Here is a great step-by-step video on converting the K-3 to Super 16 plus removing the loop formers, by Michael (Filmboy 24): ruclips.net/video/9t1OWm7aUDY/видео.html
The first time I saw a Krasnogorsk-3 was in the polish film Camera Buff (1979). The film is about a factory worker obsessed with amateur film. Highly recommended.
For the Regular8 cameras I've been playing with I check the frame rate by filming the gate with my phone on 8x slow motion setting then playing back the video and counting the number of times it opens in 8 seconds or measure how long it takes to do n flashes. I use a separate stop watch for this to save even removing the video from my phone. It is by far the simplest and quickest method I've found. I've found old cameras tend to run fast hence my under exposure.
Thanks for the tip. I will check if my cell phone allows for 8x slo mo. I immediately came up with the metronome idea, since I am a musician. Yes, my K-3 also runs quite a bit too fast. The older Ektachrome turned out underexposed, but the old Eastman EXR was spot-on. I reckoned it was a re-can from the late 1990s and rated the 50D at 20 ISO, since I thought 2 stops (=ISO 12.5) would be too much - and I was right. Thanks again!
Great overview! I was curious on focusing with the default meteor lens. I have a super 16 conversion but can’t seem to pull focus through the viewfinder, maybe because my eye is fully in. If I lean back a little I can see perfectly
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.
Here are some great videos about the inner workings of the K-3 by Ruben Acre: ruclips.net/video/Qp2Ryulen88/видео.html ruclips.net/video/wfgsontjvjo/видео.html
Just as I started to explore that old camera sitting in the attic for the past XX years, this channel pops up. Really like your style, both visual and narrative. I'd love to see a video on how you process and scan the film, since AFAIK none of the labs in my area can take care of 16mm film. Cheers!
I'm based in Warsaw. There seems to be a lab in WFDiF which is a 70yo production company, they seem more oriented in developing films for feature films and documentaries, rather than amateur single rolls. There's a few scanning labs but no developing there.
@@wiktorskrzypczynski6514 as far as I know this is not possible since there is no recentering ring fur the russian bayonet mount. Here is an idea: you might want to look for a K3 body only. It doesn't have to be in mint condition as long as it has the M42 mount. You can switch the front part. You just need to remove the aluminum name plate with a knife and remove four screws. I already did that to lubricate the mechanism. Just an idea.
@@wiktorskrzypczynski6514 Did you try Alvernia Studios? www.alvernia.com/en/film/postproduction-2/chemical-laboratory/ If they can´t help you, I highly recommend Andec Film In Germany (no affiliation): www.andecfilm.de/en/e_start.htm
@@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! 🙃
8:13 Calibrating the frame rate is easy. just shoot it with your phone slow motion, lets say at 240fps and then watch it and count the shutter cycles in slow motion, while real time one second will be 10 seconds in 240fps slow motion. in easy terms,you must be counting 24 shutter spinning cycles in 10second of phone 240fps slow motion youre watching. If you watch it your slow motion video in 30fps in your phone then you must count shutter cycles in 8sec of your playback(240:24=10sec. 240:30=8sec.)
@@LevaniTavberidze it's even easier. The sprocket has eight pegs. That means three revolutions each second. Just mark one point on top of the sprocket. You can film it with your cell phone or use a metronome at 60bpm, counting three revolutions per second. Not perfect but way less math involved. Using a strobe light is the professional method, but I didn't find a free strobe app for my cell phone, capable of the correct frequency.
Oh, man! I didn't know you'd created a new channel. Glad I saw this! I really like the videos you'd made on your old channel detailing stuff on the K-3. Looking at getting a Zenitar 16mm and some other 35mm Pentax glass for my K-3 at some point.
Hi, I loved your clip very informative, Question: how do I remove the film, rewind it from camera once it reaches to the end. I HAVE SEARCHED EVERYWHERE BUT have not found the any info. Thanks
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.
Thank you for watching. Once your film is fully exposed, it is on the take up spool. I highly recommend unloading in complete darkness. Have your box and the white inlay ready. Also have the sticker ready. Lay down your K-3, take off the tape seal from the lid and turn off the light. Open the lid, take out the full take up spool, apply the sticker to secure the film onto itself, place the spool into the white inlay, slide into the black box, close it and turn the light back on. Seal the black box and write all information on the box: your name, type of film stock, format (regular 16, Ultra 16 or Super 16), project name and identify the footage. Send it off to be processed as soon as possible, preferably immediately. Hope this helps. Please let me know if I can be if further help.
@@slutgutter7182 No need for a re-centering ring for the Ultra 16. The image center remains the same. Ultra 16 expands the original image area to both sides equally, but you are stuck between sprocket holes and the native aspect ratio is 1.85:1, so you need to crop both sides a little to fill the 16:9 frame. The advantage is that it's easier to shoot with the stock viewfinder. You need a re-centering ring for the Super 16 conversion. Super 16 expands the entire frame to the right side (opposite the sprocket holes), so you need to shift the optical axis to minimize vignetting when zoomed out and to get a correctly balanced image when zooming whole filming and any lens aberration such as barrel distortion of fisheye lenses, is symmetrical. Hope this helps. Good luck!
Great video! Would this be a good 16mm camera to shoot a feature film with or should I explore other options like an arri sr3? Is post-production the only way to stabilize this camera or is there some kind of rig you can build for the K3?
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.
Hello, I recently bought K3 and got it converted to super 16, but my question is about the spools. In double 8, the film is wound back on the spool it came on, when you invert and shoot the other side, but on 16mm or even 35mm, do you rewind in-camera, so you can keep the original spool that came with the camera? With single perforations, it wouldn't be possible to invert the film without sprocket holes on that side
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.
Thank you! Removing the loop formers only brings benefits. The K-3 is basically a K-1/K-2 modified to accept standard 100ft spools and with added loop formers, that don't add anything to the image stability, since they should be completely out of the way when the camera is recording, not touching the film anywhere. Unfortunately they often do the latter. Please feel free to remove the loop formers. All professionals I know do it and recommend it. Thanks again. PS: best of luck for your film projects!
