Jump to content

Will Montgomery

Sustaining Member
  • Content Count

  • Joined

  • Last visited

Posts posted by Will Montgomery

  1. Try a tiffen 812 or and enhancing filter.


    I had the opportunity to pick up an "enhancing filter" for my K-3... what exactly does it do? If seems to saturate the colors a little more but I'm not sure how or if its worth having in my arsenal.

  2. I see some of these on eBay with the auto switch... guess I'll try for one of those. Just wish I could trick this lens into working properly.


    I notice that I seem to shoot with the K-3's lens on the widest setting (17) the most, so I will look for a 16mm lens as well.

  3. The Issue:


    I have a Mirage 28mm M42 mount lens that I want to use on my K-3. To make the aperature fully manual, I have to get the little pin to stay in.


    I've done due diligence and searched for this topic and I've seen a few posts about pushing in the little pin and jamming it so it stays there. Can't get this lens to do that... any other ideas?


    If not, I'd love to hear more recommendations on a M42 lens that works well without having to modify it.

  4. Try it out and see what you get, in the future I'd just call up Kodak and have them deliver film to your door... then you know its fresh and pretty much the best price.


    I just wish Kodak would setup a web site for ordering... but I'd hate to see those nice Kodak sales people lose their jobs. At least put the pricing up on the site.

  5. Unless you know what to look for, you probably won't notice the difference... the original Vision stocks look great and the new ones are great too. When I compare Vision stocks from last year vs. the Vision2 stocks in Super 8, I see a little less grain but not that much of a difference.


    What you'll find amazing is the difference between any negative Kodak stock and any reversal stock. If you're used to seeing reversal stocks telecined, this is a whole new world. Try cutting together DV footage and some of this Vision stock (transfered well) of the same event, people will say how great the film looks and wait for those scenes. Keep in mind that it is a different asthetic than reversal film, it almost looks less "film like" which can be good or bad depending on what you're going for.


    They are also much more forgiving on exposure problems... its hard for me to go back to Kodachrome or Ektachrome after using negative stocks just because I have to be much more aware of the light with reversal stocks.

  6. Are cinepost a good/reliable option? They seem pretty reasonable from skimming their website; I'll drop them an email later if they have a good rep ;)


    The CinePost guys can be really good. Their standby rate of $135/hour is hard to beat. Keep in mind that they get pretty busy too. Here's a still from a transfer last year. It was Vision 200T. (not the Vision2 version)


    If you need processing, they can arrange it, but they don't do it themselves. Bonolabs will process just about any type of stock and transfer it for you, but I think they are more expensive on transfers.



  7. Hey Frank,


    I just got my K-3 yesterday and can't wait to start shooting. As for the loading thing, do you have any tips ? I also bought a metal film roll ( read somewhere it helps in avoiding having the film getting jammed )






    Whatever you do, DON'T use those cheap plastic reels that come with the camera... they tend to bend inward and keep the film from rolling properly. Always ask for your daylight spools back from processing, at least until you have a few on hand.

  8. Ran across these guys on the web, seems their pricing is pretty inexpensive.


    Has anyone worked with them?


    Is a "Marconi Telecine" decent or as it looks, ancient technology?


    I know cheap isn't always best, but when you're on a budget it looks good.



    Here are their rates:


    35mm [800' min]

    Positive 12¢/foot

    Negative 15¢/foot


    16mm [400' min]

    Positive 17¢/foot

    Negative 20¢/foot


    Super 8mm [200' min]

    50' reels-pos $12

    50' reels-neg $20

    Per minute charge $3.50

  9. I have not heard of any discontinuance for the 16mm product. It would be listed here:




    Sorry John, I know this is on a couple threads now... I will try to call again, but the very nice lady I spoke with said 16mm Kodachrome was no longer available; maybe she was confused with the Super 8, they probably don't get alot of requests on the stock hotline for Kodachrome.

  10. Do you have a link?


    No link, that's just what the Kodak sales rep told me. Pretty sure Dwayne's has some left.


    Looked in John's Kodak link above... didn't see reference to 16mm (did they ever make 35?) just Super 8.

  11. Tried the release cable on the front button (never noticed that hole before!) and it worked while I pressed the cable release but wouldn't keep running if I let go.


