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Thanks Jim! You've been taking photographs for a long time! That's a lot of experience. You are correct. This method is intended to get the "best" results out of a device that has a fixed resolution and image quality. Once you "calibrate" it using this method things start flowing faster. At that point you can scan film normally. Thanks for watching and subscribing!

Haha, well, the cure is not prohibitively expensive, at least. I agree, I wish there were more options for 110 users, but that's a niche market inside a niche market. The good thing about the Minolta 16QT and other 16 cameras is that you can use readily available 16mm film. Developing is another story, easier for black and white, a bit more complicated for color.

Si, bonito el Ektachrome. Gracias por tus comentarios en el "en vivo", Seba. Por cierto, el material no fue estabilizado para nada por cierto. La camara esta buena en ese sentido; hay que revisarla aver porque quedaron muchas imagenes fuera de foco. La exposición quedo pasada porque olvidamos el medidor de luz y tuvimos que usar una app que al parecer no es tan precisa. Gracias por compartir tu conocimiento en temas de cine. Siempre es bueno escucharte hablar de esos temas y de tu filosofía de vida. Saludos. Rubén.

@@TheCinematographyLab El original proyectado debe verse genial. Qué afortunado en poseer una K3 que funciona tan bien y no tironea. Un placer la charla.

There are several motors for the camera. The majority of those motors work with 12V batteries, some motors need 24V, and other motors can work with 110V and even 220V, but they are not common (I have one). The camera requires 3Ah batteries to run at 24 fps. That is a big battery by today's standards. If you compare the NPR to modern cameras, it is a heavy and cumbersome camera. It can weigh up to 20 lbs., loaded with film. Back in the day, camera guys used to use battery belts. That was because, at the time, rechargeable batteries were inefficient. You can use a relatively small battery today, something like a small V-mount battery, to power it. As I said before, there are a lot of motors for the camera, and some motors make the camera more complicated to shoot hand-held. Something that you have to understand about the NPR is that it is a product of its time. This camera was a game changer back in the 1960s because it was so small and capable of synchronizing sound. If you are used to working with DSLRs, the NPR is going to be a massive camera. I think there are better cameras for documentary work, as usual, what you can get is budget-dependent. There is a documentary on Vimeo called "The Camera That Changed the World." It talks about the origins of the NPR and the Auricon. I'll make a video talking about the NPR some time, I hope.

@@TheCinematographyLab Thank so much for all this info!! Its a great help! I was thinking in getting a Registration pin camera ( to get an stable image) with the possibility of sync sound and conversion to super 16. So this Eclair NPR Seems like the most budget friendly / good camera to shot drama or docs that I can get. I know is big but, seems like a, affordable camera with stable image to shot big variety of projects. With those characteristic, do you know some other options? (For same price range) My other option is a camera that not many people know and I found in a shop, the Bolex 16 pro. I have no idea if it has registration pin but it looks confortable and capable to shot drama. Apparently didnt have commercial success at it time. Again thanks again for the info and I will check that video that you plan to make about the NPR

@@manuelgomez9730 No problem. The most obvious camera to replace the NPR is the Eclair ACL. It's a great camera, and not that heavy. If you don't to change the shutter angle the ACL can do pretty much the same as the NPR and it's stable. Is it in the same price range? No, it's going to be more expensive. I would not touch a Bolex pro with a 10 feet pole. I'm not saying the camera is bad, I have never seen one in person, but it's a rare camera. Are there parts for them? Are there technicians who can work on the camera? When a camera is common people are going to be willing to find ways to fix them or keep them working. When a camera is less common there is no reason to do that. I make accessories for cameras, I'm going to introduce one for the NPR soon, and I can tell you the market is not there even for more common cameras like the Bolex H16 or the NPR. That complicates things since making a part or accessory is expensive and the only way to lower the price is volume. That's what I don't see happening with the Bolex Pro. You can ask Du-All about the serviceability and parts availability of the Bolex Pro. Thay own at least two of those.

@@TheCinematographyLab thanks!! actually I think you are right. It can be actually a big problem the fact that, theres no too much parts of the Bolex 16 pro around. Even here in Europe, I ask and its super hard to find another similar camera or a technician who want to put their hands on it. So ill stay away from it. I got the offer of an Eclair ACL and I wanted to know if the registration is as good as the registration of the NPR. The ACL was made to ''replace'' the NPR I think, so, it should be as good as the NPR, in terms of registration.

Gracias!

Usa carretes de 50 metros. La marca mas comun y con mas variedad hoy en día es Kodak, pero quedan Fuji expirados y hay otras marcas como Fomapan y Orwo.

Thanks for all the tips and valuable information! You heard that right. I used water to stop the developer, and I used Kodak fixer that had been previously used with black and white film to fix. The fixer was a mistake; I mixed the chemicals up. I did some research, but I basically did what I do to process my black-and-white film. It's kind of surprising that I got images, and they didn't look terribly bad. I'll get a better kit, and I'll give it another try in the future. Thanks.

