Video

Did you verify that you unscrewed counter-clockwise? Did you verify that it's the M42 mount? If both answers are yes, obviously try some WD-40, just a bit and slowly unscrew the lens. Please let me know how it goes. If it's still stuck, I'll give you my FB contact and we can exchange ideas, regarding how to make it work.

Thankyou for your reply - I haven’t verified that it is M42 (assumed it was because I thought bayonet would have some latches or something) - and would that be counter-clockwise looking lens first toward camera? I am a little concerned I may break the lens by twisting as it seems to have some give, main barrel twisted a little seperate from aperture part

@@samuelguce yes it's counter-clockwise when you look straight into the lens, the exact opposite way of when you shoot. Applying excessive force obviously leads to damage. Please let me know how it goes

The ND filter is a 4x filter, that means you need to open exactly two stops. Please keep in mind that any filter will make vignettnig worse when you zoom all the way out with the Super 16 gate. Wishing you the best of luck for all your film projects!

@@truefilm6991 Thanks for the answer, but it's not very clear to me. What adjustments to exposure compensation need to be made when I put on this ND4 filter? so that the already adjusted exposure meter gives me a measurement and I set the aperture according to the values. -2 negative for two or +2 positive for 2 stops? Thank you, you will help me a lot

@@KossNekrasoff When using the 4x filter you can either open the diaphragm by two stops, or set the film speed to a quarter of the ISO. 50 ISO will become 12,5 ISO. 200 ISO will become 50 ISO. 250 ISO will become 62,5 ISO. 500 ISO will become 125 ISO. Hope this helps.

@@truefilm6991 Thank you very much, you helped a lot

Türkçe'ye çevrilmiştir: En iyisi bunu "8mm and 16mm, for filmmakers who shoot on film" Facebook grubunda yayınlamak. Teşekkür ederim.

Thank you for your nice comment and for watching.

Thanks four your kind words. At the time being I'm very busy, so I am unable to come up with more tutorials in the near future, but I am always communicating with highly knowledgeable fellow film buffs. About the lighting: Rudolf told me he only used available sunlight that came through the window. Some shots came out underexposed and he had to compensate in digital post and color grading.

Tolerances are not super tight, but the K-3 usually makes crisp images. Vertical jitter is slightly different in each K-3, but it can easily be stabilized in digital post. The frame line is not 100% aligned with the sprocket holes and differs slightly between cameras, but that is irrelevant with digital scanning. The blurrier images you saw were poor scans. Best of luck with your K-3! Any question you have, just holler!

Thanks @@truefilm6991 for your reply - I have bought one and waiting for it now. Coming from a guy who seems very knowledgable so hopefully it's been well maintained. Do you recommend I remove the loop formers prior to shooting my first roll? I appreciate your help!

@@samuelguce I highly recommend removing the loop formers. Let me know when your K-3 arrives and I'll provide links to YT videos walking you through the process step by step.

@@truefilm6991 Thankyou - I did see one video and it seems to be fairly straight forward but I would appreciate all the help I can get - I have seen varied end results of the film going through wobbling and moving and also I have seen smooth rolling film... Is this due to loading the film or something during removal of loop formers?

@@samuelguceif you see a wobble in the loops and the loop formers have been removed, it's most likely a video artifact, mismatching frame rates, and not an actual wobble. The K-3 is usually very good. Some people tend to exaggerate. The things to consider when removing the loop formers is to have a screwdriver that fits the two screws of the sprocket - and being patient when putting the baffle plate back into place.

Yes. It takes the feedback of another person. We are our own worst judges. Thinking about it doesn't help. You need other people (who mean well).

Yeah it might be a bit exaggerated to the extent of being unintentionally funny to some ears. Rudolf and myself went for a "Sergio Leone" approach to Foley sound FX. I think it works. Thanks for your feedback and Merry Christmas!

@@truefilm6991 Yeah maybe it’s just a different style, but one of the things that threw me was no pop filter for the vocal part. 😢😂

What happened? Why did you get rid of your K-3?

@@truefilm6991 I moved overseas and got rid of most of my stuff, including that. And that was when digital was becoming really good quality, so I was happy to let it go… at the time! 🙃

Glad you find it useful.