Hello, thanks for the video. I have a question. I use a super 8 mm camera and Krasnogorsk Super 16 in manual exposure mode. I recently moved to the USA and bought the first films for testing, but I want to use them well and not waste them. The camera comes with an ND4 filter. I also use Kodak 50D film and a Sekonic L358 light meter. At 24 frames per second, I put the values in the flash meter and it gives the desired aperture, but if I put on an ND4 filter so that the aperture remains as open as possible, what adjustments should I make to the exposure meter - 2 stops or + 2 stops to compensate for the setting? Thank you
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.
Great video! Do you know if there is a place to purchase the conversion kit? I have the standard 1.33:1 plate and would like to upgrade to the super or ultra 16mm. Thanks!
Thank you! Well I bought my K-3 already converted, but it needed tweaking. You can find the Super 16 gate and the recentering ring on ebay. Sometines as a kit. Just did a quick search and the recentering ring is there for sale. The widened gate pops up frequently. These items are getting more expensive recently. You might check the wonderful Facebook group: 8mm and 16mm, for filmmakers who shoot on film. I am sure there are fine fellow film buffs who know where to get the same conversion items cheaper. Hope this helps. Thanks for commenting!
I see so many different examples with the K3- Some videos on YT so crisp, clean, sharp, beautiful etc and some examples of images from this camera aren't that nice. The beautiful examples have inspired me to buy a K3 - Just hope I have bought a good one- Do you know what makes a particular model of K3 different than others?
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.
Hey @truefilm! I'm having trouble with the film not being taken up on the takeup spool properly, which creates a mess inside the camera (some seem to call it "spaghetti"), with the film eventually being so crammed that its not possible to film with the camera, even though the spring may be wound up. Have you encountered this? Internet said something about their being to much friction on the takeup spool, perhaps from the lid. But I don't understand how that could arise, really. Can you screw down the takeup spool maybe, so that it's further away from the friction of the lid.....? Any thoughts?
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! ruclips.net/video/3cvWLuwjImM/видео.html
@@truefilm6991 Thank you for your reply, and for caring about analog film! I just remembered you cant post links on RUclips. But I just uploaded a 3min video on my RUclips 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!
I was planning on an ultra conversion but heard that film scanning companies often will reject jobs for ultra 16 and only do 16 and S16. have you found that to be true? ultimately I will be having all the film scanned
Well I see open 16mm scans all the time, which cover the entire Ultra 16 AND Super 16 area. So there should be absolutely no problem with scanning services. I actually like Ultra 16, because the optical axis remains with no offset/shift (plus you can keep your precision milled stock lens mount) and when you go for the 1.85:1 aspect ratio, you practically have no disadvantage compared to Super 16. You also have less vignetting with wide angle (zoomed out). The only reason I prefer Super 16 with a K-3 is because you are stuck between sprocket holes, which means you don't have any vertical headroom for, say stabilization or reframing. The K-3s often have a slight vertical offset, meaning that the frame line is not perfectly aligned with the sprocket holes. This is no problem with regular 16 or Super 16, but becomes a problem with Ultra 16, since your vertical framing can be slightly off. Super 16 with the stock viewfinder is often problematic, because you don't see the extended side on your right and you must pan before you shoot and guesstimate the exact composition. Nice symmetrical framing also becomes more difficult. With Ultra 16 you have a slight extension on both sides and lose a bit top and bottom, completely symmetrically. My friend and fellow film enthusiast Ruben Arce also prefers Ultra 16, so yes: I'd say go ahead. Be aware that you can have some unwanted reflections on the left side, since the pulldown claw goes into the frame area on the K-3. It's a matter of trying it out. You won't ruin your K-3 with an Ultra 16 conversion if done correctly. Good luck for your upcoming film endeavors!
@@truefilm6991 wow this is an amazing response! thank you so much for your help here, it all makes a lot of sense! I have VERY bad luck modding my own equipment, no matter the trade, ha ha. So, Im looking at buying preconfigured: base, with ultra 16 plate and with rollers removed at about 1100 U.S. and from what im seeing, this seems to be the going rate. If you know of any sellers that offer it cheaper Id appreciate any help. As I mentioned though, the cheapest im finding on a standard regular 16 (unmodded) K3 is about 800. I remember them years ago being around 200 dollars. man the prices for ALL the cameras has really gone up! thanks again and have an amazing weekend!
@@flipnap2112 glad you find this helpful. Are you planning on buying from Russia? As far as I know they are very honest and reliable, but now with the current situation delivery can take forever. You might want to post on the Facebook group: 8mm and 16mm, for filmmakers who shoot on film. Yes, film cameras are getting more expensive. Very likely a combination of inflation and increasing interest. Best of luck and a great weekend as well!
@@truefilm6991 Yes, from Moldova! (im trying not to advertise for anyone, but maybe youre familiar with him). he has great ratings for service. I dont mind waiting. I ordered a "Sat wars" helmet from my friends in Ukraine and it took abut a month. patience is a virtue :) Thanks again for your reply, very much appreciated.
@@flipnap2112 My pleasure! No problem with mentioning brands or names, just add: "no affiliation" or similar, so we know it's not advertising or shameless self promotion. But if one has made a satisfying experience with a seller, please feel free to share. We are here to help each other out with crucial information and hands-on experience.
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 RUclips
Could you help with an information on how could I possible use the Meteor 5-1 lens on a Fujifilm X-T5? Someone said that the regular M42-FX adapter won't work but not sure what kind of adapter do I need instead. Thanks!
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!
I am struggling to figure out how to lock the record button in place for continuous shooting. Is there a way for me to record with out holding the button down?
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.
I have a question: For example if i shoot on 250D and i want to overexpose video i set light meter to 125 iso? Also what should i focus when lightmetering? Shadows, lights or midtones for overexposed video?
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.
Hello! So many thanks for sharing all this information, it has been really important to me. I wanted to ask you, I bought a K3 and it came with bayonet mount, I just realized that the lens is not really firm in the mount, it's like shaking a little bit, however it doesn´t seem that will fall or similar. I'm just worried about if this is normal. My other question is that the motor is not working, when I twist it, nothing happens, not with the shutter either. In the upcoming days I will take it to the only vintage 8 - 16mm camera technician in my country, but honestly it's my first time with these type of cameras and I'd appreciate a lot if with these information some ideas come to your mind, so I can have them in consideration too. Again so many thanks for your videos, amazing how much you can learn. Greetings!
