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Will Montgomery

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Posts posted by Will Montgomery


  1. Practice in a room without windows like a bathroom. Be prepared for a few rolls not to be seated properly and they come back unwatchable. Once you get the loading down and know the sound of your camera it will be fine, just takes a little practice.

     

    Removing the take-up reel is the easy part. Just throw your coat over the camera in your lap and have the plastic box under there too, remove the reel from the camera (easy since its not threaded anymore) and place into the black box while under the coat. Close the box and you're done. Not a bad idea to write on the back of the box what you shot on the film for reference, and other issues like speed or possible exposure problems.

     

    Also keep in mind when shipping film its always good to use FedEx or DHL to avoid possible X-Ray issues with U.S. Mail. You can use 2nd day or ground probably and be fine.


  2. Its not entirely necessary to modify the viewfinder, you can kind of guess at what's in the extended area. Du-All camera in NYC will do the viewfinder mod. He can re-cut the mask or remove it altogether. I think it cost around $75-100 to do that, but check with them.

     

    Usually camera techs like to remove the loop formers at the same time to avoid film scratches. Many people say that absolutely has to be done, but it does make it a little more difficult to load the camera. Not too bad once you're used to it, but its not easy. If you've been shooting with the loop formers in place and have no problems, it might not be needed.


  3. I would suggest going ahead and doing the S16 mod.

     

    At the moment you are projecting and transfering to SD, but in the future you WILL be transfering to HD... maybe not for another 5 years, but soon it will be more affordable and all your TV's will be HD. Then at that point you'll have the aspect ratio needed on all your older film.

     

    Remember, it makes no difference whether or not you use the S16 frame now, especially if you don't modify the K3 viewfinder because you'll still see the regular 16 frame when shooting. You can keep shooting as you do now, just when you eventually need the extra area it will be there.

     

    If you are projecting, try the Ektachrome 100D. When Kodachrome 16mm is gone that will be your stock, and I think you'll be happy with it. I think its $35 direct from Kodak.

     

    Don't be afraid of negative stocks, especially if you transfer to video... they will blow you away with their quality and latitude. Especially the new Vision2 50D.

     

    Another tip with the K3, make sure you invest in an 85b filter, I don't think it comes with one out of the box.


  4. Much of my DV camera footage is captured in the anamorphic mode (16:9 squeezed onto the 4:3 frame for later expansion). I edit in Final Cut Pro with the DV codec.

     

    Should I work with the Telecine house to frame my S16 footage to 16:9 then stretch it to fill the 4:3 thus using all the pixels and then tell Final Cut it's anamorphic just like my video footage?

     

    I generally keep the footage as anamorphic throughout the process and even write DVD's using an anamorphic Quicktime file and iDVD (the brand new iDVD handles widescreen/anamorphic great).

     

    I'm thinking that this will give me the most pixel info I can get in SD and will look better in the end... or is just a letterboxed SD DV signal wind up being the same thing?


  5. What would you say is the basic set of prime m42 lens for the K3?

    Guess it depends on what you need, but I've found my set covers most situations. I still like the Meteor lens that comes with it as well.

     

    PELENG 8mm f/3.5 fisheye (not quite fisheye on a 16mm movie camera, but edges are bent)

    ZENITAR 16mm f/2.8

    Pentax Super-Multi-Coated Takumar 24mm

    Pentax Super-Multi-Coated Takumar 28mm

    Pentax Super-Multi-Coated Takumar 35mm

     

    Guess you could get a 50mm if you need a telephoto...


  6. You need to get an adapter to use on a normal tripod... I ordered one a few months ago from B&H Photo for $7.95. Most good pro photography stores should carry something like this.

     

    Here's the model:

     

    Arca-Swiss ARB.2538

    Adapter Screw 3/8"-16 to 1/4"-20 Bushing REG

     

    www.bhphotovideo.com


  7. I agree with zaefod. Going with Kodak brand film will be less expensive and better quality. This will also allow you to choose a better quality lab and telecine facility to go with.