Well I guess a full list is hard to assemble, since a lot of these lenses are out of production. We are talking about the M 42 mount, which was made for 35mm still photography. Because of that there is a lack of wide angle lenses which work with the 16mm format. I know about the following wide angles: Peleng 8mm fisheye, Zenitar 16mm fisheye, Takumar 17mm fisheye. There is also a 12mm fisheye where the name escapes me, but it's not the greatest (f/5.7-ish) and very rare. For everything from 24 and up just google: best M 42 lenses and go to lens forums. These are all vintage lenses and most film enthusiasts have what they could find, not necessarily the best. All M 42 lenses made for 35mm stills work with the K-3 and in all formats (Regular 16, Ultra 16 and Super 16). I sincerely hope this helps.

Thank you. I hope you feel inspired to grab your K-3 and shoot some cool footage. Any questions you might have along the way: please feel free to ask. Best of luck!

You might want to check the thickness of your recentering ring with a calliper and compare it to the stock ring. If it's the same, you are golden. Focussing should be easy with the stock meteor zoom. Just focus at infinity and adjust the viewfinder to appear sharp.

I cant seem to open the center hub. I know your supposed to push slightly up on them but I have nothing. Must the camera be cranked during this process

@@jiving0078 please send me an e-mail: christianschonberger61@gmail.com , so we can discuss it in more detail and if necessary even exchange images. I will do my very best to help you fix your problems.

No need, it's easy. Do it in total darkness, so you don't lose anything at the end of your film reel. Prepare the open (!) plastic case within easy reach and the white tray. Take away all the tape around the door. Turn out all lights, open the door, take out the exposed reel. Make sure the film is wrapped around the reel, it's easy to feel. Insert the film into the white tray, insert the tray into the plastic case, close it. Done. Turn the lights back on.

I wouldn't shoot a feature film with the K-3 unless you really don't have the money for any other camera - but somehow manage the logistics involved to shoot a feature film. It's fine as a B-camera. 1) it's spring driven, so the frame rate is never accurate for dialog, making editing a ton of work with time stretching and frame-accurate alignment in post. 2) the K-3 is very loud and you would need a crazy, solid, self built blimp to allow capturing on-set/on-location dialog. 3) You can only have 25 seconds with one wind, so no slightly longer shots. The camera itself of course can be stabilized by the usual rigs and gimbals. 4) the registration is not too bad and the frame can be stabilized in post to rock solid. - The ARRI SR3 is a very expensive native Super 16 camera. A camera package in good working condition, without lens costs tens of thousands of Dollars. Of course it's perfect for a feature film. There are good options for standard 16mm, but very few for Super 16 (which I largely prefer). Better regular 16mm cameras in the USD 1000 to around 3000 range: Canon Scoopic, CP-16 and if you get a great deal: Bolex and Arriflex 16S/BL.

@@truefilm6991 Thank you for responding. So realistically, shooting regular 16mm would probably be the right way to go financially. Is Super 16 out of the question budget-wise (I'm thinking about doing this for around $6,000)? I'm thinking about doing a black-and-white film similar to Nolan's Following or Aronofsky's Pi. However, I was also looking at Primer as something that might be possible for my film, although that is in color and I figure it might cost more. Is this doable on my budget? How would you approach this?

@@999yuiop Super 16 is O.K. with a K-3 when you get the gate to be 100% smooth without causing scratches. It's makeshift and you don't see the added 20% on the right hand side, so it's guesswork. You can get a Super 16 modded Bolex, but you'll need lenses for Super 16, otherwise you'll get annoying vignetting. That will set you back about USD 6000. I would not go for Ultra 16, since you are stuck between sprocket holes and you'll need to zoom and crop a lot to get a 100% clean image, required for a professional look. Modifying professional cameras to Super 16 is not possible with all models unless it's a very complicated rebuild, and if it's possible it's very involved, since all mechanical parts have to be completely smooth to avoid scratches. Native Super 16 (Arriflex SR3, 416; Aaton XTR Prood) cameras cost a fortune. So regular 16 shot with a great camera and lens is fine. You can zoom and crop it since modern 16mm film stock and scanners are top notch and allow for it. Hope this helps.

