What kind of camera? How big a bottle? How far into the bottle? What kind of
light?


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There's a specific shot I want to get in an upcoming short film I'm gonna
make. I make a shot looking down a bottle of pills. What kind of lense
should I get for this?
----------------
Michael T. Arndt
webmaster@...
http://film.tierranet.com


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"ESS" of Miami (formally Media Lightning) no longer carries the k-3.

DuAll is still selling, at $1000 (!)
Reel Trading sells their version $1175.






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At 09:07 AM 8/3/98 -0700, you wrote:
>
>
>Joseph L Cordaro wrote:
>
>> If you want to get an Angenieux Zoom, you can get an Arri B conversion for
>> the K-3, then get an Angienieux with a B mount.  You could also mount
>> whatever else you wanted on it.  Personally, I would recommend the 9.5-57
>> over the 12-120, since it has the highest T stop, it goes wider (9.5mm)
>> and it is sharper.
>>
>>
>
>  So where do you get an Arri-B adaptor?  I'd sure like to try my Zeiss on
this
>thing!
>Johnny

I found a lense for sale. Here's what the seller says of it.

Pentax screw-mount 135mm f/3.5 Super-Multi-Coated-Takumar lens. EX++
condition with case, caps, hood, and strap.

Would this work on a K-3?
----------------
Michael T. Arndt
webmaster@...
http://film.tierranet.com


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Joseph L Cordaro wrote:

> If you want to get an Angenieux Zoom, you can get an Arri B conversion for
> the K-3, then get an Angienieux with a B mount.  You could also mount
> whatever else you wanted on it.  Personally, I would recommend the 9.5-57
> over the 12-120, since it has the highest T stop, it goes wider (9.5mm)
> and it is sharper.
>
>

   So where do you get an Arri-B adaptor?  I'd sure like to try my Zeiss on this
thing!
Johnny



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-- [ From: Len Nicholson * EMC.Ver #2.5.02 ] --

> From: Michael Tisdale          \ Internet:    (mtisdale@...)
> > I was always under the impression that the mount was, in fact, a C-Mount
.
> > What kind of Universal Pentax Mount zoom lenses are there? Mostly
>
> Well, you can always check out Ebay...  look in the lens section, and
you'll
> see
> tons of Pentax lenses.   Of course, since Pentax is associated with 35mm
still
> photography, you'll have a hard time finding any wide angle lens!

Make sure, if you buy a Pentax lens that it's one of the old screw thread
mount ones, also known as M42 mount. For quite a while now (20 plus years)
Pentax has used a bayonet (K) mount which will NOT fit the K-3.


--
lennich@...
http://ourworld.compuserve.com/homepages/lennich




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On Mon, 3 Aug 1998, webmaster@... wrote:

> At 10:20 PM 8/2/98 -0400, you wrote:
> >keep in mind the k3 mount is a "universal" pentax mount not a C mount ... me
> >doubt the angifuzz would work, support or not ...
>
> I was always under the impression that the mount was, in fact, a C-Mount.
> What kind of Universal Pentax Mount zoom lenses are there? Mostly looking
> for ones with the same specs. 12-120mm or so. Something to that extreme.
> ----------------
> Michael T. Arndt
> webmaster@...
> http://film.tierranet.com
>
>
> ----

If you want to get an Angenieux Zoom, you can get an Arri B conversion for
the K-3, then get an Angienieux with a B mount.  You could also mount
whatever else you wanted on it.  Personally, I would recommend the 9.5-57
over the 12-120, since it has the highest T stop, it goes wider (9.5mm)
and it is sharper.




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I was always under the impression that the mount was, in fact, a C-Mount.
What kind of Universal Pentax Mount zoom lenses are there? Mostly looking
for ones with the same specs. 12-120mm or so. Something to that extreme.

Michael Tisdale

At 10:20 PM 8/2/98 -0400, you wrote:
>keep in mind the k3 mount is a "universal" pentax mount not a C mount ... me
>doubt the angifuzz would work, support or not ...