Thank you! Well I don't know the Russian bayonet mount in detail, but of course the lens should sit firmly. Perhaps there is a part missing? What happens if you try to wind up counterclockwise? Is it stuck or does it turn, but not engaging and slipping back? In the latter case all you need to do is screw in the inner disc with the two holes inside. You can use a pair of scissors or similar. If this doesn't help, the camera needs to be opened to fix the problem. If you look carefully, you can find very cheaply non working K-3s on ebay for parts, but you need to know exactly what's there. I have already seen "K-3, non working, for parts" and somebody clearly already had harvested before. Important parts had been removed. You might want to join the Facebook group: 8mm and 16mm filmmakers group: For Filmmakers who Shoot on Film - great people there with great knowledge, happy to help out a fellow film buff.
Hey TF - was hoping to unscrew my meteor lens on K3 and inspect/clean the mirror however the lens won’t unscrew and seems stuck on - worried if I try too hard it’ll break the lens or mount - do you have any tips ?
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
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.
@@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!
Hast dir enorm Zeit genommen, bist echt in die Tiefe gegangen für Einsteiger. Hoffe es wird auch ins deutsche übersetzt für den Nachwuchs. Deutsche Videos "null" zu finden. Danke
question, do you think I should clan the mirror and prisms on my k3? Haven't put film through it yet but when I look through the viewfinder, there seems to bit a but of smudging in the upper half of frame
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.
That was summer 2016. I live in Portugal for over 30 years now. Please check my other video with K-3 Super 16 footage. The gospel choir footage was filmed later that year in Lisbon, Benfica, at the Christmas Market Parque Eduardo VII. and at the Christmas Market Praça Municipal. The camera's frame rate was way off at the time, needs to be calibrated, so I was unable to line up any audio recording.
Well I lost access to my old channel, since the associated email account had been deactivated after one year. I would have cleaned up old content anyway. I can do much better now. So a fresh start is the best solution. Thanks again for your interest.
Hey ! I would like to ask a question about a problem I have with my K3. I just received it from Ebay. It works fine, but I have a problem with the viewfinder. The image in the viewfinder seem to move and not stay in place, and I hear something moving inside the camera when I move it. Sometimes I see through it, sometimes it's completely dark. Also there is a small black line in the bottom down of the screen sometimes. Can someone tell me if the thing is broken, or is it reparable ?
Hello! The small black line perhaps is the pointer from the internal light meter. Just rotate your film sensitivity knob (right side upper knob) until that needle is gone. About the viewfinder trouble: you might want to join the Facebook group 8mm and 16mm, for filmmakers who shoot on film. I have no affiliation, but I find the folks over there very friendly and always willing to share their knowledge. Almost everything in a K3 can be fixed. If you can, please remove (unscrew) your lens and take photos of what's inside. Either join the aforementioned FB group or send the photos to my email address. I will reply. If I don't know the answer, I will ask very knowledgeable friends. My email: christianschonberger61@gmail.com
@@truefilm6991 Hello ! I subscribed to the facebook group but have no response unfortunatly. I sent you an email a few months ago explaining my problem and with some videos illustrating it. Hope you can bring me some help. Thank you for your work !
@@amineelboujjoufi6306 Hi there. Yes I remember. For some reason I have forgotten about your email. I apologize for that. I will get back to you ASAP. Thanks for your patience!
Great video! I'm looking into some new lenses for my K3 which has been converted to super 16, do you know if vignetting would occur with a simple prime M42 28mm lens?
All M42 prime lenses are designed to fill the entire frame of 35mm still photography, the same as VistaVision: 35mm 8perf horizontal. So all of these are fine for Super 16. Just a question: why 28mm? It is slightly tighter than the standard-for-16mm 25mm. IMHO priority for Super 16 is a wide angle with no vignetting. I highly recommend the Zenitar16. Hope this helps.
Do you know if it's possible to silence the k-3 in any way? For me sound is really important and I would rather avoid ADR or wildtracks as.much as possible
That is quite difficult. You would need to build some kind of case around the K-3 to lower the noise as much as possible, while still having access to the lens and trigger. You must of course calibrate the frame rate. I will make a video about it as soon as I can. There are various ways to do that: stroboscope, film loop with a marking, mark the sprocket and count three revolutions each second (8 sprockets times 3 = 24) etc. The frame rate will oscillate still since the motor is spring driven. You can use time stretch in post to perfectly match the dialog. You can clean the dialog by removing any remaining camera noise with recent AI driven software such as Waves Clarity. I agree that the original dialog recording is best. It's a lot of work with a K-3, but it can be done. Filmmaker Emil Ink, also a good friend, successfully synced up location dialog with a non crystal sync Super 8 camera, using time stretch and editing but the Canon 514 XL-S is slightly more constant and quieter.. best of luck with your upcoming film projects.
How hard is it to convert your K-3 to an M42 mount? I'm not necessarily going to shoot Super-16 right away, but I'd like to have access to more lenses than just what's available with the bayonet mount, because I'm really not seeing a whole lot on eBay or elsewhere. My first K-3 was an M42 mount, but I busted the spring on it.
Well I have never heard or read about a conversion from the bayonet to the M42 mount. You can find very inexpensive K-3 camera bodies that have been cannibalized for parts. The front is usually intact. So if it's an M42 mount, you can replace it. I already opened the camera front for lubrication, so that's no problem. There is a video on Ruben's channel how you can replace the motor: ruclips.net/video/wfgsontjvjo/видео.html Hope this helps.