    It would just be nice for those shots when I don't want to hold the camera... just an "on/off" switch.

  12. Is this the demo you are thinking of?


    GET EXPOSED: Request a copy of the EXPOSED DVD.




    That's a great one, good interviews, but I think the one I'm talking about is called "The Difference" from 2004.


    There was a great test sequence where they shot a docked boat on a bright day and you could really see the difference between film and a DigiBeta camera. I realize DigiBeta isn't HD, but I would think the characteristics would be simular.


    Actually, I really liked the DVD on the Vision2 stocks as well. I found it interesting that the DP that shot the 250D demo kept saying that he couldn't really explain why a daylight balanced film was necessary, but it just felt right. I don't have quite enough experience comparing daylight and tungsten films, but in transfers with a decent colorist, it doesn't seem to matter as much.

  13. Kodak has a demo DVD about the difference between 16mm, 35mm and Digital Betacam... it would be worth calling Kodak and asking them to send it to you (its free).


    I'm sure much of the DigiBeta look would carry through to HD, just in a higher resolution. The difference was most appearent on a bright day when there were alot of whites. Video just couldn't show detail in the brighter areas where film captured more information and looked warmer.


    There is so much to consider, especially lighting, that it is hard to get a real comparison... but it appears that with the same size crew and lighting expertise, its easier to get a better picture out of Super 16 than one of the HD cameras you mentioned.

  14. I actually contacted Kodak to see if they had any 16mm Kodachrome, they've been out of stock for a while now. And of course they're not making any more. I know Dwayne's still has it, that's where I just got 2 rolls.


    I wouldn't worry too much about the date, just store properly and it should be fine for a few years past expiration. The stocks that seem most suseptable to issues would be higher speed negative stocks due to background radiation.


    You'll be able to unload some on eBay if you want in a few years for a good price probably.

  15. So Kodachrome 16mm is gone too???


    I thought it was just Super 8, but my Kodak rep said the 16mm is no longer available either. The only 16mm color reversal stock available is 7285 Ektachrome 100T.



  16. J and C photo carries it in 16mm.


    Checked with J and C photo, they were out of stock, but expect more in within 3 or 4 weeks. Guess its a good sign that they still make it.


    The price is $22 a piece while Kodak's Tri-X and Plus-X is $18.56... But the extra silver content interests me enough to give it a try. Just want to make sure I get it processed properly.

  17. Since Kodachrome Super 8 is disappearing, I thought I'd try 16mm Kodachrome with my K-3.


    Only problem: my K-3 doesn't have a 85b filter and I'm wondering if I really need it since I'm never projecting the film... I always transfer and color correct with a good local Telecine shop.


    Is it worth losing the sensitivity if I'm correcting the color anyway?

  18. Call Kodak's 800 # and ask for any DVD film demos they have available... A really nice lady took some time and found several for me.


    There's a great one called "Embracing the power of light" on the Vision2 stocks where they compare Vision to Vision2 and have shorts in each speed of film to show potential. Also shows some 35mm vs. 16mm in the same stock.


    Another one called "The Difference" has interviews with cinematographers about film. It has a GREAT demo of Digibeta vs. 16mm vs. 35mm. If you have a project where they can't decide between video or film, show them this and you might have a sale.


    There is one on S16mm called "The Power of Shooting Super 16mm Film" from January of 2001 that shows off what that format can do.


    Fuji also has a demo on the Super F Series, I think you can order it online from the Fuji site... or try calling.


    Good luck, and let us know if you run accross any others... they are great references.

  19. Just got out of "Good Night, And Good Luck."


    Have to say that I was stunned at how beautiful the film looked. The sharpness and detail was amazing, and the shadows were handled great too. I know many cinematographers who dream of shooting a feature in B&W so Robert Elswit must have had a wonderful time shooting it.


    As far as I know, there are only 2 b&w negative stocks available from Kodak... is there any way to tell what might have been used? Or is there a possibility that a color stock was used and printed in b&w?


    Kodak also has a 3200 speed "Max-T" stock for still cameras... I wonder what that would look like in a movie film? Probably no compelling financial case could be made for its production, but it would be fun to experiment with.

  • Create New...