No need, it's easy. Do it in total darkness, so you don't lose anything at the end of your film reel. Prepare the open (!) plastic case within easy reach and the white tray. Take away all the tape around the door. Turn out all lights, open the door, take out the exposed reel. Make sure the film is wrapped around the reel, it's easy to feel. Insert the film into the white tray, insert the tray into the plastic case, close it. Done. Turn the lights back on.
Not a dumb question at all. Exactly. When you exposed the film, unload it and return it to the box, you are left with an empty daylight spool inside the camera. This empty spool becomes your new take up spool. Just put it in place. Your old takeup spool (now full of exposed film) goes to the lab for processing and scanning.
You can hear it when the film runs out. I highly recommend unloading in total darkness, so you don't lose anything at the film end and don't risk any uncontrolled light leak, ruining your last shots. If you unload during a shoot outside, you might want to use a dark bag. It's very easy. Just remove the tape around the door/lid, open it and lift the take up spool. Have the original film package or can in the dark and do the exact inverse of what you did when opening the original package or can and taking out the film. Make sure it is again 100% light tight before turning on the light or exposing the package/can to light . Hope this helps.
Thank you for a really useful video. Is there any special kind of black tape you'd recommend for light sealing the camera or would black PVC electrical insulation tape be OK?
Electrical insulation tape is fine for sealing the camera inside, as well as gaffers tape. To seal the lid, or any magazine for that matter, professionals use camera tape, which is paper based. It might be hard to find, so insulation tape or gaffers tape will do. The latter leave residues of glue which can be removed with a tiny bit of lighter fluid for example. Hope this helps.
Any black tape will do. Gaffers tape is strong but expensive. Camera tape, paper based, is hard to find. Electrical insulation tape is easy to find, but it's elastic and not the strongest. Some kinds of tape leave glue residues and can even rip off a little paint. I have no problem with that, since the final result is more important for me personally.
You can see the film, just in very dim light. 400ft magazines are loaded in total darkness. It needs some skill, but it's worth it. It's good old handicraft, not unlike playing a musical instrument, which you should be able to do (almost) with your eyes closed.
I highly recommend removing the loop formers in any case. It has nothing to do with S16. Loading should be done in subdued light, not in direct sunlight. Unloading should be done in total darkness.
@@truefilm6991 Do the loop formers scratch the negative? And thank you! I’m used to 35mm still where you can load and unload in light (subdued when I load). Thanks!
@@vc6218 yes, the loop formers were an afterthought, added to the original K-1 and K-2 design. They are not very well made and don't retract correctly by now. They will scratch the emulsion, as you can see in some K-3 footage with the infamous "tiger claw" scratches.
No need for a black changing bag. The black 100ft spool is protecting the film from light. You just need to protect it from too much light creeping in. Just load in dim light or in the shade, not in direct sunlight. Changing bags are for 400ft (and the discontinued 200ft) loads without spool. I highly recommend unloading the film in total darkness though, to make sure your last shot has no unwanted exposure to light.
So I will probably get a changing bag for unloading the film at least since I live in sunny SoCal. That is still a relief. Because the idea of spooling the film in darkness intimidated me.
What do you mean exactly, if the film slips and comes off during loading? No I haven't had any issues with that, since I always secure the film with my right index finger after removing the paper seal and adhesive tape, while rolling off a couple of feet and inserting the spool into the camera. The spool also doesn't come completely filled, so there is no problem. It does tend to slip if you get, say, expired film that was respooled from a 400ft load and a little too full. But there is no problem at all if you do it calmly. There is no hurry in subdued light. Hope this helps.
@@truefilm6991 when I loaded and started shooting the bottom roll was wrapping but when shooting in like slow mo it was going through the rollers but loosely wrapping around the bottom day spool
@@javansmith3080 Ok, that means your pickup spool isn't being driven with enough strength. It works through friction. I suggest you post this question on the Facebook group 8mm and 16mm for fillmakers who shoot on film: facebook.com/groups/8mmand16mmfilmmakersgroup/about Great and knowledgeable people there. Hope this helps.
@@javansmith3080 does it pile up at the lower half of the film chamber? As I said, you need enough torque. It may just be a matter of some fine tuning. Perhaps try to loosen or tighten the screw on top of the lower axle (pickup spool).
Thank you for this. Quick question, do you know how how much film I can use to load? meaning, Im concern to ruin the film, Im using that same one you have. I feel that if I open the box it will get ruined, or if I pull out from the spool. This can be done in daylight right? Shade, of course. Does not have to be in completely dark right?
