Joe Gioielli

The cool thing about the k3 is that it is so cheap. You really can't go to far wrong. It is a run and gun type camera, though. I have always found it a pain to use a windup camera on a tripod. Just my view. As for the super16 mod, well it seems everyone does it so I feel foolish saying I wouldn't bother with it. The gate is east to mod on a K3. You can download the diamensions off the net and have a jewler cut it for you. Modding the viewfind is involved. In the end, I haven't done it to mine. This is how I look at it, it's a cheap camera. Why invest a lot of money fiddling with it? Use it and enjoy it as. Joe

Guys, this just doesn't smell right. You have to give them $1000 upfront as a reserve on a camera that you cannot go anywhere and see, feel, touch. So there is a big huge company full of experts behind this camera, but apparently they don't have enough cash on hand for product roll out? Perhaps this thing is real. Perhaps the company is little short of cash. There why don't they get a venture capitalists to finance them? Or just licence the camera to another manufacturer? If it is as good as it claims to be, you would think either option wouldn't be problem? I'm no expert, I can't even balalnce my own check book. What they hell do I know? But I wouldn't give anyone a penny for a product that I have no proof exists. Why not wait until you can actually pick one up and play with it. Interesting Topic, though. Joe

Like all things made behind the "iron bedsheet", quality control can be a bit iffy. Having said that, I've never had a problem. But you might get a bum, camera. Find a seller with good feedback and email his old customers and see how they felt about the deal. As for the cams, get a K3 with an m42 mount. It should have a set of filters, a shoulder stock, film spools, and a lens hood. Should sell for around 150, shipping will be another 50 takes about a month and a half. Disregard location of the seller, all are shipped from the FSU or the Ukrain. Issues with the k3, lightmeter may not work properly. Get a real lightmeter and it won't matter. Viewfinder has a yellow cast, this will not affect the film, just your view. Heavy. Autofeed may not work. Mine does, but it really isn't that hard to load. If you can load a reg8 camera, you'll be fine. In fact, if you'd like some dead 16mm to practice loading, I'll send you some. 16mm is wonderful. Not cheap, but worth it. Way better than anything you get with 8mm. Best wishes Joe

Ahh, fellas, you do realize that anyone could be reading these posts? :ph34r: I'm not sure anyone should imply that they have done anything, or that their friends have done anything, that isn't on the level. Joe "Rusty Shackleford" Gioielli

Here in the stated Easter has really lost it's meaning. It is regarded as a "children's hoilday" where a magical bunny comes during the night and leaves a basket full of chocolate rabbits, marshmellow chickens, and dyed hard boiled eggs in a basket. It is also a tradition to hide the colored eggs in the yard and have an Easter egg hunt. So people still go to church, but most don't. Happy Easter Joe

Well, when I used to visit dvinfo net, I'd heard of peope trying to figure out the "film speed" of the video camea. To be honest, though, I really think it is kind of a bad idea. The VX1K is a nice cam. I wouldn't want to risk damaging it just to save the cost of a lightmeter. I don't know the Weston 4, but considering how expensive 16mm film is, I thonk it would be false economy to you one that you are unsure of. Visit the local camera stores and see if you can fin a used one. You don't need a $900 digital. You should be able to get a good analog one for under $200. I like sekonic, but there are many good names out there. A lightmeter, to a camera, is like a scope to a rifle. The best rifle in the would will do no good if you can't hit the bull's eye. No matter how good the camera, lens, and film is, if the exposure is bad, you're sunk. Best of luck! Joe

Dear Brad, Ah, now I get you. My short answer would be yes, to a point. Every film is different. But I think you could get an idea of what to expect by using still film that is the same ASA as the movie film and trying over and underexposure. It won't be the same because the chemical composition of the film, along with the lens, will be different. But if will give you something to work with. Joe

