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Will Montgomery

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Posts posted by Will Montgomery

  1. In 20 second increments. And your wrist is going to get mighty sore from winding.


    With a retrofitted motor, stretch that out to 2.5 minutes. Then spend the next 2.5 minutes reloading. Repeat.


    I guess that's one definition of "slice" of life. ;-) Many small slices...


    That's why I wish I could use my Kodak K-100 more, the wind lasts for 40 seconds. But I need a reflexed lens for it and I can never find one for sale.


    I still have little circle indentations on my palm from winding my K-3 this weekend. K-3 owners know what I'm talking about.

  2. Heck . . . it looked good . . .


    but it WASN'T FILM. It simply didn't look as "good" a some 16 footage that I'd seen (heck, should I say ALL 16 footage that I'd seen?).


    We need to help younger film makers understand the advantages of film, when Kodak talks about it, it seems like sour grapes to some people. But lets face it, when starting out these days, video is just a far easier medium to enter. The good news is that with so many people exploring filmmaking with video, the best of them will come to realize the quality difference and seek out film. After all, these people keep saying, "Its almost as good as film!" But when they actually work with film, it will be tough to go back.

  3. Fuji has release the 250D in Reala now. I've never used Fuji, but I just ordered the F-64D, Reala 250D and Reala 500D for testing.


    My favorite stock for normal outdoor right now is Kodak's Vision2 50D. I'm happy with the saturation and the range, it doesn't seem overly "pastel" to me, but so much depends on the transfer its tough for me to critically anaylize. Curious to see how the Fuji stacks up though.

  4. The following page about Bonolab, which does datacine transfers to hard drives, has me concerned.


    Are there places that you all would recommend? Or any thoughts in general? Thanks!

    I worked with Bonolab pretty early with the uncompressed direct to disk in Super 8 and I have to say that the images didn't look soft at all... the progressive frames were great to work with, each was like a high-res scan that I could make photo prints from.


    But, since it was a "1-light" it was left to me to color correct and I suck at color correction. But the 10-bit, uncompressed transfer gives you alot to work with if you know what you are doing.


    You REALLY have to have a MONTSTER system to work in uncompressed HD. Bonolabs is happy to help you setup a system, but remember, its not like working in DV.


    I've had great results with Flying Spot Film Transfer in Seattle just going to HDCam, and now they offer the uncompressed to hard drive option so I'd check them out too.



  5. Use both. You probably won't have time to do more than a couple loads on 16mm, so save it for slow-mo shots of the bride getting out of the limo or walking down the steps on the church, maybe a few smiles as she works the crowd. Then use super 8 for the rest so you can quickly change loads.


    The trick will be in a good telecine which will cost you, but you can always go to HD later when the money is available.

  6. Peleng 8 mm lens have 4 rear filters:

    - compensative, on lens

    - UF

    - Orange O-2.8x

    - Green YG-1.8x


    I've been looking for an 85 filter for my Peleng and my 16mm lens as well; both with that back end screw in filter. Anyone run across something like this?

  7. The whole point of Super 16 is to blow it up to 35, Is that what you want to do? If not stay w/ 16mm.

    Actually I've found Super 16 on my K3 to be great for High Def transfers. Even in SD, I've worked out an anamorphic system with my colorist that allows me to bring in the full frame and tell Final Cut Pro that it is anamorphic and it cuts perfectly with my anamorphic DV footage (except of course the change in look, but that works fine for what I do.)


    So once I've done an SD edit in the 16:9 ratio, I can have the footage transfered again in HD when I want to be stupid about money. Of course, one hour of HD transfer would buy me 2 K2's new.


    I've done transfers to high def from my Kodak K-100 and my Super 16 K3 and there is a difference with all that extra film to work with.

  8. I too just shot my test roll for my K3 today. I paid $400 from an american professional photographer who said the camera was in top working order. I used the Kodak Color reversal Ektachrome film. 7285 i think. Is that a pretty good film stock?


    7285 is a great reversal stock. If you are projecting it (you can get a 16mm projector school surplus on eBay for cheap) you'll love it.


    If you are transfering it to video via a decent telecine house, then investigate negative stocks like the Vision2 series. Its more forgiving for improper exposure and looks amazing. Then again, if the real purpose of shooting film is to look more "film-like" then the reversal stocks might be the way to go as they have more of a "home movie" look. Keep in mind 16mm is a big improvement over Super 8 so even the "home movie" look is more like what the movie stars of the 40's & 50's shot then your grandparents movies of your parent's birthday parties.


    Try some black & white too, its cheaper to buy and comes in reversal and negative versions.