Thank you for watching Alex. Loading these 100ft spools doesn't have to be done in compete darkness. The black spool protects the film from getting exposed in dim light. You just lose the first few feet, nothing more. Only 400ft loads, which cannot be used with the K-3, need to be threaded on total darkness, since they come without any protection. Hope this helps. PS: please stay tuned, much more to come.
how long should you run it to get to untouched film. say the first thing you film is important, i dont want to realize its a bad exposure way later. Would it make more sense to buy the Krasnogorsk-1 or 2 instead or are there more downsides to those. Thanks for the videos man theyre very helpful
Well there is no way to know 100% exactly where the "virgin" film starts. It depends on film speed/sensitivity, how long the film was exposed to how much light during loading, etc. I know it sounds ridiculous by today's standards, but daylight spools were one of the solutions manufacturers could come up with back in the day, together with pre-loaded magazines. To be sure I'd guesstimate: run at least 5 seconds after completely sealing the camera. Since film is expensive, it feels like a lot. I would refrain from buying the K-1 or K- 2 for two reasons: 1) the magazine is very fiddly to load, which needs to be done in complete darkness - and the film is very curled towards the core, which doesn't help image quality since it will fight the pressure plate; 2) The K-1, K-2 and early K-3s only have a Russian bayonet mount, that means no Super 16 and no M42 lenses. A slightly more affordable alternative to the K-3 is the Kiev 16U, which can be converted to Ultra 16 by yourself if you have the skills. The image registration is excellent and it comes with three very sharp prime lenses on a 3-lens trurret. Not sure if it works, but I have seen an adapter ring for the 16 U, allowing for M42 mount lenses to be used. The Kiev 16 UE even has an electric motor. The huge drawback is that any Kiev 16 U very likely doesn't run smoothly or run at all. The manufacturing tolerances were terrible, so you have to disassemble, lubricate and tweak. Check this article including film footage: www.filmkorn.org/small-but-excellent-the-16mm-camera-kiev-16u/?lang=en Here is a video and a reply to my comment from the great Vario Pancolar channel (run through DeepL for translation from German): ua-cam.com/video/q3g5E7T27UU/v-deo.html Hope this helps finding the best film camera for you.
im getting ready to do a conversion and in between going for S16 or Ultra16. Curious as to your thoughts on the two. (the conversion hasn't been done yet). I see a lot of scanning can now do ultra no problem. Also curious if you've ever tried using a gimble on your camera? I have an RS2 and I think it can handle the weight. Also has anyone tried using audio programs to cancel out the camera sounds, something like isotope RX9. Going to try to use wireless lav mics into a recorder then clean the sound and see how well it works. thanks much, appreciate you sharing.
Will reply in more detail about Super 16 vs Ultra 16. About removing camera noise: Waves Clarity is much better for this specific job than the otherwise excellent iZotope RX9. Trust me, I'm a professional musician/producer.
O.K. Super 16, vs. Ultra 16: Super 16 pros: it makes use of all available real estate, but doesn't extend into the sprocket hole area, avoiding an array of possible problems. With a native aspect ratio of 1.66:1 you have headroom for reframing and jitter stabilizing in all wider aspect ratios (zoomed and cropped that is): 16:9 (=1.78:1), 1.85:1 and 2.39:1. Super 16 drawbacks: the optical axis needs to be shifted and your viewdinder system needs to be heavily modified or rebuilt. With a K-3's stock viewfinder you won't see the added 20% on your right, making framing very hard. You also need different lenses, especially for wide angle, since vignetting occurs. Ultra 16 pros: Optical axis stays the exact same, cameras are way easier to convert. It has a native aspect ratio of 1.85:1 and at this format or wider (zoomed and cropped) the image quality is almost exactly the same as Super 16. It is much easier to frame with the stock viewfinder. Ultra 16 cons: you are stuck (sandwiched) between sprocket holes, which means 1) no vertical headroom for reframing or de-jitter and 2) if your camera doesn't align the frame line 100% with the center of the sprocket hole, you will get a vertical shift in your framing. Also: The pulldown claw slot in a K-3 goes into the image area (as opposed to be offset one frame beneath), so you will get undesired reflections at some angles. You might want to check Ultra 16 footage. Hope you find this helpful.
