone with sound. Its just a shake n bake film. We threw it together to see what shooting with it would be like. Over all, I loved it. I loved looking at the footage, sitting back in the chair with an "oh wow" look over our faces. We went for a 80's slash Terantino. kinda style. But now not being able to find other attempts like this, I'm starting to realize it was way more unique than I thought. Not in terms of a story but in terms of shooting a narrative with dialog with a K-3. If you guys have videos like that I would surely love to see it. My camera requirements are 24fps. The fact that its spring wound I actually like. I don't have to worry about batteries. I also found that when your limited to 23-30 seconds, most edits are less than that. So ya have to shoot economically. What we did was do several takes with a DSLR, then when things felt good and settled, we would shoot one or two with the K-3. Basically the DSLR for safety, also to double check the exposure since we set it for the same ISO and Shutter speed to make sure we weren't way off with the light meter. Had been a while since I needed one. But one of the things I love about it most. 1. The technology is in the film. They can improve the film, and I don't have to buy a whole new camera 2. You really do best to plan every frame of your shot. Too often I go to sets and see the DP shooting a hundred takes from so many angles like they hadn't thought this out yet. So you come to set, ready ya know the shots, you don't waste everyone's time. 3. Shooting only what ya need. Maybe a few seconds after. I've edited movies that Had hours and hours of footage...lol thanks to the DP in number 2 above. And its like the whole project should be a run time of ten to fifteen minutes. 4. The equipment. A 50mm M42 lens can be bought for 20-30 bucks...now imagine A redone 50mm, a canon 50mm, I mean some of you shuddered when thinking of a redone lens cost. 5. Cost. This is where ya have to consider Digital versus film. If you are shooting tons of projects a year. Film will kill ya in cost. However most people don't make but 1 movie every few years. Cause ya gotta write it which takes time, the budget for actors, location, planning. Its a lengthy campaign. So if you make one film every three years then, well I am, stick with film. Cause when it comes to digital, first of all Rolling shutter, hate it, hate it more than anything. So global shutter cameras are going to be at least 7 grand, then ya need the batteries. I think the Ursa was at 400 each, then the charger for 700? Ugh and my friend got the whole REDONE package for 35,000. So in that frame of thinking....yeah I can't actually afford the good digital. I'd be better off renting a SR2 or 3 for features, or a K3 for shorts. 6. Resolution and content. I have heard [people say so many times. Oh yes once I get my 4K camera I am going to be shooting great movies. LOL you'll have the resolution, but it doesn't make the story magically better. All it does is make the image professional both Film and 4K(higher end 4K that is), what you put in front of it is up to you. Anyhoo. my two cents hope it helps

I actually love the K-3. If your just beginning with Film its a good one, you can score it for 100 bucks. Can use cheap but good lenses that you can buy on ebay or even photography stores. I have a k-3 which the gate is being modified right now to super 16. It uses the M42 mount. The only K-3 I would buy. Not the other mount. I happen to have a Yashica 35mm camera and tons of lenses. So I'm already set. We shot a short, narrative with Dialogue...yes with sound and everything. And I wasn't happy with the lens it came with, however the camera performed very well. Note, if your K-3 is converted to super 16, you have to use the 35mm lenses, Otherwise when you zoom out on the stock lens you well get vignetting to one side. . I also am going to have the loop formers removed because it did scratch just a little. We decided to shoot some rolls through to test the camera anyway, why not shoot a short film and see what it can do. If you check you tube, "easy money sean delgatto" You'll see it. Might give ya some sort of an idea of what to expect. the rest is how fresh the film stock is, proper exposure, and well really getting to know working with film. I am also looking into the anamorphic adapter so I can then get 2.39 aspect. The next project shall be very exciting! Anyway hope it helps. I've been trying to find Narratives shot with a K-3 and can't seem to find it.