Hello Manuel, I'm going to sell the camera eventually, but I will have to find an Arri SR3 and be able to pay for it before I let this camera go. Thanks for your interest.

@@TheCinematographyLab thanks anyway, let me know if you do find soon your arri ! Regards

Thank you! I'm not sure I understand your question. To power the K3? The K3 doesn't require a battery. It is a windup camera.

@@TheCinematographyLab Ah I apologize, I meant to comment this on a different video related to the Kinor-16CX-2M ahahaha

@@breadsticat6264 Hahaha makes sense.

Crop factor? The crop factor of Super 8 is around 6X. This lens would be similar to a 51.6-1032mm on a full frame still photo camera.

¡Gracias Joth! Hice algunas tomas con una GoPro y mi teléfono ese día. Espero tener pronto una especie de detrás de cámaras con comentarios de lo que hicimos en la filmación. Saludos.

Glad you like it!

Gracias Lou!

Thank you!

Thanks!

Thanks Christian! Yeah, it's hard to tell what is in focus in the viewfinder of the K3. I'll shoot some tests later, to try to determine if it was my mistake or if the camera needs alignment. Thanks for watching.

@@TheCinematographyLab in my case it was me. It's hard working with prime lenses with the K-3. I know my mistake. I was rushing the shot and set the lens at 35meters distance, thinking it was 3.5 meters.

Thanks a lot! Super 8 is the new 16. Film stocks like 50D and 100D have so much detail that they look like their old siblings now. I've seen modern Super 8 that looks better than 16mm from the 90s. 16mm, if properly shot, can compete with 35mm too. Modern scanners can capture a lot of detail, which helps a lot.

Wow! That's true! I just watched the trailer and it looks similar. The highlights of reversal film stock are peculiar for sure. Thanks for sharing that info.

@@TheCinematographyLab we love film & cinema!!! Always refreshing and fun to share our knowledge!

Thanks!

Thanks for your interest. There was never an actual product, just some prototypes. The piece was very expensive to machine, and plastic was not a real option for a part that has to carry a heavy camera. Now that 3D printing technology has evolved, I'll see if the possibilities are there. Last time I checked, the price was still too high for what owners of that kind of Bolex wanted to pay. I have a rod support accessory for Bolex cameras that have a flat base. It can be purchased from Du-All.

@@TheCinematographyLab thanks for getting back! I checked out Du-All and found a cool base. But still would be interested in what a 3d printed base would cost, out of curiosity.

@@KurtCollins I'll check prices. There are commercial options that offer much better, stronger and durable 3D printing materials than what I have at home. I'll let you know.

@@TheCinematographyLab I have the first model of Bolex h16 reflex. You have a recommendation/link to a 15mm rod option? I can’t seem to find it

There is none, to my knowledge. The 15mm rod system was invented in the 1970s, and it was Arri's intellectual property. Bolex was making cameras with a flat base in the 1960s. I've been thinking about this base, and I found a way to include some metal on an industrial 3D printed part. The price to print the part is $140 + shipping + tax + metal parts. The part would have to be sold for $350 if camera shops wanted to retail it. Probably more than the cost of the camera. There is no market for stuff like this. SmallRig is not going to make a base for $75. Demand, supply, and volume play an important part in stuff like this. People like the idea, but not many want to buy the product for real.

That is true, the screw hole is not aligned with the lens. Slightly modified plate, yes. I make parts to sell, so I can't share a lot of details. I love your films btw.

@@TheCinematographyLab cool! Where can I find your store? And thank you! I appreciate it.

@@finnbenischek3170 Thanks for your interest. This plate for the K3 is still a prototype. I hope it will become an actual product in the near future. I have an eBay store where I sell small stuff and Du-All sells some of the parts and products that I fabricate. www.ebay.com/usr/aresvisuals

Thanks Christian, it is a beautiful film stock for sure. Seeing a modern image projected on film was great. It brought memories of my childhood. I don't think the film is super limited. It is what it is. If one want to project images the film is more than usable. If the idea is to finish the product digitally, one can take advantage of the extended latitude of negative and save some money. It's great to have options tho.

Hey Christian, I used a Pentax Takumar 24mm f/3.5. I shot a roll of 35mm still photos using Ektachrome before to see how it worked. I will share my thoughts on a video soon. I rated that roll and this one at ISO 80, and it still feels a bit under.

@@TheCinematographyLab yep, I remember a comprehensive test of the new Ektachrome. 80 ISO might be a little high still. The Ektachrome is a beautiful film stock, but very expensive. I trust you have been able to get some beautiful shots.

@@truefilm6991 I hope so. I forgot my light meter. I had to use an app, we'll see. I got great results with the still photos using Ektachrome. The film has limitations, but nothing terribly bad really.

The film is in the mail. I'll share the results soon!

Thank you!

I don't know. Considering the time period when the camera was manufactured I would assume it's continuous.