I was always under the impression that the mount was, in fact, a C-Mount.
What kind of Universal Pentax Mount zoom lenses are there? Mostly looking
for ones with the same specs. 12-120mm or so. Something to that extreme.
----------------
Michael T. Arndt
webmaster@...
http://film.tierranet.com


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Has anyone used this type of lense with the k-3? I'm looking to buy one
because I'd like to use a higher millimeter lense and have the ability of
more intense zooms. My main problem is that I know a lense like this
requires support and I might have to create some makeshift device to handle
it.
----------------
Michael T. Arndt
webmaster@...
http://film.tierranet.com


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Hello,

The first roll of film I shot with my Krasnogorsk-3 was a Kodachrome
25 film (I got it 10%-off when I bought the camera). The main thread
in this short movie was an old analouge Yamaha synthesizer. I´ve
scanned a frame from this particular roll of film with a standard(Agfa)
flat-bed scanner, but I´m not really satisfied with the result, It looks
like a bad "big-foot" image, it´s really my friend Nils carrying his
synthesizer. By now I´ve screened the film about a 20 times in an old
Polish film-projector from 1950 (with tube-amplified sound), that´s why
there´s "some" scratches on the film.

I enclosed the frame image.

Mathias Björklund

bjorklund@...




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>>"What input have you had from users on the Krasnagorsk cameras? I hear
their
>>lenses are soft, their movement & registration is bad, & they break
down."
>>
>>K-3 owners, how would you respond?

We have a few K3 that we used for training and you know the way students
handled the equipment sometimes can be rough. But i must say that the K3
have been very good for such handling, very soild, haven't had any
mechanical problem with them except one which had a little lens problem
where the focusing ring came off, but can be fixed. Camera does jams once
in awhile but that due to bad loading

Don't really understand what "lenses are soft" means but ours are as sharp
as anyone can hope for from a 16mm camera.

Danny


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>That all sounded amazing. What about blow up? Is there any place I can have
>this blown up to anamorphic 35mm or is this primarily a 16mm only device
>(unless the orginial adapter is used on a 35mm camera of course).

         I haven't checked this out yet - I think direct blow up to 35mm in
1.75x might be difficult, since the anamorphic lenses they use in theaters
are 2x. But I've heard of "adjustable" anamorphics, whereby you can
increase or decrease the squeeze, so maybe you could call around Hollywood
and see if there's a place that would squeeze .25x during blow up. But
that's an extra optical step.
         If you plan on doing lots of blow ups to 35, 2x is the format for
you, since they could just blow it up, and it would work. (The sides would
be clipped off, though, for the optical soundtrack.) In general though, I
don't really like 35mm blow-ups. Why give your audience inferior picture
quality? Plus, in the end, blowing up costs just as much as shooting in
35mm. If you're considering 35, I say take the plunge, rent a couple Arris,
and just go with it. My philosophy is to shoot in the largest format
possible, and then blow down if needed. It'll look better, you'll feel
better, and your audience will thank you!
         Besides, it's not like you'd be blowing up K-3 footage to 35mm,
unless you're shooting a silent film!

>By the way, are you aware of any places in San Francisco that might rent
>out this device? I would like to try it. Also, with the adapter on how does
>this make the image look when looking through the viewfinder?

         I haven't looked at the rental houses in San Francisco, but you
could certainly call them all up and ask them if they have anamorphic
adapters. (You'd need to rent a mount as well.) When you mount it on a
reflex system such as the K-3, you're seeing through the lens, so you'll
see the squeezed image. It takes a bit of getting used to, but not much.
What I do is I look through the viewfinder and see what things are on the
edges of the frame. Then I look up at the scene and reconstruct the frame
in my mind, based on where those things are when they're not squeezed. You
can buy a director's finder, which is a little thing you look through to
compose a frame, but they're expensive, and most people I've talked to who
have them don't use them. But at least the K-3 is reflex! When I put the
anamorphic on my B&H Filmo, it covers up the viewfinder! I'll have to buy a
bolex octameter or something, but even then, I'll have to imagine the frame
wider at the sides. :)
         By the way, making a letterboxed video copy is REALLY easy! You can
either do it in telecine, or with a video capture card. Just squeeze it
vertically 1.75x! Voila, instant letterbox. Pan and scan is a bitch,
though.

Hope this helps!


- Ben


Ben Syverson
       The Main Man
Kaleidafex Digital
ben@...