    I agree with Zaefod and Mike Crane.

     

    If you are shooting Vision 2 200T or Vision2 500T, buy direct from Kodak, you can rely on their quality control. I have no idea why Pro8mm even sells their own version.


  8. So I guess my question is, what is the point? I know that s8mm can look great and all if that is the look you are going for, but after you have done all of this to ensure the highest quality possible your output options are basically DVD, or a film out. one is super expensive and the other is low res. I know that Blueray might change this equation but at the current time it seems a little like kissing your sister.

    Ahh... I used to think this too. Until I did some work at a high-end shop here in Dallas. Even though your final destination might be DVD, the better quality sources you have, the better the final DVD will be. Think about it, if you have to compress files that have already been compressed (and re-compressed probably!) there are all sorts of artifacts that build up and make the final MPEG encoding look weaker than it could. Plus the extra color information is retained until the very last stage producing DVD's that look great.

     

    The more uncompressed you can go, the better the final DVD will look. It really does make a difference.


  9. For a wide angle, your choices are somewhat limited, but the 8mm Peleng is one way to go.

    The 16mm Zenit is a good lens and it covers the S16 area if you have that mod. There is little edge distortion with this lens on a K3, compared to the Peleng where its pretty noticable (curved edges). But the Peleng is fun too.


  10. There are five HD tapes formats, excluding HDV.

     

    DVCPRO-HD and HDCAM are 8-bit formats mainly designed for camcorders, but HDCAM is also common in post houses because of the number of people who shoot in HDCAM. HDCAM is 8-bit, 3:1:1, highly compressed.

     

    HD-D5 is the most common post house HD deck, 10-bit, 4:2:2, and less compressed than HDCAM or DVCPRO-HD. Most movies shot on film doing an HD transfer use HD-D5.

     

    HD-D6 Voodoo is rare and hardly used. Uncompressed 10-bit 4:2:2 I think?

     

    HDCAM-SR is 10-bit, 4:4:4 or 4:2:2, and very mildly compressed. Highest-quality HD tape format currently.

     

    So regular HDCAM is not particularly a good HD tape format to master to, but if you have no choice...

    Exactly what I needed... thanks David.


  11. I've seen the costs of HD telecine drop dramatically recently, and would love to do future transfers in the format. I've used Bonolab's uncompressed to hard drive option and was amazed at the quality of the format and what you can do with it (1080P 10-bit uncompressed). The only drawback for me with Bonolabs is their completely neutral transfer; I like a good colorist to help me in that area.

     

    I really like Flying Spot Transfer in Seattle, but the only HD format they offer is HDCAM. Is HDCAM a bad format for a film transfer? I know the compression is different with that format, but if the colorist is good, do I really need uncompressed files for non-commercial work?

     

    I transfer Super 8 and S16 generally.


  12. thank you all of you for your responses and the speed of them, just another question, what is the variable speeds on a k-3, and with an arri bayo mount what selection of lenses might i be able to use as an example?

     

    thx

    Speed is variable from 8 - 48 fps. It actually might go a little higher than 48 but it sounds like it might explode at 48fps. Very loud. At 48fps the slow-mo effect is very cool. If you're used to video slow-mo you'll be impressed by a real film slow-motion effect. Looks very fluid.

     

    If you don't already have arri lenses then don't bother with it. They can be very expensive and if you're new to film, it might be money better spent on actual film and processing for learning purposes. There are some great M42 lenses out there on eBay pretty cheap. The lens that comes with the camera can be really good too, although I find it a little hard to focus with.

     

    Once you get used to the camera you can always upgrade it if you need to.


  13. I've read that the k-3 can only take daylight spools, can someone explain the full ramifications of this, since i'm not completely sure of the what that means, no tungsten film? no nifght shooting etc etc

    All 100' reels are daylight spools, they are just black metal spools with solid sides so light can't get onto the edges of the rolled film. But just because they say "daylight load" doesn't mean you should... anything faster than Kodachrome (including almost all negative stock) should always be loaded in a changing bag or in complete darkness. Its like in the marines when they blindfold you and you have to assemble your M-16 without looking.