@Cam Gregg - The shutter speed/angle is fixed at a 150 degrees - 1/60th. The frame rate is controlled with a frame rate knob which doesn't have steps, so you can calibrate it using external tools as I describe in the video. The film sensitivity/speed is controlled with a knob that calibrates the needle inside the viewfinder. It is in Russian GOST standard and you can find conversion charts easily online. You need to change the aperture until the needle appears at the center. It's a very rough approximation, but I read that it works OK with new hearing aid batteries. I personally strongly discourage fellow film buffs from using it. All fellow K-3 users I know either measure through a digital camera with the same settings (ISO and 1/60th) with the same framing, or a light meter app on their cell phone, or an external light meter (incidental and/or spot meter). Hope this helps. P.S.: If you have any further questions, feel free to ask. You might also want to check the great FB group: 8mm and 16mm for filmmakers who shoot on film. Great knowledgeable film buffs over there (no affiliation).
hello. One rookie question - after you shoot and end the film, you just need to take the spool and put it back into the 16mm box? and it's okay in the shade? thanks
Yes it is OK in the shade, but I highly recommend doing this in total darkness. Since it's so easy, you could, for example, just bring a large black plastic bag with you and do it inside of it, into a light tight box or can. Then take it home and put the exposed film roll inside the white plastic tray, apply the sticky white piece and slide into the original plastic box. This way you make sure you don't lose even a single frame from the end of your roll. Best of luck for your film projects!
@@truefilm6991 Hi hi! I’ve been shooting with my 17-69 on my adapted uktra16 K3 for a about a year now. My lens isn’t parfocal- any idea what could cause this?
@@camgregg9971 please let me know what exactly happens when you zoom in and out. Can you see it in the viewfinder or is it something only showing up on film? Is it that I objects get out of focus when you zoom in? The latter is likely to happen since your depth of field becomes progressively narrower as you zoom in. But once an object is on focus when zoomed-in, it must remain in ficus all through the zoom range when zooming-out. If not, something is wrong. Let's try and find out. Merry Christmas!
@@camgregg9971 well I only see two possibilities of what could be wrong: 1) something wrong with your lens, 2) your back focus is not correct. I will as my friend Ruben Arce, a professional cinematographer and fellow film buff, familiar with the K-3, what could be wrong and how to fix it. Will let you know asap.
Hey man! I have a question. So I have one of these converted to Super 16. But when I use the original lens is giving me Vingetting and showing the lens when shooting wide. Is there a way to correct that? Or I can’t shoot wide?
The stock lens shows vignetting in the wider Super 16 frame, roughly from 17 through 20mm. I recommend getting the Zenitar 16 prime lens to shoot wide. I have it and love it.
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.
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
Yes, that is correct. So you need to measure light for 1/60th of a second. The resulting motion rendering (or motion blur) remains very "cinematic", for lack of a better word. Other cameras, such as the Bolex H16 models for example, also have shutter angles that are narrower than 180 degrees.
@@tomfodenfilm Yes, that is a way of looking at it. It has to do with the pulldown claw design and how it syncs up with the shutter. With cameras that use a prism instead of a rotating mirror you lose much more light.
@@truefilm6991 perfect one last question can the 100ft spools of Film stock you load the camera with. Can they be loaded during the day or do they have to be done in 100% darkness or is a matter of there fine in light just the darker generally the better?
@@tomfodenfilm The 100foot daylight spools can be loaded in subdued light, no need for total darkness. IMHO you should go as dark as you can while still being able to see what you are doing and if your film is running perfectly before closing the lid (camera door). Take your time while loading! No need to hurry unless you are in or near bright light. You will always lose a few feet at the start anyway. What I do recommend is unloading the film in total darkness so you don´t lose anything from your very last shot.
Beautiful Super 16mm film footage by Rudolfs Griva, shot with the Krasnogorsk-3 and the stock Meteor zoom 17-69mm: ruclips.net/video/orQvAUI-uOI/видео.html
Here are some great videos about the inner workings of the K-3 by Ruben Acre: ruclips.net/video/Qp2Ryulen88/видео.html ruclips.net/video/wfgsontjvjo/видео.html
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%.
![Seungmin "그렇게, 천천히, 우리(As we are)" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/kAzmhLHePqU/mqdefault.jpg)
Here is a great step-by-step video on converting the K-3 to Super 16 plus removing the loop formers, by Michael (Filmboy 24): ruclips.net/video/9t1OWm7aUDY/видео.html
The first time I saw a Krasnogorsk-3 was in the polish film Camera Buff (1979). The film is about a factory worker obsessed with amateur film. Highly recommended.
Yes I read about this film. Will check it out ASAP.
For the Regular8 cameras I've been playing with I check the frame rate by filming the gate with my phone on 8x slow motion setting then playing back the video and counting the number of times it opens in 8 seconds or measure how long it takes to do n flashes. I use a separate stop watch for this to save even removing the video from my phone. It is by far the simplest and quickest method I've found. I've found old cameras tend to run fast hence my under exposure.
Thanks for the tip. I will check if my cell phone allows for 8x slo mo. I immediately came up with the metronome idea, since I am a musician. Yes, my K-3 also runs quite a bit too fast. The older Ektachrome turned out underexposed, but the old Eastman EXR was spot-on. I reckoned it was a re-can from the late 1990s and rated the 50D at 20 ISO, since I thought 2 stops (=ISO 12.5) would be too much - and I was right. Thanks again!
Great overview! I was curious on focusing with the default meteor lens. I have a super 16 conversion but can’t seem to pull focus through the viewfinder, maybe because my eye is fully in. If I lean back a little I can see perfectly
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.
Wonderful! Thank you so much for making this. Please do more instructional films on this very affordable camera.
Thank you. Will do as soon as I can.
Here are some great videos about the inner workings of the K-3 by Ruben Acre:
ruclips.net/video/Qp2Ryulen88/видео.html
ruclips.net/video/wfgsontjvjo/видео.html
Very thorough, thank you so much! Going to shoot my first K3 rolls this weekend.
Glad you found this helpful. Awesome! Good luck and have fun!
Just as I started to explore that old camera sitting in the attic for the past XX years, this channel pops up. Really like your style, both visual and narrative. I'd love to see a video on how you process and scan the film, since AFAIK none of the labs in my area can take care of 16mm film. Cheers!
Thank you for your kind comment. I personally like a lab handling processing and scanning, to get the best results. Where are you located?
I'm based in Warsaw. There seems to be a lab in WFDiF which is a 70yo production company, they seem more oriented in developing films for feature films and documentaries, rather than amateur single rolls. There's a few scanning labs but no developing there.