            Coming Soon...
http://www.kaleidafex.com




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That all sounded amazing. What about blow up? Is there any place I can have
this blown up to anamorphic 35mm or is this primarily a 16mm only device
(unless the orginial adapter is used on a 35mm camera of course).

By the way, are you aware of any places in San Francisco that might rent
out this device? I would like to try it. Also, with the adapter on how does
this make the image look when looking through the viewfinder?



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Hey

Re: anamorphic lenses!

I wrote:
>>>It compresses the image horizontally, and then expands it during
>>>projection, so I can film in widescreen - 2.33:1.
>>>
>>>See ya!
>
>That sounds incredible. Where can I purchase such an adapter? Is it simply
>an adapter or will my K-3 have to be reconstructed like when it's changed
>into a Super 16mm camera. Also, is this simply meant for 35mm blow-up or is
>there actually 2.33:1 16mm projectors (or lense for a projector) that I
>could buy.

         Here's my primer on the anamorphic system. First of all, it's not
new - it's been around since the 1920s. In the early 50s, Fox bought the
patent, and started producing anamorphic widescreen films under the trade
name "CinemaScope." Now, the most common anamorphic system is Panavision.
When you see a film that says it's "Filmed in Panavision," you're seeing an
anamorphic film! ("Lenses and Cameras by Panavision" means it's shot
regularly.)
         Panavision is a professional format, whereby the very prime and
zoom lenses themselves have anamorphic elements built in. But most amateurs
use an anamorphic lens OVER their regular lens. (Thus, it's not really a
lens, it's an "adapter.") The cool thing about the adapter is that it's
just basically a hunk of glass, so you can use it with virtually any camera
and lens combination. (Extreme wide angles will cause dark edges however.)
         So basically, you buy ONE anamorphic lens and a mount, since it's
very heavy. You shoot your film through the lens, and then project it by
placing the same lens over the projector lens. There's no modification
necessary, and since it's entirely optical, it works regardless of format!
This makes it much more valuable than Super-16 to me, since I can shoot
with any camera and show the film on any projector!
         Since it's a relatively low-demand item, and very high in optical
quality, it's a bit pricey. Expect to spend more than $700 for a new lens
and mount. You might be able to find an anamorphic used, but of course it's
a gamble in terms of optical quality. But to put it in perspective, many
high-quality C-Mount 16mm lenses cost far more than $700!
         You have three choices for your anamorphic format - 2x, 1.75x, and
1.5x. 2x squeezes twice as much width into the same film area, giving you
an aspect ratio of 2.66:1. 1.75x gives you 2.33:1, which is nearly
identical to Panavision and CinemaScope. 1.5x gives you 2:1. I prefer
1.75x, since 2x seems too wide to me, and 1.5x isn't as wide as Panavision.
The lens I'm shooting with is the Kowa PA-35 1.75x.


>By the way, is this exclusively a K-3 invention or will this work with an
>Eclair or Bolex? Also, wouldn't grainy stocks look very strange with the
>grain becoming stretched out?

         I bought my lens from Galen Burke <inhouse@...>, who I
heartily recommend. He designs his own mount, which works for most cameras.
I've mounted the anamorphic on my K-3 and my B&H Filmo with no problems.
(To mount it on a K-3 you need a 1/4" to 3/8" tripod adapter.) If you have
any questions about price, specific cameras, etc, drop him a note! He's a
great guy.
         In terms of grain, I would hope that you never shoot on grainy
stocks. When producing a quality 16mm negative, it's best to stick with
slow stocks and use controlled overexposure. Print it down, and the grain
will be unnoticeable. Stay away from 500 ASA - people in 35mm love it, but
the grain is more evident in 16mm.
         Anyway, people wouldn't be able to tell that the grain is stretched
out anyway, since any piece of grain is only on screen for 1/24 second. But
some people don't like anamorphics because of the optical abberations
inherent in the process. An anamorphic is basically a big astigmatism,
which makes for weird light flares. If you've ever seen a movie with
horizontal blue streaks coming off the lights, that's an anamorphic side
effect. Some people like James Cameron hate that, but to me and many
others, it's a visual reference that says "Blockbuster!", since they're
often anamorphic. Also, when bright lights are out of focus in the
background, they become ovals instead of circles. Again, it all depends on
your perception of these quirks.
         Anyone curious to learn how anamorphism looks should go out and see
the new Zorro movie, shot in beautiful Panavision!