@@truefilm6991 Thanks again for the advice. One more thing I want to ask is where to find more information on 16mm cameras, films, etc. Like where do you go for more resources (books, websites) on this?

@@999yuiop try the Facebook group: 8mm and 16mm, for filmmakers who shoot on film. I have no personal gain so it's not self promotion. Some skilled and very helpful (and cool) people there. See you there.

Look out for a Super 16 gate on ebay. They pop up from time to time. Alternatively you can get a regular 16 gate and file or mill it open yourself. I highly recommend getting the re-centering ring to correct the optical axis. Here is one for example: www.ebay.com/itm/322199077715?hash=item4b048fc353:g:6c0AAOSw9N1VwjtL&amdata=enc%3AAQAIAAAA8I9Cdv%2BHBgT8yNOrZTmBx9m6qQomk8ZCDQ5mctKVCuNKB4kWdUdTbwEohh%2FWhQBEjoOzhar%2FOay%2FqT51TEvnMBDUo8HKTpTE8pUdS67y3XdUaBA1SgBtnQpT36TFLJPoUWydVlMNscg1p1EkKvGq%2F1xXM5pFRkwR%2BZy3hOZ5eOCdPS5vbZcBWdMIJw1qBHtpG0vROR8Nrw4KOc53dWJwzyPmLJKS9Br6h%2BxHgkM95%2FWYlJt0H%2F86dBX%2FKm6nkurHdGulqeeaaoyUNFkQM6Qd1LId6khNseJ8o%2FQHAVlT24e8tEyLpo%2FpnhuGMZ7KwwDVcg%3D%3D%7Ctkp%3ABFBMrqX55cNi

Yeah, I should have chosen 80s porn music to better fit the year the camera was made.

The M42 mount that comes with the K-3. In this case the recentering ring, which is an offset M42 mount for the Super 16 format.

Muito obrigado. Fico contente a saber que gostou. Qualquer pergunta: é só xutar! Sou alemão, mas vivo há 37 anos em Portugal.

The Super 16 image extension is 20% on one side only, so it's assymetric. It should be 10% on each side to maintain the image center. In order to achieve this, you only correct the image center by 10%.

@@truefilm6991 AH! That's the reason of course! Thanks!

@@absentfaulty my pleasure.

Thank you! It's a great open 4K scan, cropped and post produced/graded - then rendered out at the highest YT setting. It starts looking good at 1440p. Below that the grain is messed up. Thanks again for your kind words.

Thank you. I'll make sure I'll pass on your kind feedback to Rudolf. The film was actually a bit underexposed, due to lack of natural light. So it's a bit grainier than it would have been under better lighting conditions. The K-3 also often adds a little flicker, but it's not more than on an average film print. Yes, Rudolf is a very talented photographer/cinematographer and color grader.

Yeah I know. I should have kept the volume down. Sorry for that.

Thank you. Once the film is exposed, you open the door, after removing the tape and take out the lower reel with the exposed film. Put it back into the white plastic tray and slide it back into the package. I highly recommend doing this in total darkness so you don't lose anything at the end of the reel. 16mm film is not rewound. The empty spool becomes your pickup spool. Send off the film to be processed as soon as possible to make sure the image quality is the best possible. I hope this helps.

@@truefilm6991 THANKS VERY MUCH

Thanks! That was done by my good friend Rudolf. I believe he did it in Adobe Premiere Pro and After Effects. He is an ace color grader. He used de-speckle, which is not perfect, but with the right settings it works fine. The best way would be de-speckle with manual corrections frame by frame, but this is just a test with expired film anyway. The slightly blurred frames come from the camera shake, not from the exposure. I held the camera firmly in place with my left hand after experiencing the shake and it worked.

@@truefilm6991 Awesome thanks for the info on that -- definitely looking into a K3 at some point soon for some passion projects and special music videos -- I think it's totally worth it.

@@jdamicoofficial oh yes it is absolutely worth it!