Also, do you happen to know if it's possible to convert Krasnogorsk 3 into super16 with Russian bayonet k-2 mount? :)
@@wiktorskrzypczynski6514 as far as I know this is not possible since there is no recentering ring fur the russian bayonet mount. Here is an idea: you might want to look for a K3 body only. It doesn't have to be in mint condition as long as it has the M42 mount. You can switch the front part. You just need to remove the aluminum name plate with a knife and remove four screws. I already did that to lubricate the mechanism. Just an idea.
@@wiktorskrzypczynski6514 Did you try Alvernia Studios?
www.alvernia.com/en/film/postproduction-2/chemical-laboratory/
If they can´t help you, I highly recommend Andec Film In Germany (no affiliation):
www.andecfilm.de/en/e_start.htm
This is so great! Thank you
Thank you for your nice comment and for watching.
I used to have one that was converted to S16 - was a lot of fun!
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! 🙃
8:13 Calibrating the frame rate is easy. just shoot it with your phone slow motion, lets say at 240fps and then watch it and count the shutter cycles in slow motion, while real time one second will be 10 seconds in 240fps slow motion. in easy terms,you must be counting 24 shutter spinning cycles in 10second of phone 240fps slow motion youre watching. If you watch it your slow motion video in 30fps in your phone then you must count shutter cycles in 8sec of your playback(240:24=10sec. 240:30=8sec.)
@@LevaniTavberidze it's even easier. The sprocket has eight pegs. That means three revolutions each second. Just mark one point on top of the sprocket. You can film it with your cell phone or use a metronome at 60bpm, counting three revolutions per second. Not perfect but way less math involved. Using a strobe light is the professional method, but I didn't find a free strobe app for my cell phone, capable of the correct frequency.
Oh, man! I didn't know you'd created a new channel. Glad I saw this! I really like the videos you'd made on your old channel detailing stuff on the K-3. Looking at getting a Zenitar 16mm and some other 35mm Pentax glass for my K-3 at some point.
Glad you found my new channel. Best of luck for your future film projects!
Hi, I loved your clip very informative, Question: how do I remove the film, rewind it from camera once it reaches to the end. I HAVE SEARCHED EVERYWHERE BUT have not found the any info. Thanks
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
Very, Very Well Explained!!
Thank you. Glad you found this helpful!
@@truefilm6991 can you watch this short video on Super 8 video that I made ruclips.net/video/5_ykXdYHHfw/видео.html
Excellent video. Looking forward to your future tutorials on this camera.
Thank you, stay tuned!
A great and very informative video. Thanks.
Purchasing soon! Overwhelmed by the precautions though honestly, but I really want one
Yes it may seem a bit overwhelming, but it´s perfectly doable. Any doubts or questions, please holler!
@@truefilm6991 thank you!
Great video thanks - I just bought a Krasnogorsk-3 and unable to find any video on unloading the full film- - would appreciate support on this?
Thank you for watching. Once your film is fully exposed, it is on the take up spool. I highly recommend unloading in complete darkness. Have your box and the white inlay ready. Also have the sticker ready. Lay down your K-3, take off the tape seal from the lid and turn off the light. Open the lid, take out the full take up spool, apply the sticker to secure the film onto itself, place the spool into the white inlay, slide into the black box, close it and turn the light back on. Seal the black box and write all information on the box: your name, type of film stock, format (regular 16, Ultra 16 or Super 16), project name and identify the footage. Send it off to be processed as soon as possible, preferably immediately. Hope this helps. Please let me know if I can be if further help.
Best K-3 video I’ve seen
Thanks a lot. Glad you found this useful.
Great video! I have two K3's one Super16 and the other is an Ultra16. I've had much fun with these cameras. Thanks for sharing.
Thanks for watching! More soon to come.
Which format do you prefer for the K-3, Super 16 or Ultra 16?
do you need a recentering lens for an ultra 16 mod?
@@slutgutter7182 No need for a re-centering ring for the Ultra 16. The image center remains the same. Ultra 16 expands the original image area to both sides equally, but you are stuck between sprocket holes and the native aspect ratio is 1.85:1, so you need to crop both sides a little to fill the 16:9 frame. The advantage is that it's easier to shoot with the stock viewfinder. You need a re-centering ring for the Super 16 conversion. Super 16 expands the entire frame to the right side (opposite the sprocket holes), so you need to shift the optical axis to minimize vignetting when zoomed out and to get a correctly balanced image when zooming whole filming and any lens aberration such as barrel distortion of fisheye lenses, is symmetrical. Hope this helps. Good luck!
Thanks for the usefull information 🖒
Thank you. Glad you find this helpful!
What a well produced video, thank you
Thank you!
Great video! Thank you!
Great video! Would this be a good 16mm camera to shoot a feature film with or should I explore other options like an arri sr3? Is post-production the only way to stabilize this camera or is there some kind of rig you can build for the K3?
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.
Hello, I recently bought K3 and got it converted to super 16, but my question is about the spools. In double 8, the film is wound back on the spool it came on, when you invert and shoot the other side, but on 16mm or even 35mm, do you rewind in-camera, so you can keep the original spool that came with the camera? With single perforations, it wouldn't be possible to invert the film without sprocket holes on that side
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.
AMAZING content my bro
Muito obrigado. Fico contente a saber que gostou. Qualquer pergunta: é só xutar! Sou alemão, mas vivo há 37 anos em Portugal.
Hi. Super interesting video, congrats.
I bought a k3 and I was wondering if removing the loop formers could cause shaking image aquisition.
Thanks!
Thank you! Removing the loop formers only brings benefits. The K-3 is basically a K-1/K-2 modified to accept standard 100ft spools and with added loop formers, that don't add anything to the image stability, since they should be completely out of the way when the camera is recording, not touching the film anywhere. Unfortunately they often do the latter. Please feel free to remove the loop formers. All professionals I know do it and recommend it. Thanks again. PS: best of luck for your film projects!
Hello, thanks for the video. I have a question. I use a super 8 mm camera and Krasnogorsk Super 16 in manual exposure mode. I recently moved to the USA and bought the first films for testing, but I want to use them well and not waste them. The camera comes with an ND4 filter. I also use Kodak 50D film and a Sekonic L358 light meter. At 24 frames per second, I put the values in the flash meter and it gives the desired aperture, but if I put on an ND4 filter so that the aperture remains as open as possible, what adjustments should I make to the exposure meter - 2 stops or + 2 stops to compensate for the setting? Thank you
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
Great video! Do you know if there is a place to purchase the conversion kit? I have the standard 1.33:1 plate and would like to upgrade to the super or ultra 16mm. Thanks!
