Will Montgomery

Here's link to another discussion of the camera that has more loading info.

http://www.cinematography.com/forum2004/lo....php?t4758.html

When you say the film guide, do you mean the loop formers on top and bottom of the gate? Many people have these removed anyway since they tend to scratch the film. Loading is a little tricky but once you do it a few times you'll get it.

If you're talking about the guides around the motor in the center that's something else... not sure how that would affect it.

during the school year the B+W reversal machine runs 8-10 hours a day 5 days a week

Always glad to hear when a lab is busy. This is good news for film.

I would think that with all those agencies in town that Chicago must have a few really good telecine houses... how does Filmworkers Club stack up? They have one here in Dallas but I haven't tried them yet.

Here's some standard 16 shot with a Peleng in time lapse...

http://www.k3camera.com/media/dl2.php?f=ol....mov&d=film

Under the rotating power switch there's a round knob that you pull out. Once you do this, pressing the "run" button on the handle will advance one frame at a time. You can also screw in a standard camera cable release into the "run" button that will allow one frame at a time. This intervalometer from NCS products uses that cable release hole for time lapse...

http://www.intervalometers.com/timeflow/tivscoopic.stm

The Peleng is extremely wide, even on a 16mm camera and it shows distortions proudly which can be a plus or minus depending on what you're looking for. Not extremely sharp, but acceptable for such an inexpensive lens.

I've used it quite a bit on my K3 and that camera's lens is not centered on the S16 frame so my footage would be slightly off from what you could expect. Good news is that it easily covers the entire S16 frame and its kinda fun to use.

We're so used to seeing no lens distortions (or very mild ones) with video and most film work so this lens is a nice addition when you want a different look.

Do a search, there's probably more than a few posts about it.

I've used it in Super 8 from Spectra and been really happy with it, great summer outdoor stock with vibrant colors. If you're transfering to video however, Kodak 100D would probably be fine for you and you could simply dial in a little more saturation.

If you project 16mm reversals, the Velvia would certainly be fun to try.

True. However the 3/8"-16 threads in the bottom of a K-3 are very shallow and I suspect that one of these tripod thread adapter sleeves will not screw all the way in, and protrude.

No, they work fine. I've used 2 different ones and they worked with no major issues. They can be ordered at B&H Camera online or a good camera shop in your town.

Also I ran it for about 5 minutes with no film in it and then read that you should not run it on high with no film.

Is your hand sore? That's about 10 full winds. Made me buy a Scoopic after about a year of that.

Here's a complete trial and error method. Just try opening the film compartment while slightly shading the camera after you've shot your scene. Not recommended for Super 16 because there's a good chance you'll expose the edge of the film where the Super 16 goes into. Try running the film on a slower speed and slowly opening the film compartment (or kinda open and close while the film is running...). This will give you a very unique end-of-film effect. You should probably get at least one take of the scene in the can and safe before you try this very unprofesional approach but what the heck.

I once worked with a sound engineer that did an amazing phlange effect in one section of a song by copying the mix to a 1/2" stereo deck, manually syncing it up perfectly then slightly touching the reels as they played to manually move it ever so slightly out of phase. I kinda think of this "old school analog" audio technique as similar to what I just described for film... a little voodoo and experience and you'll never get the same thing twice.

Very.

Unless you want to go for a cool streaky artsy effect... one where you can't make anything out but you can see colors.

check out a Peleng 8mm.

I have one and use it on the K3 from time to time. It is very distorted on the edges but it can be a cool effect if that's what you are looking for. You can get an entire room in a shot very easily with it.

Did Pentax ever make a screw mount lens wider than 17mm? Anybody? I don't think so, but it who knows.

The widest I've seen is a 20mm from Pentax and that is pretty rare.

Congratulations, a K3 is a fine first camera, great to learn on. Having the motor will save your hand from winding, a big plus.

Do you know which type of lens mount you have? If it's an M42 (Pentax Screw) mount, then you'll have quite a few lens options at reasonable prices.

The Meteor lens that comes with the camera does not cover the Super 16 frame between 17-25 so you may want to look at another Russian lens, the Fisheye MC Zenitar-M 16mm f/2.8 Lens. This covers the Super 16 frame and even though it's called a fisheye, the distortion is not that great on a 16mm movie camera. The specs are at this site, so double check to see if it will focus close enough for you.

http://www.rugift.com/photocameras/zenitar...isheye_lens.htm

There are some decent prime lenses to be found on eBay called Pentax Super Takumar lenses. I have a 35mm & 50mm that are sharp, fast and clean (the 50mm is F1.4). These will also cover the Super 16 frame.