Hi guys and welcome. I'm sorry to sound like a broken record, but I feel like there is a case of "light meter" phobia running around. Light metering is complicated. You really have to learn how meters work, how different lighting conditions effect metering, and what kind of exposure you want. There is more to it than just getting enough light on the film. By using a 35mm camera you are limited to "reflective" metering, where you get a reading of the light reflecting off of the subject. The internal meter is calibrated to an 18% grey card (which means it thinks you are pointing it at a middle grey surface), so if your subject is very light (like a white car in front of a white wall) or dark (black cat on a dark blue rug) that reflective meter is going to give you an "incorrect" reading. If you get a proper light meter you will also be able to take an "incident" reading, where you measure the light falling on the subject. This way you can avoid the whole pitfall of reflective metering. The sekonic website does a great job explaining all this. I really think you should bite the bullet and get a meter. Yes, it will cost you more than the camera, but it will be worth it in the long run. Joe

Welcome to the game! I realize that money is always a factor, but you really do need to get a meter. Yes, your SLR will work, but there are different kinds of light metering. Go to the Sekonic site and read up on it. It's very interesting. I came from the video world myself. Film is a totally differnt animal. It's well worth the trouble. Enjoy Joe

Dear Kev: Sorry, gotta ask. Are you removing the loop formers because they were giving you trouble, or because someone suggest that you ought to do it? If you are having problems, fine. But if the camera works fine, put everything back together and enjoy the camera. For some reason a lot of folks think that a K3 has to be ripped apart before it will work. Mine is out of the box and works fine. If you have to remove the formers, consider sending it to Reel Trading. Yes, they are expensive. But think of it this way, if you damage the camera you get stuck. If they damage the camera, they will take care of it. Or you can ignore all this and google the topic. There are several sites that list how to do the mod. Joe

Thanks John, please don't think I'm picking on you. I know that you're not in that area of the company. But there is nothing, and I mean nothing, that will ever make me believe that Kodachrome has a future. First the Super 8 was killed, but we were told that 16mm and 35mm was safe. Now were being told that 16mm is a gonner but 35mm is still safe. Nope, Sorry, no sale. I can't believe that enough 35mm Kodachrome (still film) is sold to keep the line going. I'd love to be wrong, but I don't think I am. I also have a hard time believing the fellows in charge of such things haven't run the numbers and come to the same conclusion. I just wish they'd say it. They're the ones I feel jerked around by. Thanks again for all your help. Joe

Yes Paul. It looks like Kodachrome is on the way out. This has been tearing around the film community for about a year. First they ended it in Super 8, but said they would keep it in 16mm, no that does not seem to be the case. I'm sorry to see the stock go, but it seems that it just didn't make financial sense to keep it around. The fact that there is also only one place in the USA (perhaps one still in Europe, but I don't know for sure.) that can process didn't help. I guess that 35mm is doomed as well. I really wish Kodak had just stated that all the Kodachrome was doomed from the get-go. I can't help feeling a bit jerked around, but whatever. I haven't used the 100d yet, but John (from kodak) speaks very highly of this stock. I would suggest trying it out. Best regards Joe

Ok, as no one else has responded, I'll share a few ideas, take it or leave it ':D' You talk about "holding it's value" and dv being out. I'm not sure that film cameras are going to hold their value, especally 16mm. 16 was used by students, education, doc makers. Like it or not, digital is taking those markets. I would not assueme for a moment that an NPR your buy today will sell for the same money tomorrow. As a still photographer, I'm sure you have seen the prices of used film cameras drop like a rock. The words "low budget" and "digital" really were made for each other. If you are truly just making films for your own pleasure (nothing wrong with that) I think dv makes alot of sense. Everything about film is expensive. Have you considered how you are going to edit? Are you going to need sound? How are you going to watch it? Are you going to use the NLE to DVD to TV chain? Then why not save the telecine step and just shoot dv? You also get to record live sound with alot less hassle. Yes, image quality is an important factor. But so is being able to get the project done. Now, if, after consideration, you still want to shoot movie film, good. I would not spend that much money on the first camera. If you wanted to learn to play guitar, you wouldn't run out and buy a fender. Start with a resonable learning tool. You seem to be more interested in 16mm, so I would point you toward a K3. Yes, I know you don't want one, but I feel it fits the bill perfectly. Spend your money on film. Best of luck with the new project. Joe