  9. Those two cameras are for completely different uses... the K3 is great for picking up and running, handheld shots less than 30secs (I still have indentations in my palm from winding the thing) and the Konvas is more for shots you can setup and stage. The Konvas magazines are great for quick changes and longer runs where the K3 is a pain to load on the go.

  10. Will, I didn't know Duall offered this service. Do you know the approximate cost? Thanks.

    Its not cheap, the quote I got was for $500, although he said they normally charge $650.


    Probably means they have to do alot of retooling to make it work. I would pick up a K-3 and have them make it S16. The camera is about $175 on eBay and S16 mod is like $250.


    The only way I would consider that mod for a K-100 is if I had a really good reflex lens for it that covered the entire S16 frame.

  11. Thanks, Will

    Also if anyone has an opinion about this camera or has any experience with it, I would like to hear your thoughts as well.




    I have a K-100 & K3. I like the build and feel of the K-100 much better, and the wind lasts like twice as long on a K-100. The problem is the lack of reflex viewing... you focus by guessing the distance and that doesn't work well for quick shots.


    Even when I get the focus right, I think the lenses are quite as good as the Meteor stock K3 or other M42 mount still lenses you can get for it.


    I've seen reflex lenses mounted on a K-100, I'd love to get my hands on one, I'd use that camera alot more if I could focus better.

  12. Yes, it can use both.


    Which is better? Doesn't matter, its standard 16mm so it only uses the center area. Since it only has sprokets for one side, it only uses that one side to move the film and doesn't care what the other side looks like.


    Since Kodak is only making single perf now, that solves your problem as well.


    These can be modified for S16 by Du-All camera in NYC. http://www.duallcamera.com/

  13. Lots of sun? Vision2 50D


    Shooting in some shade? Vision2 250D


    Don't know about FujiFilm but I heard my colorist talk about the Fuji Reala 500D as being cool for low light / night shots.


    Of course with an 85 filter, tungten film will work fine outside as well. Stick to the lower speeds if there's decent sun.

  14. How is that Zenitar at say ?5.6? The contrast, sharpness? Also, how did it perform with different stocks? Please give examples if you can.


    These are screen shots out of Final Cut Pro. I'm making a best guess on the f-stops since I didn't exactly take good notes.


    For me the Zenitar 16mm is a little sharper than the Meteor at 17, but its hard to tell from my crappy focusing. That's one of the biggest problems I have with the K3, getting a sharp focus when you don't have time to setup a shot.


    The only Peleng footage I had was from some really badly under exposed old 800T that really wasn't worth showing.



    About f2.8-4, Vision2 500T



    About f4 - Kodachrome



    About f2.8-4, Vision2 500T



    About f8, Vision2 250D

  15. wait a second, so you're saying that the lens it comes with is a 17mm?? it doesn't look very wide...


    Remember on a 16mm camera, a 17mm lens is more like 35mm on a 35mm camera... in other words the lens only covers half the film width so it looks half as wide.


    I have the Zenitar 16mm lens. Its a decent lens for the K3, but the glass isn't amazing. The Peleng 8mm is also commonly used on the K3. You'll see noticable "fish eye" effect at the edges but its kinda cool in the right application. On a 35mm camera, that 8mm lens is a complete fish eye.


    One drawback to the Zenitar (and the Peleng) is finding filters for it. Since they screw on to the back, I'm not sure where you find an 85 filter for it.


    On the plus side for both the 16mm Zenitar and the Peleng 8mm, they cover the Super 16 frame if you make that modification to your K3. The stock lens can be pretty good, but only covers S16 at about 28mm and above.


    Im lookin at Sekonic meters on ebay, cause I heard thats the best kind to get, and I must say Im not too impressed with these prices.

    Suck it up and buy a decent meter. Spectra Cine meters are fine too. You can spend a ton of money shooting film, processing it and transfering it and if you don't expose properly or at least in the ball park, you could waste $300 in one batch of film.

  16. Also the not a true Telecine(a Sniper)(maybe why the low contrast?) the colors were much more vivid on my Super 8 viewer.


    I would suggest having a true telecine house like FSFT in Seattle or CinePost in Atlanta transfer to miniDV for you. FSFT is very good at getting vibrant colors out of your stock. Put like 200ft of Super 8 together and have them do it just so you can have a bench mark for a really good transfer. Ain't cheap, but you should see the difference for your own reference. Plus, they can handle negative stocks (Vision2 200 & 500) and you'll be blown away by those results. Make sure you ask for Scene to Scene color correction. (yes this will cost like $150, but try it once)


    FSFT - http://www.fsft.com/

    CinePost - http://www.posthouse.com/

  17. I know of the Pelang lens - unfortunatly the distorted image looks slightly goofy and you can't realy reduce the depth of field as it isn't very fast.