Shouldn't be squeaky. Are you using the plastic spools? Not good. Lubrication should be done by removing the front housing. Not for the meek. If you would like me to walk you through it, just holler. The K-3 won't run quieter, but you will know that the gears don't run dry, which is of course much better.

@@truefilm6991 I used steel spools do you have a different acct I can message you on so I can show u how it sounds. It's hard to explain it's just more high pitched than other k3s I've seen on CZcams

I highly recommend removing the loop formers in any case. It has nothing to do with S16. Loading should be done in subdued light, not in direct sunlight. Unloading should be done in total darkness.

@@truefilm6991 Do the loop formers scratch the negative? And thank you! I’m used to 35mm still where you can load and unload in light (subdued when I load). Thanks!

@@vc6218 yes, the loop formers were an afterthought, added to the original K-1 and K-2 design. They are not very well made and don't retract correctly by now. They will scratch the emulsion, as you can see in some K-3 footage with the infamous "tiger claw" scratches.

Absolutely. The word analog for film is simply established. That doesn't mean it's 100% accurate. I don't remember using the word analog anywhere.

That was seven years ago. I ordered it online.

To see if you need to clean the mirror shutter, just remove your lens and check if it's dirty. What does become dirty very often is the ground glass. It's above the mirror. It's hard to reach unless you remove the front piece. I did that to lubricate the mechanism and I almost ruined a screw. Just be careful removing the sheet aluminium.

@@truefilm6991 so do you think it's a good idea to try to clean the mirror shutter and prisms and ground glass? Or most likely they should be fine? I'm just trying to figure out if I should try to clean everything before get out and shoot for the first time.

@@drewwyman8816 never too much. Just be careful not to scratch or break the mirror shutter and not to knock the box with the ground glass out of place. Best of luck! Please feel free to hit me with further questions. If I don't know the answer, I'll ask people who do. We non-millionaire film buffs are a little like family.

@@truefilm6991 where's the best place to find you, I'll most likely have more questions haha. I just don't necessarily know where the things are you are speaking of. Scared to accidentally do something

@@drewwyman8816 If you are on Facebook, look for Christian Schonberger. It says Berklee College Of Music. I'm the guy with reading glasses. Just PM me.

Thanks! I just can't shake my Frankfurt accent, LOL.

Yes you can. You can shoot single frame. It has a fixed shutter speed at 1/30th of a second. The image is a little jittery, but after stabilization in post it looks fantastic. Please check my video with the K-3 footage to see the results. I still have to figure out if you can shoot at the slowest frame rate and only trigger a single frame, to get motion blur.

@@truefilm6991 Right on thanks. I took me forever to realize that you have to use the trigger pull wire in the back on the camera for single frame.

@@osseo19 No problem. Here is the English translation of the instruction booklet. Not comprehensive, but not bad either: www.manualslib.com/manual/752037/Ncs-Products-The-Krasnogorsk-3.html Any further question: just holler!

Any black tape will do. Gaffers tape is strong but expensive. Camera tape, paper based, is hard to find. Electrical insulation tape is easy to find, but it's elastic and not the strongest. Some kinds of tape leave glue residues and can even rip off a little paint. I have no problem with that, since the final result is more important for me personally.

As far as I know, there is no provision for locking down the trigger in position. It makes sense, since one wind only lasts around 25 seconds at 24 frames per second. I'm sure though that there is the possibility of a DIY solution, such as using the cable release and lock it. Thanks for commenting.

@@truefilm6991 I tried using the cable release lock that came with my K3. Only to destroy the record button... I figured it was a "fluke" so I tried it again on my second K3... and it also destroyed that Record Button as well... I'm sure there must be a way to get this to record with out our hands on. Even the manual offers camera Jibbs and such.

@@video631king Oh yes, the trigger button breaks or gets stuck easily. It is fixable, but you must open the camera front. If you would like me to walk you through the process, you can for example contact me via Facebook messenger. Look for Christian Schonberger (musician) and simply do a friendship request - if you like of course.

O.k. Can you describe exactly what happens? Is the motor running smoothly without film (always use lower frame rate, such as 16fps, without film)? Are you losing loops, are there strange noises indicating that the film doesn't run smoothly?