Well, meters are important. Granted you may not need to spend a thousand dollars on it, this is not a job for a $5 ebay special. Figure to spend at least a few hundred bucks. Get one from a good dealer that you can trust, and select a good company. Then find one that does a little more than you need. I like Sekonic, but research them and see what you think. Joe

Great topic, I've been thinking about if for awhile. It is tempting to go for the "I was, I was not, I do not care." posture. Frankly though, I'm not sure it's true. Look at cable tv. I very rarly watch the "Westerns" channel. It's on 24 hours a day, showing movies that people shot 40 or 50 years ago. Not blockbusters either, most of these were Saturday afternoon "kid films". There is a channel that shows noting but old game shows. I really believe that one day, all those movies, both releaed and unreleased, will be running on telivision (or what ever replaces it) 24 hours a day. I also believe that home movies, small docs, and hobby films (and video - makes no difference to me) will find viewers, if they survive. I have a collection of 8mm films shot but some man in Texas. About ten years worth of kid's birthdays and vacations. All films contain "intended and unintended" content. Often, the intended content of a home movie is only of personal value. I have one called "Emily and Charcoal." It's just a little girl (now in her 40's) palying with a little black dog (presumed deceased) in her living room. OK, cute enough. But I really go for the unintended content. I get to see the kind of furniture he had. He had a taste for modern design. He also liked hign tech. Great tv and stereo set up. The man liked his toys. You can even learn by the way he shot. His regular 8 camera had a zoom lens. He was not a man to skip on his cameras, either. His children survived to young adult hood. They appeared to be in good health and were well provided for during there youth. We live in a unique time in human history. The 20th centuary was the most well documented in history. Human civilization is a light that flickers. Currently we are shining brightly. We have no idea what the future holds. Between climate change, war, or disease we may be heading toward a period of darkness. Just as we cherish the clay tablets of cultures long past,the past, perhaps our films a video tapes will provide the clues to our culture fot the future. "And when they found our shadows, grouped round the tv sets, they tracked down every lead and repeated every test. They checked out all the data on their lists, and then, the alien anthropologists admitted they were still perplexed. But on eliminating every other reason for our sad demise, they logged the only explination left, this species has amused itself to death." Roger Waters Joe

The reason they list a number is so you know that he is shipping the same camera he is advertising. But with out a picture, that doesn't really do you any good. Frankly, if he can't figure out how to post a picture, I wouldn't deal with him. Ask for a picture. If he is out of the country you live in and there's no picture, skip it. You also need to ask about the lens mount. You need to know what kind you are getting. There is nothing rare about the K3 so don't feel like you have to bid on the most recent auction. Ask questions of the seller. Ask if it is a "used" camera or "unsold stock". Also, look at the sellers feedback. Read them, look for people that mention the camera in the feedback. Then contact the buyers and ask them if they are happy with the seller. You can contact 10 buyers a day. I have done this. I contacted 50 people. 11 emailed back and said they were happy. (Sadly, I don't remember the sellers name, if I can find it, I'll post. I bevieve it began with a S.) and the deal went well. You need to do everything you can to protect yourself. Paypal only, no wire transfers. (Doesn't really make that much differene. I just feel paypal is more "normal". If you do get ripped off though, I think you'd be out of luck either way.) I have bought 2 thinks from the the old CCCP. Both went fine. Read this board though. There is a seller that others have questions about. Remember, the time to ask questions is before you bid. If you get a good one, the K3 is a great camera. Joe

I didn't buy from that guy, buy my k3 was fine. Everything worked as advertised. Some sellers sell unsold stock from the 80s and 90s, others sell used cameras from second hand shops (You have that problem alot with 35mm rangrinders.) so it is something of a crap shot if you don't know what exactly the sellers is selling. It does seem that a least if you get a carp one, you should get a refund. But don't assume the worst. Find out what you got. If there is a problem, contact the seller right away and try to get it resolved. Good Luck Joe