This is probably information overload, but if you have any more questions,
please feel free to email me!

See ya



- Ben


Ben Syverson
       The Main Man
Kaleidafex Digital
ben@...

            Coming Soon...
http://www.kaleidafex.com




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Hello,

I bought my K-3 at a secondhand camera store in Stockholm, it cost about
$300 US-dollars
or 2500 swedish crowns. It got the same features as the one sold in the
Unitedstates, only this
does´nt have the M42 screw mount, so I´m stuck with the 17-69mm zoom lens.

Things I´ve found out about the K-3:

- I was used (not to photograph with) in Kieslowski´s film "Amateur"
(1979), about man who becomes a filmmaker and uses the K-3, which means
that the camera has been around for awhile.

- The address to the factory in which the camera has been built in is:

S.A. Zverev PO KMZ
Krasnogorsky Makhanichesky Zavod (Krasonogosk Mechanical Plant)
Ul. Rechnaya 8
142400 Krasnogorsk, Moscow
Russia

Mathias Björklund, Sthlm, Sweden

bjorklund@...


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At 02:12 AM 7/28/98 -0700, you wrote:
>At 12:35 AM 7/28/98 -0400, you wrote:
>>>X-Sender: ben%kaleidafex.com@...
>>>Date: Mon, 27 Jul 1998 20:18:56 -0500
>>>To: NCS Products <ncs@...>
>>>From: ben@... (Ben Syverson)
>>>Subject: Re: [k-3] Let's get things rolling!
>>>
>>>>>First off, I vote that our "default" K-3 for discussion on this group,
>be a
>>>>>Reel Trading upgraded K-3. Otherwise, there's no standard.
>>>>
>>>>Since most K-3's out there haven't been reworked by RT, I think it would
>>>>make more sense to assume a stock K-3 as "default", and refer to the
>>>>reworked K-3's the same way RT does: "K-3 Pro".  Or as a RT K-3.
>>>
>>>Think we should post this to the list?
>>>
>>>>>By the way, I just got in a Kowa PA-35 anamorphic adapter. I'm going to
>>>>>shoot some tests with it in front of the Tokina 24/2.8. If anyone's
>>>>>interested, I can post some still frames when I get my footage back.
>>>>
>>>>What exactly does this do?
>>>
>>>It compresses the image horizontally, and then expands it during
>>>projection, so I can film in widescreen - 2.33:1.
>>>
>>>See ya!
>
>That sounds incredible. Where can I purchase such an adapter? Is it simply
>an adapter or will my K-3 have to be reconstructed like when it's changed
>into a Super 16mm camera. Also, is this simply meant for 35mm blow-up or is
>there actually 2.33:1 16mm projectors (or lense for a projector) that I
>could buy.

By the way, is this exclusively a K-3 invention or will this work with an
Eclair or Bolex? Also, wouldn't grainy stocks look very strange with the
grain becoming stretched out?



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At 12:35 AM 7/28/98 -0400, you wrote:
>>X-Sender: ben%kaleidafex.com@...
>>Date: Mon, 27 Jul 1998 20:18:56 -0500
>>To: NCS Products <ncs@...>
>>From: ben@... (Ben Syverson)
>>Subject: Re: [k-3] Let's get things rolling!
>>
>>>>First off, I vote that our "default" K-3 for discussion on this group,
be a
>>>>Reel Trading upgraded K-3. Otherwise, there's no standard.
>>>
>>>Since most K-3's out there haven't been reworked by RT, I think it would
>>>make more sense to assume a stock K-3 as "default", and refer to the
>>>reworked K-3's the same way RT does: "K-3 Pro".  Or as a RT K-3.
>>
>>Think we should post this to the list?
>>
>>>>By the way, I just got in a Kowa PA-35 anamorphic adapter. I'm going to
>>>>shoot some tests with it in front of the Tokina 24/2.8. If anyone's
>>>>interested, I can post some still frames when I get my footage back.
>>>
>>>What exactly does this do?
>>
>>It compresses the image horizontally, and then expands it during
>>projection, so I can film in widescreen - 2.33:1.
>>
>>See ya!