Thank you! Well I bought my K-3 already converted, but it needed tweaking. You can find the Super 16 gate and the recentering ring on ebay. Sometines as a kit. Just did a quick search and the recentering ring is there for sale. The widened gate pops up frequently. These items are getting more expensive recently. You might check the wonderful Facebook group: 8mm and 16mm, for filmmakers who shoot on film. I am sure there are fine fellow film buffs who know where to get the same conversion items cheaper. Hope this helps. Thanks for
commenting!
I see so many different examples with the K3- Some videos on YT so crisp, clean, sharp, beautiful etc and some examples of images from this camera aren't that nice.
The beautiful examples have inspired me to buy a K3 - Just hope I have bought a good one-
Do you know what makes a particular model of K3 different than others?
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.
Hey @truefilm! I'm having trouble with the film not being taken up on the takeup spool properly, which creates a mess inside the camera (some seem to call it "spaghetti"), with the film eventually being so crammed that its not possible to film with the camera, even though the spring may be wound up.
Have you encountered this?
Internet said something about their being to much friction on the takeup spool, perhaps from the lid. But I don't understand how that could arise, really. Can you screw down the takeup spool maybe, so that it's further away from the friction of the lid.....? Any thoughts?
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!
ruclips.net/video/3cvWLuwjImM/видео.html
@@truefilm6991 Thank you for your reply, and for caring about analog film!
I just remembered you cant post links on RUclips.
But I just uploaded a 3min video on my RUclips 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!
thx ! Are you going to publish a video about calibration ?
Yes of course I will. It just might take some time to get it all set up. Please stay tuned.
I was planning on an ultra conversion but heard that film scanning companies often will reject jobs for ultra 16 and only do 16 and S16. have you found that to be true? ultimately I will be having all the film scanned
Well I see open 16mm scans all the time, which cover the entire Ultra 16 AND Super 16 area. So there should be absolutely no problem with scanning services. I actually like Ultra 16, because the optical axis remains with no offset/shift (plus you can keep your precision milled stock lens mount) and when you go for the 1.85:1 aspect ratio, you practically have no disadvantage compared to Super 16. You also have less vignetting with wide angle (zoomed out). The only reason I prefer Super 16 with a K-3 is because you are stuck between sprocket holes, which means you don't have any vertical headroom for, say stabilization or reframing. The K-3s often have a slight vertical offset, meaning that the frame line is not perfectly aligned with the sprocket holes. This is no problem with regular 16 or Super 16, but becomes a problem with Ultra 16, since your vertical framing can be slightly off. Super 16 with the stock viewfinder is often problematic, because you don't see the extended side on your right and you must pan before you shoot and guesstimate the exact composition. Nice symmetrical framing also becomes more difficult. With Ultra 16 you have a slight extension on both sides and lose a bit top and bottom, completely symmetrically. My friend and fellow film enthusiast Ruben Arce also prefers Ultra 16, so yes: I'd say go ahead. Be aware that you can have some unwanted reflections on the left side, since the pulldown claw goes into the frame area on the K-3. It's a matter of trying it out. You won't ruin your K-3 with an Ultra 16 conversion if done correctly. Good luck for your upcoming film endeavors!
@@truefilm6991 wow this is an amazing response! thank you so much for your help here, it all makes a lot of sense! I have VERY bad luck modding my own equipment, no matter the trade, ha ha. So, Im looking at buying preconfigured: base, with ultra 16 plate and with rollers removed at about 1100 U.S. and from what im seeing, this seems to be the going rate. If you know of any sellers that offer it cheaper Id appreciate any help. As I mentioned though, the cheapest im finding on a standard regular 16 (unmodded) K3 is about 800. I remember them years ago being around 200 dollars. man the prices for ALL the cameras has really gone up! thanks again and have an amazing weekend!
@@flipnap2112 glad you find this helpful. Are you planning on buying from Russia? As far as I know they are very honest and reliable, but now with the current situation delivery can take forever. You might want to post on the Facebook group: 8mm and 16mm, for filmmakers who shoot on film. Yes, film cameras are getting more expensive. Very likely a combination of inflation and increasing interest. Best of luck and a great weekend as well!
@@truefilm6991 Yes, from Moldova! (im trying not to advertise for anyone, but maybe youre familiar with him). he has great ratings for service. I dont mind waiting. I ordered a "Sat wars" helmet from my friends in Ukraine and it took abut a month. patience is a virtue :) Thanks again for your reply, very much appreciated.
@@flipnap2112 My pleasure! No problem with mentioning brands or names, just add: "no affiliation" or similar, so we know it's not advertising or shameless self promotion. But if one has made a satisfying experience with a seller, please feel free to share. We are here to help each other out with crucial information and hands-on experience.
I just bought a k3 and it runs good but is kinda squeaky. Any recommendations on oiling and lubrication?
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 RUclips
Could you help with an information on how could I possible use the Meteor 5-1 lens on a Fujifilm X-T5? Someone said that the regular M42-FX adapter won't work but not sure what kind of adapter do I need instead. Thanks!
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!
I am struggling to figure out how to lock the record button in place for continuous shooting. Is there a way for me to record with out holding the button down?
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.
I have a question: For example if i shoot on 250D and i want to overexpose video i set light meter to 125 iso? Also what should i focus when lightmetering? Shadows, lights or midtones for overexposed video?
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.
Hello! So many thanks for sharing all this information, it has been really important to me. I wanted to ask you, I bought a K3 and it came with bayonet mount, I just realized that the lens is not really firm in the mount, it's like shaking a little bit, however it doesn´t seem that will fall or similar. I'm just worried about if this is normal. My other question is that the motor is not working, when I twist it, nothing happens, not with the shutter either. In the upcoming days I will take it to the only vintage 8 - 16mm camera technician in my country, but honestly it's my first time with these type of cameras and I'd appreciate a lot if with these information some ideas come to your mind, so I can have them in consideration too. Again so many thanks for your videos, amazing how much you can learn. Greetings!
Thank you! Well I don't know the Russian bayonet mount in detail, but of course the lens should sit firmly. Perhaps there is a part missing?