Pat, I think (and others who know more will help out if I get this wrong) you might be referring to 'F" stops and "T" stops. Personally, I've never used a camera that used "T" stops so I won't pretend to konw about them. This is what I found on www.usecoles.com by Matthew Cole: "There is a concept called t/stop, for transmission stop, which is a measure of the actual light transmission of the lens rather than the simple ratio of the aperture to the focal length. The t/stop can vary from the f/stop because you have a lot of lens elements (big zoom lenses might have these) or you have one lens coated and another not coated. About the only people who need this level of precision are professional cinemaphotographers who use the t/stop to set exposure. Their lenses sometimes have both f/stop and t/stop scales marked. Even when they know the t/stops of the lens, the f/stops remain important because depth of field is driven by the f/stop regardless of the light-passing ability of the glass. I have never seen a still photography lens marked in t/stops, but the concept is out there so I thought I'd mention it. " As long as you are using the same terms "T or F stop" on your meter and your lens, you should be fine. More than likely you will be dealing with F stops. F stops refer to how much light will strike your film. It is related to film speeds, lighting conditions, and detph of field. The above wesite covers about what you need to know. Now, there are also different kinds of metering: reflective(center weighted, matrix, and spot", and incident. Reflective metering measures light reflecting off things, incident measures light falling on things. You will get different results depending on which you choose. There are a million variables. Believe me, it sounds a lot harder than it really is. The last issue you may be looking at is the fact that many Super8 camera are auto-matic exposure and set for 40 asa film speed, which is no longer avaliable. Other stock are available but if you have an auto only camera, well, you're out of luck. If you camera is manual, you should be fine. So, you should have no problem using a seperate light meter with you movie camera. Just make sure you know how to use the meter for cine film (you have to account for sutter angle and frame rate) Again, it sounds harder than it is. It should all be in the instruction book or you can search the web. Sorry for the long confusing post Joe

If you enjoy Kodachrome in small format, just get a regular 8mm camera and you're all set. John Schwind says that k40 in 16mm should be around for quite awhile yet. The difference between projected super and regular is nothing you can't live with. So if you want to keep kodachrome as your stock, there's your last best option. As for the Fuji Velvia, you can get it from Pro8mm, $45 US with processing. That is a special order price. I was told they had 3 instock I could have for $35. Bit spendy, but it is an option if you don't want to just retire your 40asa Super8 camera. Joe

You can get a uv light at a better pet stope in your area. They are used to setralize [sp] water. You would have to modify it (they are generally sealed units) and they are aren't cheap. To me, it seems like a lot of bother for something that may not work, but it's something to consider. Best of luck Joe

Dear Chris, Check out a k3. Yes it is a wind up which does limit shooting time between rewinds, but it has a low going for it. It is cheap, a reflex viewer, rugged as heck, and you can get additional lens for it at low cost. Good luck Joe

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. Here is a trick I use. Get a high quality wooden spoon, hardwood as opposed to pine if you can. Insert the thin end of the spoon through the little half moon opening where the metal folding handle meets the body. Use the spoon to wind it. It hard to explain but if you just play with it you'll see how it goes. Makes it a lot easier. Joe

You hear a lot about bad loop formers, mine are fine. The auto load works fine as well. I think you should shoot a test roll and see how it goes before you start fiddling with it. I love my k3, but, like most Soviet designed items, it is what it is. It's kind of like an AK47. It does a basic job very well, but it has some very real limits. It's loud (making it harder to record wild sound), I find it poorly balanced (the shoulderstock helps), it only takes 100ft spools, the viewfinder is yellow tinged (this is only a viewfinder isuue, will not affect film), and that wind up motor gets old real quick. But it's a reflex 16mm for less than 200 bucks! I just don't know if it's the kind of camera I'd invest it. Buy it uses it, enjoy it. And save your money for something a little nicer down the road. Have fun with you new Russian pal Joe

We will need more info before we can help. There are too many differnt kinds of projectors. Do you have a loose film that you need to get on a spool? Joe

Best advice is to read. Get a book on 35mm to start with. It will explain all the basics. It really isn't "Hard", more "complex". Everything is interrelated. But don't worry, you'll get it. And don't be afraid to make mistakes. We all make them. I might also suggest a less complicated camera. I have a K3 that I'm very happy with. It was about $200. I;ve had no problems with it. Enjoy Joe