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Will Montgomery

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Posts posted by Will Montgomery

  1. 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.

  2. 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.

  3. 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.

  4. 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.

     

    Mike

     

    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.

  5. 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/

  6. 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.

  7. 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.

     

    post-7911-1144636312.jpg

    About f2.8-4, Vision2 500T

     

    post-7911-1144636471.jpg

    About f4 - Kodachrome

     

    post-7911-1144636560.jpg

    About f2.8-4, Vision2 500T

     

    post-7911-1144636701.jpg

    About f8, Vision2 250D

  8. 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.

  9. 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/

  10. 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.

  11. 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.

  12. 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.

  13. 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!

  14. 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.

  15. 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.

  16. 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.

  17. 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.

  18. 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.

  19. 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?

  20. 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...

  21. 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

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