Thanks for the info. It would make the process you document much easier indeed if it is so as no disassembly would be needed.

@@alexlandherr I don't think you need to disassemble the camera. Just move the pressure plate away from the gate and you should be able to see the pull down claw. As I demonstrated with the Scoopic M in the video you can use the claw to see the speed at which the camera is running.

Thanks again!

Makes sense. That Soligor lens looks different than the rest of lenses I got with the camera. It works alright, so I'll use it some time.

Thanks for watching and sharing!

Thanks Ronald! I love the Scoopics too, they are great cameras. CineStill sells a device just like the one you saw in the video for around $200. You can find a similar product on eBay or Amazon typing "hot immersion cooker" You can get a nice one for around $50 including shipping.

That is correct. It's not needed now that digital televisions can display any frame rate, still pretty much all digital cameras have the 24p option. It's a standard inherited from the NTSC days.

The funny thing is we could’ve had integer fps numbers like with B&W NTSC if they upped the line resolution as Matt Parker says. I’m just glad my GoPro Hero 11 Black supports true 24 fps.

Así es Wildo, cada vez que filma uno con película es una experiencia. Un miedito, mezclado con emoción que generalmente se torna en una gran sonrisa al ver las imagenes ya procesadas. Saludos.

Thanks for the good wishes and for watching the videos Ilich, I'm glad to hear they are helpful. I'm not sure if you got the 2 reels with the camera or just one and you are asking if you can reuse that spool. First of all I don't think you can do anything with the film that was in the camera. Who knows if it was exposed to light, you don't know what kind of film it is and you exposed it yourself (nothing wrong with that) I think it's a good opportunity for you to run some film through the camera to see how it behaves. You can reuse that same film to practice loading the camera, which can be tricky. I would not try to use it to film something personally. You can save that film so you can use it later to perform tests like the one I run on my camera where I marked the frames with a marker. You are not going to damage anything by running film through the camera, that's the entire purpose of the camera. My recommendation is use that film to play with the camera and see how it works. Best wishes.

@@TheCinematographyLab you're right Ruben. Guess I should keep calm/ relax and just play with this roll and see what happens. Hope to keep in touch with other questions pretty soon. 🔥

That is a great idea! Thanks for sharing it.

Thanks. I agree, those sample pictures are not the best in terms of color rendition and color. That has more to do with the camera, the lens, exposure and the decisions I took in the editing stage than with the scanning setup in my opinion.

I appreciate that! I'm glad to hear you liked the video.

The one I used on the video and the one that I recommend have a thickness of 2mm. It has worked great for me on 16 and Super 8 cameras. You can get the entire package for about $5 at Walmart. I've been using it for years on my cameras, and it's holding there with no issues.

@@TheCinematographyLab thank u!!

Vario Switar 86 f2.5 18-86mm EE.

Hi Lucy, tanks for watching the video! Congrats on your new R10. I did stabilize the video using the warp stabilization tool in Premiere Pro. I just got the 2k scan from Negativeland, that's enough for me at the moment. I shot another film at the rodeo last year using the R10, but that time I had my tripod with me. The result was great. I didn't have to stabilize the shots, for that reason the motion looks much nicer. Image stabilization can create a "jelly effect" that makes film look like video if over done. It can be seen on some shots in the Coney Island film. Here is the film at the rodeo if you want to watch it: ruclips.net/video/hejlxYCq3bo/видео.htmlsi=STZ06LjWsbmEU7EG

Thank you very much! I will give stop animation a try for sure. When I finished those time lapses I didn't want to know anything about Super 8. Now that I took a breath I'm ready for stop motion animation and more Super 8.

Thanks Mike! That's a great idea, I'll put it into practice next time I process color film. I will also give your formula a try. I remember checking prices, and it was not expensive at all. I'll rewatch your video to try to follow your steps.

Go make a video about processing it then

Yeah! My friends and I have fun processing film and filming.

My pleasure!

I'm glad to hear the videos were helpful. I love the format too. Pictures look different than the ones taken with SLRs & DSLRs. I found some labs that can process 35mm & 120 on ECN-2. They also process 110 in C-41 like your local lab. I'm sure those labs that I mentioned would be able to process 110 in ECN-2, but it's not listed as a service on their websites. I plan to shoot a short, silent short film using the K3 soon. It will be just an exercise, but I want to make it look as a professional movie. It will be black and white with a noir style. The idea is to document the behind the scenes to show it here in the channel. That was the original idea for the channel, but I need a crew to do something like that. It's not easy, but I think we'll be able to make it happen. Thanks for watching!

I'm glad to hear the video was helpful! You are correct. What you are seeing is the mirror spinning sending some light up to the viewfinder and letting some light go trough to expose the film. All cameras that have a spinning mirror look like that. You don't see that on Super 8 or Bolex cameras that are equipped with a prism. I rather see the flickering than having a prism in the way. Nothing better than having only air between the back of the lens and the film in my opinion.

@@TheCinematographyLab fantastic! thankyou