If you're looking for a distortion free lens, you'll probably want to find a 20mm M42 lens like this one...MC Mir 47M 2.5/20 Lens. Never used it myself but the specs match what you're looking for.

MC Mir 47M 2.5/20 Lens

I generally try to get our customers shooting Super16 to do an anamorphic video transfer. If you edit in 16:9 anamorphic and build a DVD at the end the set top player will auto letterbox for 4:3 sets and play 16:9 for newer widescreen sets. Seems like a good all around way to go as many people have plasma's or lcd's now.

This anamorphic workflow DOES look better in the end. Keep everything anamorphic through the whole process (Final Cut Pro does a great job with this) and create an actual anamorphic DVD and it will look amazing on a 16:9 TV. Plus, as long as the DVD player is setup properly it will automatically letterbox on a standard 4:3 tv.

This looks so good that I've slowed down my quest for HD transfers of my film work... it doesn't seem like it's worth it at this point.

Thank you soooo much for posting these shots. I wish we could get more of our experienced cinematographers to do the same, it really helps to see how lighting is handled and the behind the scenes shots.

I believe shooting a new LCD type tv might also eliminate that problem.

In Dallas (sorry, don't know anything in Houston but these guys might)...

"MPS" (214) 630-1655

"Panavision" (972) 929-8585

You want a list of all films shot in Fuji and Kodak stock and both 16mm and 35mm ?

Righto, I'll get to work ...

For starters I think David Lynch's Dune was shot on film. There are heaps of others, maybe even hundreds... Film is popular.

Hey now, do I detect a hint of sarcasm?

Why did you stop making a motor for the k3??

 

Demand is huge for those.

Let me take a try...

Because they were expensive and difficult to install which added even more to the expense and you got to the point where another camera (like a Scoopic) made more sense to own. Plus the demand wan't really huge because of these reasons. If it was huge he'd still be making them or retired early in Florida.

That's just a guess though. :D

Do some of these, or all of these, US rates include deck and stock?

Most telecine houses I know of include one deck in the rate. Here in Dallas it can be any deck they have, at least up to DigiBeta for sure, I've never asked about D5 or HDCAM SR (which this house has). Since the higher end suites cost significantly more I would assume a higher end deck would also be included & expected.

Once I asked for a dub from the Digibeta to miniDV and they said there would normally be an additional deck charge but they let it slide since it was so short.

But damn, you guys have cheap transfers. Especially student deals. List price for Spirit transfer is something like $1000/hr here in Finland.

Competition my friend. There are tons of 16 & 35mm transfer houses across the country here and quite a few higher end systems too. I've been hearing from houses here in Dallas that business is booming recenty due to producers realizing that HD from film really does look better.

Remember that "list" or "book" rates are almost always negotiable, just leave your name and number and tell them to call you if it's slow and you'll take an hour for $400.

Noticed that Modern Video does 8mm transfers... I wonder if someone would actually do Spirit 4k Super 8 transfers? I'm sure they would do 2k since that would be about the limit of the stock. And what would that cost be? Spirit 2k around here would be in the $700/hr range I think.

Well kept 1-year old film is absolutely fine. The question is only if it was actually well kept and are you dealing with short-ends or recans. If so were they handled properly. Chances get better with slower film as faster stocks are generally more sensitive to storage conditions. 1 year is practicaly no time in film life though.

Try & test small amounts first until you feel you can trust the supplier. It's always a gamble but their are plenty of reputable people out there that sell recans and short ends.

If you're doing a project that involves getting paid to deliver a product, it's hard to beat the feeling of buying fresh stock from Kodak or Fuji.

This could open a whole new discussion about how much is too much for 16mm transfers. (Don't mean to highjack the thread though.)

Anyone have a Technicolor LA rate card? When I start paying over $400/hr I start to wonder if I should have been shooting 35mm anyway. The important thing is to find a colorist that you like and knows what you like and follow him/her around wheverever they go like a good barber. (that's not to say trying someone new hurts)

When I used to produce records I worked with a few engineers in Miami that could make practically any studio sound amazing. They would always tell me it wasn't really about equipment (although of course that's a component) it was the skill of the operator. I'd bet Technicolor can attract some amazing talent.