What happens if you try to wind up counterclockwise? Is it stuck or does it turn, but not engaging and slipping back? In the latter case all you need to do is screw in the inner disc with the two holes inside. You can use a pair of scissors or similar. If this doesn't help, the camera needs to be opened to fix the problem.
If you look carefully, you can find very cheaply non working K-3s on ebay for parts, but you need to know exactly what's there. I have already seen "K-3, non working, for parts" and somebody clearly already had harvested before. Important parts had been removed. You might want to join the Facebook group: 8mm and 16mm filmmakers group: For Filmmakers who Shoot on Film - great people there with great knowledge, happy to help out a fellow film buff.
Hey TF - was hoping to unscrew my meteor lens on K3 and inspect/clean the mirror however the lens won’t unscrew and seems stuck on - worried if I try too hard it’ll break the lens or mount - do you have any tips ?
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
Can you shoot single frames, or stop motions, or timelapse with this camera?
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!
Hast dir enorm Zeit genommen, bist echt in die Tiefe gegangen für Einsteiger. Hoffe es wird auch ins deutsche übersetzt für den Nachwuchs. Deutsche Videos "null" zu finden. Danke
Danke! Deutsche Untertitel sind auf jeden Fall in Arbeit.
@@truefilm6991 Das ist schon mal ein guter Anfang, der Nachwuchs braucht deutsche Aufklärungsarbeit. Absoluter Mangel. Danke.
question, do you think I should clan the mirror and prisms on my k3? Haven't put film through it yet but when I look through the viewfinder, there seems to bit a but of smudging in the upper half of frame
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.
Awesome info!
Thank you! Glad you found this helpful.
So helpful! Thank you.. The music is loud thaugh
Yeah I know. I should have kept the volume down. Sorry for that.
great video thank you!
Uau!! When did you record in Lisbon??
That was summer 2016. I live in Portugal for over 30 years now. Please check my other video with K-3 Super 16 footage. The gospel choir footage was filmed later that year in Lisbon, Benfica, at the Christmas Market Parque Eduardo VII. and at the Christmas Market Praça Municipal. The camera's frame rate was way off at the time, needs to be calibrated, so I was unable to line up any audio recording.
very thorough indeed. im curious though why the new channel under the same name??
Well I lost access to my old channel, since the associated email account had been deactivated after one year. I would have cleaned up old content anyway. I can do much better now. So a fresh start is the best solution. Thanks again for your interest.
Well-made video with plenty useful information!
Hey ! I would like to ask a question about a problem I have with my K3. I just received it from Ebay. It works fine, but I have a problem with the viewfinder. The image in the viewfinder seem to move and not stay in place, and I hear something moving inside the camera when I move it. Sometimes I see through it, sometimes it's completely dark. Also there is a small black line in the bottom down of the screen sometimes. Can someone tell me if the thing is broken, or is it reparable ?
Hello! The small black line perhaps is the pointer from the internal light meter. Just rotate your film sensitivity knob (right side upper knob) until that needle is gone. About the viewfinder trouble: you might want to join the Facebook group 8mm and 16mm, for filmmakers who shoot on film. I have no affiliation, but I find the folks over there very friendly and always willing to share their knowledge. Almost everything in a K3 can be fixed. If you can, please remove (unscrew) your lens and take photos of what's inside. Either join the aforementioned FB group or send the photos to my email address. I will reply. If I don't know the answer, I will ask very knowledgeable friends. My email: christianschonberger61@gmail.com
@@truefilm6991 Hello ! I subscribed to the facebook group but have no response unfortunatly. I sent you an email a few months ago explaining my problem and with some videos illustrating it. Hope you can bring me some help. Thank you for your work !
@@amineelboujjoufi6306 Hi there. Yes I remember. For some reason I have forgotten about your email. I apologize for that. I will get back to you ASAP. Thanks for your patience!
@@truefilm6991 No worries, i have all the time in the world ;) Thank you !
Great video! I'm looking into some new lenses for my K3 which has been converted to super 16, do you know if vignetting would occur with a simple prime M42 28mm lens?
All M42 prime lenses are designed to fill the entire frame of 35mm still photography, the same as VistaVision: 35mm 8perf horizontal. So all of these are fine for Super 16.
Just a question: why 28mm? It is slightly tighter than the standard-for-16mm 25mm. IMHO priority for Super 16 is a wide angle with no vignetting. I highly recommend the Zenitar16. Hope this helps.
Do you know if it's possible to silence the k-3 in any way? For me sound is really important and I would rather avoid ADR or wildtracks as.much as possible
That is quite difficult. You would need to build some kind of case around the K-3 to lower the noise as much as possible, while still having access to the lens and trigger. You must of course calibrate the frame rate. I will make a video about it as soon as I can. There are various ways to do that: stroboscope, film loop with a marking, mark the sprocket and count three revolutions each second (8 sprockets times 3 = 24) etc. The frame rate will oscillate still since the motor is spring driven. You can use time stretch in post to perfectly match the dialog. You can clean the dialog by removing any remaining camera noise with recent AI driven software such as Waves Clarity. I agree that the original dialog recording is best. It's a lot of work with a K-3, but it can be done. Filmmaker Emil Ink, also a good friend, successfully synced up location dialog with a non crystal sync Super 8 camera, using time stretch and editing but the Canon 514 XL-S is slightly more constant and quieter.. best of luck with your upcoming film projects.
@@truefilm6991 Thank you very much, also, I've read that the spring mechanism can hold shots for around 30-45 seconds , is that true?
@@AlucardaPapere one wind lasts for 25 seconds max.
How hard is it to convert your K-3 to an M42 mount? I'm not necessarily going to shoot Super-16 right away, but I'd like to have access to more lenses than just what's available with the bayonet mount, because I'm really not seeing a whole lot on eBay or elsewhere.
My first K-3 was an M42 mount, but I busted the spring on it.
Well I have never heard or read about a conversion from the bayonet to the M42 mount. You can find very inexpensive K-3 camera bodies that have been cannibalized for parts. The front is usually intact. So if it's an M42 mount, you can replace it. I already opened the camera front for lubrication, so that's no problem. There is a video on Ruben's channel how you can replace the motor: ruclips.net/video/wfgsontjvjo/видео.html
Hope this helps.