     

    It has nothing to do with the tungsten or daylight film... you can use any Motion Picture camera film in 100' loads that Kodak or Fuji makes and its alot of fun trying different stocks.

     

    As everyone has said, K-3's are build like tanks. The cheap fake vynyl-like outer covering can start to come up, but the cameras are pretty solid. Remember, experiment and shoot test reels to make sure you're getting the results you want before you do a major shoot. Its a good idea to have your $200 K-3 checked out by a tech and even upgraded to S-16 (maybe another $250) before you spend all that money on film. Remember, by the time you buy, process and transfer 16mm, $300 might only get you 4 or 5 100' reels.


  14. Direct from Kodak is significantly cheaper on 100ft rolls... last time I checked here are the costs... stock # and price. I have no idea why you wouldn't buy direct. The quality control is excellent and they overnight for around $15.00. If AGI's price included processing then it might make sense and be a good deal. Of course, these Kodak prices are without any student discounts which I've heard are like 20% off.

     

    7218 36.48

    7279 35.48

    7217 36.48

    7205 35.46

    7245 32.64

    7285 36.64

    7222 18.56

    7231 18.56

    7265 20.59

     

    Kodak's order line:

    1-800-621-FILM (3456)

     

    You can also buy Super 8 (and of course 35mm) as well.


  15. I'm pretty sure they recently made a new batch of Kodakchrome 16mm and will probably make some more. The Kodak reps are always surprised when I order it, and even more surprised when they find it... but several reps I've talked to said it may eventually go away but the demise of Super 8 version doesn't mean 16mm is going away immediately.

     

    In the mean time, that EKTACHROME 100D 7285 is a really great stock if you're into projecting your film.


  16. Aren't K100's great? Small form factor, an optical viewfinder that you can actually use, and a very long running time when compared to the Bolex. Plus, as you know, you can slap a reflex finder-equipped Angenieux or Pan Cinor and it becomes a reflex camera about the same size as a large Super-8.

    Where can I find a reflex finder? I've seen a few of these on K-100's and I would love to have one for mine. Its a great camera, I'm just not that great at focusing based on distance.


  17. For the S16 upgrade, modifying the viewfinder for S16 frame (many people will tell you this isn't possible, but it is), removing the loop formers, general lube and back focus alignment, I think I spent $500 or so. So yes, think hard before doing it, but having a S16 Reflex camera for under $800 is still a great deal.

     

    What's killing me now is the winding. Shooting 400 to 600 ft in one day makes my arms hurt. :( I've been thinking about a Tobin motor, but then I really get to the point of spending too much money on that camera.

     

    Not to mention the additional m42 lenses I've picked up on eBay.


  18. Kodachrome (yes, even k40) has a great look.

     

    The problem I run into with it is cost. I think Dwayne's charges $32 per 100ft roll to process. Most negative labs charge $14 per roll. And that Vision2 stock is amazing when telecined properly, so it just seems easier to use in general.

     

    I wish I had the time to edit up some Kodakchrome and project it. Now that would be fun, but realistically I know I'll only see the stock on video.


  19. Its always good to check with a geiger counter to make sure it wasn't sitting somewhere in Chernobyl.

     

    If you're not familiar with the camera, I would send it to a tech like Du-All in NYC and have them do the standard check out. Yes, it may cost you more than the camera to do, but then you can be sure the back focus is accurate and the mechanics check out ok.

     

    I'd do the S-16 upgrade at the same time, you can still use it as standard 16 but there will be a little extra width if you want to move to a HD or 16:9 frame.


  20. The majority of 3-week features tend to be crappy genre movies for straight-to-DVD and cable TV, women-in-prison flicks and whatnot.

    Not that there's anything wrong with women-in-prison flicks... :D

     

    This forum is a great mix of pro and hobbyist. Topics like this really show what a pro knows.

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