That sounds incredible. Where can I purchase such an adapter? Is it simply
an adapter or will my K-3 have to be reconstructed like when it's changed
into a Super 16mm camera. Also, is this simply meant for 35mm blow-up or is
there actually 2.33:1 16mm projectors (or lense for a projector) that I
could buy.




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At 11:19 AM 7/27/98 -0700, you wrote:
>>Got this message from a film dealer recently:
>>
>>"What input have you had from users on the Krasnagorsk cameras? I hear their
>>lenses are soft, their movement & registration is bad, & they break down."
>>
>>K-3 owners, how would you respond?
>
>
>In my case, my K-3 spring movement is broken after filming two 20 minute
>docu-movies. It feels like the mechanism that stops the camera near the
>end of the spring unwind is stopping the camera when it is almost fully
>wound up. Is this a common problem?

That's too bad.  Is it under warranty?
How did the movies turn out?

>Other camera comments: The movement and registration seems to work well
>if you get the film loops the correct length. The auto load is useless. I
>don't know what a soft lens is... not sharp? It is about as sharp as you
>can expect from 16mm I think. The lens elements do not seem to be coated
>so in adverse lighting lighting conditions you get a lot of flare and
>sometimes low contrast.

>Next chapter: my comments on the K-3 and intervalometers.

Hmm...





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Note that if you reply to a message on this list,
it will be sent to the poster by default, not the list.

If you intend to send to the list, make sure it is addressed to
k-3@....

I've reposted a few messages that didn't make it to the list.




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>>"What input have you had from users on the Krasnagorsk cameras? I hear their
>>lenses are soft, their movement & registration is bad, & they break down."
>>
>>K-3 owners, how would you respond?
>
>First off, I vote that our "default" K-3 for discussion on this group, be a
>Reel Trading upgraded K-3. Otherwise, there's no standard.

Since most K-3's out there haven't been reworked by RT, I think it would
make more sense to assume a stock K-3 as "default", and refer to the
reworked K-3's the same way RT does: "K-3 Pro".  Or as a RT K-3.

>By the way, I just got in a Kowa PA-35 anamorphic adapter. I'm going to
>shoot some tests with it in front of the Tokina 24/2.8. If anyone's
>interested, I can post some still frames when I get my footage back.

What exactly does this do?



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>X-Sender: webmaster@...
>Date: Mon, 27 Jul 1998 00:20:40 -0700
>To: NCS Products <ncs@...>
>From: "webmaster@..." <webmaster@...>
>Subject: Re: [k-3] Let's get things rolling!
>
>At 12:55 AM 7/27/98 -0400, you wrote:
>>
>>Got this message from a film dealer recently:
>>
>>"What input have you had from users on the Krasnagorsk cameras? I hear their
>>lenses are soft, their movement & registration is bad, & they break down."
>>
>>K-3 owners, how would you respond?
>>
>>
>>- Dom
>>NCS Products
>
>Mine has always been totally solid. There have been a few out there that
>have been known to be baddly constructed. Luckily I didn't get one of
>those. Loading is sometimes a bitch but often works well. Film has never
>jammed on me but I hear it has on a few people. Don't quite know what a
>"soft lense" is but mine seems fine. Zooms work well and image is always
clear.
>
>


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>X-Sender: ben%kaleidafex.com@...
>Date: Mon, 27 Jul 1998 20:18:56 -0500
>To: NCS Products <ncs@...>
>From: ben@... (Ben Syverson)
>Subject: Re: [k-3] Let's get things rolling!
>
>>>First off, I vote that our "default" K-3 for discussion on this group, be a
>>>Reel Trading upgraded K-3. Otherwise, there's no standard.
>>
>>Since most K-3's out there haven't been reworked by RT, I think it would
>>make more sense to assume a stock K-3 as "default", and refer to the
>>reworked K-3's the same way RT does: "K-3 Pro".  Or as a RT K-3.
>
>Think we should post this to the list?
>
>>>By the way, I just got in a Kowa PA-35 anamorphic adapter. I'm going to
>>>shoot some tests with it in front of the Tokina 24/2.8. If anyone's
>>>interested, I can post some still frames when I get my footage back.
>>
>>What exactly does this do?
>
>It compresses the image horizontally, and then expands it during
>projection, so I can film in widescreen - 2.33:1.
>
>See ya!
>
>
>- Ben
>
>
>Ben Syverson
>      The Main Man
>Kaleidafex Digital
>ben@...
>
>           Coming Soon...
>http://www.kaleidafex.com
>
>
>