Ok. Let's do a check list. First of all you might want to check your empty take up spool without film and with the lid open. It must spin and there should be a light drag when you put your finger against the spool. Also make sure that the spool doesn't rub anywhere. Are you using a good metal spool or the plastic spool that came with your K-3? Scrap the plastic spools and only use metal ones. Please let me now if this helps. And yes, you should make sure that the screw on top of the axle is reasonably tight. The lid as rubber rings inside. These are there to hold the spools in place and prevent that they rattle inside the camera.

​@@truefilm6991 Hey! Thanks for answering. Love that you care about analog film. Good explanation. I for some reason get the feeling that something (maybe the metal takeup spool itself) is creating too much friction. I made a quick video of it, if you have the time! czcams.com/video/3cvWLuwjImM/video.html

@@truefilm6991 Thank you for your reply, and for caring about analog film! I just remembered you cant post links on CZcams. But I just uploaded a 3min video on my CZcams channel, showing the issue. If you have 3 minutes, I'd appreciate a look at it. It does seems like some kind of spool friction issue to me.

@@isakfalk-eliasson1675Yes I care about analog film. It's fun and satisfying to work with and when you nail the shots it is pure eye candy and magic. About your problem. It looks like the spool you are using is not adequate. It seems to have a ridge around the outer edge, making it too high (or too wide, depending on how you look at it). Do you have access to a good metal spool, like the ones that come with fresh 16mm film? I don't have any to spare, otherwise I would be happy to send you one. Other than that it looks good.

@@truefilm6991 I don't! But I'm gonna run up this roll of film on the metal one, and then I'll have 2 plastic ones. We'll see if that's the issue then! Thanks!

The K-3 is spring driven and the frame rate is roughly kept constant through mechanical means (a governor). The average frame rate is off, but you can find a point at the frame rate knob, which is continuous, that is much closer to the desired frame rate. Ruben Arce made a great video about exactly that: czcams.com/video/0LjtH9hxrh0/video.html

The X-T5 is a top notch digital still camera, correct? Unfortunately I am not familiar with lens mount adapters for digital cameras. I know that the Meteor zoom 17-69mm f/1.9 is often used in still photography and digital video, to achieve a certain look. IMHO the best way to find out what adapter to use (sometimes the back focus is off and you can't focus to infinity), is looking for a message forum or a Facebook group that deals with this topic. I am sorry I can't help you any further in this particular matter. Best of luck!

That's the idea. More recent video editing software comes with more detailed film emulation, but there's nothing like the real thing.

@@truefilm6991 That’s how doing filming should be. The real thing

@@francisharris7790 we film fans are masochists 😂 "Got the shot?" - "let's see in two weeks when the fim returns from processing and scanning! 😂 But seriously. If all is fine, the results are always better than expected.

@@truefilm6991 Hahaha hey nothing wrong with being avid film fan but you got one too me!! A big fan of super 8mm 16mm and 35mm 😁

@@francisharris7790 ...and 65mm 15-perf horizontal IMAX when budget allows 😂

To overexpose, you set your light meter to a lower ISO. When you choose 125 ISO with a 250 ISO film stock, you will overexpose exactly by one stop. It might be a little much in some situations, but the negative can handle overexposure very well. Now what to expose for (highlights, mid tones, shadows) is a very complex subject. There are many methods, two main approaches are measuring incidental light and measuring reflected light. Built-in light meters measure reflected light. The problem with the second method is that it wants everything to be a mid tone. A white wall will become gray and if you shoot into light sources such as the sun, everything else becomes severely underexposed. General rule: go for the skin tones (spot meter) if you have people in your picture. I highly recommend reading the book "The Negative" by Ansel Adams. You can read it for free in the Internet Archive. Hope this helps.

Hi there. With 16mm and 35mm you don't rewind the film. With the K-3 and all 16mm cameras that take 100ft daylight spools, you send the film on the take up spool to the lab. Your empty spool becomes the new take up spool.

@@truefilm6991 Cool thanks! Thats all i wanted to know. I forgot I asked the same question on two videos, sorry about that.

@@DethronerX no problem at all. Glad I was able to help.