    The distorted image is due to the 8mm-ness... it would be hard to find an 8mm lens that doesn't distort.


    On depth of field, isn't that affected by the width has well? I have the 16mm lens and while there's no real distortion, there's not much depth of field. I have a 28mm lens that gives great depth when focused on closer objects. Even on the stock lens, the only way to get depth of field is to zoom in a little as well.


    Have't run into and lenses between 9.5 and 12 for M42 mount, let us know if you find any.

  18. I have owned several K-3's and the only real drawback is the lack of wide lenses. Yes there is the Peleng 8mm, but I here mixed results from this.


    The Peleng is a pretty extreme lens, although on a 16mm camera its not quite a fisheye. For certain applications it can be cool.


    The MC Zenitar 16mm lens works great for width, although I'm not completely sold on the quality of the glass. There is very little curvature on the edges and covers the entire S16 frame. Since the stock K-3 lens goes to 17mm, this is slightly wider but covers the entire frame. For about $150 new, not a bad deal.

  19. Congrats on the new camera. Do a search on this site and you'll find a ton of info on your K-3.


    Here are some observations:


    Meter: I've never heard of anyone actually using the K-3 internal meter. Make sure you invest in a good modern light meter made for Cine cameras. You'll be spending alot of money on film, processing and transfer so do your best to expose it correctly. This could cost you as much as $200 or more, but will save you heartache. Modern negative stocks are very forgiving (especially with a good transfer colorist) but nothing helps as much as proper exposure.


    Lenses: You're camera should have an M42 mount, sometimes called a Pentax Screw mount. This mount was more popular in Europe than the U.S. so much of what you'll find could come from there. There are many great lenses available, mostly lenses from 35mm still cameras. Search eBay for Pentax Super-Takumar lenses. Its very important that any lens you buy has a FULLY MANUAL APERATURE. The Pentax M42 lenses have switches to make it auto or manual.


    Check with local mom & pop camera shops (not a chain store) and you might find some used lenses there too. If you go the Pentax route, a 24mm lens might be a good choice although the 28mm lens is probably easier to find. Also, there are some Russian lenses that are good too like the MC Zenitar 16mm lens or the Peleng 8mm. The 16mm lens is slightly wider than your current lens and would cover the full Super 16 area if you ever make that upgrade. The lens you have is probably pretty good, so try it out in several situations first.


    Film: If you are shooting for transfer to video, any of the Vision2 negative stocks are great. 50D if you are outside on a bright day, 250D if its in the shade or not as bright. 100T or 200T would be fine in well-lit interiors. Try some negative B&W stocks. They have more latitude then their reversal film cousins and look great on video transfer... plus the cost less money. Basically you'll be amazed at any film you try; each type has its own unique look.


    Super 16: The modification involves making the film gate larger. If you're not a skilled machinist, I suggest having a camera tech like Du-All camera in NYC do it for you. They can remove the loops at the same time; something that reduces the changes of your film being scratched. As far as projecting Super 16, I think you need a projector lens that will handle it.


    Transfer: 16mm is not Super 8. While you can project and shoot it off a wall (if you do this shoot reversal stock like Ektachrome), the best methods are to have it transfered by pros like at Bonolabs in MD, Flying Spot Film Transfer in Seattle or CinePost in Atlanta. They aren't the only ones by far, but they are reasonable and do a good job.

  20. Oh Clive, how I wish economics allowed you to make some more K-3 motors!


    From posts on this site, you'd think everyone on the planet had a K-3 laying around. Thanks to eBay, I bet there are more in the U.S. than Russia now!

  21. Don't get too caught up in loop size; it doesn't matter too much... really... I mean... my loop size is fine. As long as it doesn't touch any metal on top or bottom.


    Watch the presure plate, make sure its seated properly, its easy to miss that when loading quickly.


    Even when you think you've done everything properly, be prepared for a roll or two to come back jacked-up. Get to know the sound of your camera, and the sound different films make. Kodachrome sounds different than negative stock, and b&w sounds different again. After a while you'll notice if it isn't sounding right.

  22. I think I have found a different way to re center the lens and eyepiece. The camera is quite straight forward inside and built like a tank. Here's what I did to mine:

    Sounds like alot of work, I was under the impression that you can just modify the viewfinder mask to view the S16 area to the right... not perfect but pretty darn close. You can also just remove the mask all together and see everything the lens can. Du-All camera in NYC did the viewfinder mod for me, works pretty good.


    Many people told me on these boards that the viewfinder mod was not possible, so congrats on finding another way as well.

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