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>Got this message from a film dealer recently:
>
>"What input have you had from users on the Krasnagorsk cameras? I hear their
>lenses are soft, their movement & registration is bad, & they break down."
>
>K-3 owners, how would you respond?


In my case, my K-3 spring movement is broken after filming two 20 minute
docu-movies. It feels like the mechanism that stops the camera near the
end of the spring unwind is stopping the camera when it is almost fully
wound up. Is this a common problem?

Other camera comments: The movement and registration seems to work well
if you get the film loops the correct length. The auto load is useless. I
don't know what a soft lens is... not sharp? It is about as sharp as you
can expect from 16mm I think. The lens elements do not seem to be coated
so in adverse lighting lighting conditions you get a lot of flare and
sometimes low contrast.

Next chapter: my comments on the K-3 and intervalometers.

Mike Friese


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>Got this message from a film dealer recently:

Ah! Response bait!

>"What input have you had from users on the Krasnagorsk cameras? I hear their
>lenses are soft, their movement & registration is bad, & they break down."
>
>K-3 owners, how would you respond?

First off, I vote that our "default" K-3 for discussion on this group, be a
Reel Trading upgraded K-3. Otherwise, there's no standard.

I can only comment on the mechanics of my RT K-3, as I haven't sent my
footage to the lab. But here are my K-3 pros & cons.

P R O S :

+ The registration is excellent. No noticeable gate weave, very precise
movement. I suspect my footage will be very steady.

+ Breaking down: I've only run 2 100' rolls through it, but they went
through great!

+ Lens: Like I said, I haven't got the footage back yet, but I'll let you
guys know how it comes out. I shot the first roll with the 17-69 Meteor,
but for the second roll I stuck to a 24mm/2.8 Tokina prime. I always prefer
primes - I never zoom during a take anyway, and primes have superior
sharpness and contrast. Luckily, Pentax Screw Mount lenses are cheap,
abundant, and easy to find on the web!

+ It's pretty easy to load in the dark. (You get used to it fast, too.)

+ The reflex system is AWESOME! It's so nice to work with a mirrored shutter!

C O N S :

- The narrow shutter angle is a bummer, as 1/60 is faster than the standard
180 degree shutter @ 1/50. And my B&H Filmo 70 has around a 204 degree
shutter, giving it about 1/40 exposure time. That means my Filmo is almost
a stop faster than my K-3, before I even put on a lens. Tough for low-light
work.

- The frames per second dial is free rotating. It would be nice if it would
sort of "click" to the major speeds, such as 24fps. Otherwise, it's hard to
get the same speed twice. Also, the motor slows down at the end rather than
stopping - a Filmo stops when it can't maintain constant speed. But these
are minor complaints.

- The light meter (at least on my camera) isn't very good. I always expose
with an external light meter anyway, because it offers more control. I
don't imagine very many people use the internal light meter very much.

And there you have it!

By the way, I just got in a Kowa PA-35 anamorphic adapter. I'm going to
shoot some tests with it in front of the Tokina 24/2.8. If anyone's
interested, I can post some still frames when I get my footage back.

See ya,


- Ben


Ben Syverson
       The Main Man
Kaleidafex Digital
ben@...

            Coming Soon...
http://www.kaleidafex.com




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Got this message from a film dealer recently:

"What input have you had from users on the Krasnagorsk cameras? I hear their
lenses are soft, their movement & registration is bad, & they break down."

K-3 owners, how would you respond?


- Dom
NCS Products





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Test message #2.


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This is message #1 on the K-3 mailing list.
Test message.
End of test...bye.


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Discussion of Krasnogorsk-3 motion picture camera