How do you set the shutter speed and asa? Not sure how to use the knob
@Cam Gregg - The shutter speed/angle is fixed at a 150 degrees - 1/60th. The frame rate is controlled with a frame rate knob which doesn't have steps, so you can calibrate it using external tools as I describe in the video. The film sensitivity/speed is controlled with a knob that calibrates the needle inside the viewfinder. It is in Russian GOST standard and you can find conversion charts easily online. You need to change the aperture until the needle appears at the center. It's a very rough approximation, but I read that it works OK with new hearing aid batteries. I personally strongly discourage fellow film buffs from using it. All fellow K-3 users I know either measure through a digital camera with the same settings (ISO and 1/60th) with the same framing, or a light meter app on their cell phone, or an external light meter (incidental and/or spot meter). Hope this helps. P.S.: If you have any further questions, feel free to ask. You might also want to check the great FB group: 8mm and 16mm for filmmakers who shoot on film. Great knowledgeable film buffs over there (no affiliation).
hello. One rookie question - after you shoot and end the film, you just need to take the spool and put it back into the 16mm box? and it's okay in the shade? thanks
Yes it is OK in the shade, but I highly recommend doing this in total darkness. Since it's so easy, you could, for example, just bring a large black plastic bag with you and do it inside of it, into a light tight box or can. Then take it home and put the exposed film roll inside the white plastic tray, apply the sticky white piece and slide into the original plastic box. This way you make sure you don't lose even a single frame from the end of your roll. Best of luck for your film projects!
Where did you get the Tri-X 100 film?
That was seven years ago. I ordered it online.
perfect!
Thank you. Glad you enjoyed.
Thank you!!
Is the standard meteor 17-69 1.9 lens parfocal?
Yes it is parfocal. Focus remains throughout the zoom range. It's an excellent lens.
@@truefilm6991 Hi hi! I’ve been shooting with my 17-69 on my adapted uktra16 K3 for a about a year now. My lens isn’t parfocal- any idea what could cause this?
@@camgregg9971 please let me know what exactly happens when you zoom in and out. Can you see it in the viewfinder or is it something only showing up on film? Is it that I objects get out of focus when you zoom in? The latter is likely to happen since your depth of field becomes progressively narrower as you zoom in. But once an object is on focus when zoomed-in, it must remain in ficus all through the zoom range when zooming-out. If not, something is wrong. Let's try and find out. Merry Christmas!
@@truefilm6991 Merry Christmas!! Thanks for your reply!! So I zoom all the way in and focus. But then when I begin to zoom out it goes out of focus.
@@camgregg9971 well I only see two possibilities of what could be wrong: 1) something wrong with your lens, 2) your back focus is not correct. I will as my friend Ruben Arce, a professional cinematographer and fellow film buff, familiar with the K-3, what could be wrong and how to fix it. Will let you know asap.
How loud is the camera?
It's very loud because of the gear noise.
Hey man! I have a question. So I have one of these converted to Super 16. But when I use the original lens is giving me Vingetting and showing the lens when shooting wide. Is there a way to correct that? Or I can’t shoot wide?
The stock lens shows vignetting in the wider Super 16 frame, roughly from 17 through 20mm. I recommend getting the Zenitar 16 prime lens to shoot wide. I have it and love it.
@@truefilm6991 Is there a way to you thru Instagram or something else? I want to show you some lens I have, I would like to know if those work.
@@alexforestier1722 you can zap me an email: christianschonberger61@gmail.com
Are you sure you have the re-centering ring installed as well?
@@ChiefMouse what is that? Not sure. Can you send me an email? alexforestierstudios@gmail.com.
Can someone give me a full list of lenses that can work with the Krasnogorsk-3?
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.
Can anyone tell me where to buy a super 16 modified film gate for my k3 ? I can't find it anywhere, thanks. :)
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
Wait so the shutter angle of this camera is 150th as apposed to 180?
Yes, that is correct. So you need to measure light for 1/60th of a second. The resulting motion rendering (or motion blur) remains very "cinematic", for lack of a better word. Other cameras, such as the Bolex H16 models for example, also have shutter angles that are narrower than 180 degrees.
@@truefilm6991 and this makes it darker as opposed tothe brighter 180 of a second
@@tomfodenfilm Yes, that is a way of looking at it. It has to do with the pulldown claw design and how it syncs up with the shutter. With cameras that use a prism instead of a rotating mirror you lose much more light.
@@truefilm6991 perfect one last question can the 100ft spools of Film stock you load the camera with. Can they be loaded during the day or do they have to be done in 100% darkness or is a matter of there fine in light just the darker generally the better?
@@tomfodenfilm The 100foot daylight spools can be loaded in subdued light, no need for total darkness. IMHO you should go as dark as you can while still being able to see what you are doing and if your film is running perfectly before closing the lid (camera door). Take your time while loading! No need to hurry unless you are in or near bright light. You will always lose a few feet at the start anyway. What I do recommend is unloading the film in total darkness so you don´t lose anything from your very last shot.
Wie heißt der Song, ist der aus dem RUclips-Archiv?
Die Musik ist eine Eigenkomposition von mir.
@@truefilm6991 Ja cool, gefällt mir gut so ein Stil.
thank u !
Thank you for watching!
Beautiful Super 16mm film footage by Rudolfs Griva, shot with the Krasnogorsk-3 and the stock Meteor zoom 17-69mm:
ruclips.net/video/orQvAUI-uOI/видео.html
Here are some great videos about the inner workings of the K-3 by Ruben Acre:
ruclips.net/video/Qp2Ryulen88/видео.html
ruclips.net/video/wfgsontjvjo/видео.html
Cool video but turn down the music volume next time :)
Thanks. Will do.
Very great for music video tho that all I kneed
Yes, I have seen great music videos shot with the K-3.
I don't understand this 10% correction in the viewfinder. It is rather 20% , but maybe I am wrong.
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.
Great video! But film isn't analog, it's chemical. The film is not an "analogy" for the image - it IS the image.
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.
interesting choice of 70's porno music....
Yeah, I should have chosen 80s porn music to better fit the year the camera was made.
great video, thanks. Japanontology@japanontology4832