@@truefilm6991 oh sweet thank you! yes im an audio engineer as well. im sure most of us have multiple things going that consume us and time ha ha. "photographer, cinematographer, painter, animator, architect, woodworker, etc etc..) ill look into clarity, although ive abandoned waves because they abandoned me :( im sure you know what I mean. And for sure, would love to hear about the S VS ultra thing. have a great week
@@flipnap2112 already posted. Yeah I get it, LOL. And yep: too many things and only one life.... 😂The basic Waves Clarity costs just 30 bucks, so it'll be a good investment. Let's hear our friend Warren Huart on this: ua-cam.com/video/EWo4sjcDKu0/v-deo.html
@@truefilm6991 wow VERY detailed, thank you so much. From what you said, it sounds the the image gain for ultra is not worth it, but the logistics of hardware is. Sounds like in post its much better for super. interesting. ill have to do some hard research into these modifications, but really sounds like a personal choice at this stage. not as beneficial as going from standard to super. thanks so much. either way pretty excited about getting back into it. I appreciate your time!
You should unload the film in total darkness, but even if you don't or can't, the tight black daylight spool will protect it and only a couple of feet at the end and a bit more around the edges will get exposed to light. Just don't load or unload in bright direct sunlight, but in the shade and you will be fine.
So everytime a 3 min roll is finished, one has to unglue all this black tape and glue back a new one for the next roll ? Looks like a such a huge amount of fuss..
Yes it is. Professionals use paper based camera tape, which is much faster to remove than gaffers or electrical tape, but harder to find. You can also make a black cover for your camera, which is less hassle. Michael (YT channel: Filmboy 24) did exactly that. Hope this helps.
@@truefilm6991 Thanks for the info. I suppose if you don't do any of these things, your shots will have light leaks, unless if one doesn't mind about it and wants the leaking light as part of the aesthetic.
@@AntoniosPapantoniou If you just tape over the footage counter box inside (that one is very important) and cover the viewfinder between shots, you might not get any light leaks at all. After all the lid was meant to be light tight. All these measures are meant just to be absolutely sure. You can play with light leaks, say by opening the lid very briefly betwen shot for example, but the results are unpredictable. I know that working with film is a lot of hassle, but the results are more than worth it.
@@truefilm6991 Thanks a lot. I agree with you. No doubt film remains the best aesthetic medium. Organic texture, grain, movement, light, impressionistic feel, color and so on. But for those not living in the US or other places where film deals can be found in good bargain prices, believe me that one has a hard time paying almost 300 euros for a 3 min roll (film, development, scanning, shipping and taxes), without being even sure for the quality of the end result. The money factor is not something to be taken lightly and unfortunately it gets in the way most of the time.
@@AntoniosPapantoniou that's true. I'm located in Portugal (German born). Everything needs to be ordered from other countries. Cost is a major obstacle.
Not in total darkness, but in subdued light. No direct sunlight. You might want to unload on total darkness though, as not to lose anything at the tail end.
No need to load these 100ft spools in total darkness. The word "daylight" is a bit misleading. Only 200ft and 400ft magazines need to be loaded in total darkness. I usually load in a room with dimmed light, just enough so I can see what I'm doing. The black spools are light tight, so that light only goes through the film itself. No need to hurry either. I take out the film in total darkness though, to make sure my last shot will not get fogged.
@@truefilm6991 thanks so much. i recently bought k-3 and it seems like the battery is dead or something because when I press the button nothing is moving. what should I do?
@@shadinrish are you referring to the motor? It's a spring driven motor, you need to wind it up conter-clockwise. You only need a battery for the internal light meter, which I don't recommend anyway. Hope I understood you correctly.
Freut mich, dass mein Video dir hilft, mit der K-3 richtig zu arbeiten. Auf diesem Kanal sind alle Videos selbstverständlich mit deutschen Untertiteln.
O.k. Can you describe exactly what happens? Is the motor running smoothly without film (always use lower frame rate, such as 16fps, without film)? Are you losing loops, are there strange noises indicating that the film doesn't run smoothly?
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
Thank you for this video as well as your others. I am shooting my first roll of film tomorrow. Thanks again!
Awesome! Best of luck for your first fim project! Are you shooting with a K-3?
Gret video, I have yet to see a video of unloading film!
No need, it's easy. Do it in total darkness, so you don't lose anything at the end of your film reel. Prepare the open (!) plastic case within easy reach and the white tray. Take away all the tape around the door. Turn out all lights, open the door, take out the exposed reel. Make sure the film is wrapped around the reel, it's easy to feel. Insert the film into the white tray, insert the tray into the plastic case, close it. Done. Turn the lights back on.
Super helpful video! Thank you!
Glad you find it useful.
Probably a dumb question. But when you’re loading in a new spool do you use the now emptied spool as the take up spool?
Not a dumb question at all.
Exactly. When you exposed the film, unload it and return it to the box, you are left with an empty daylight spool inside the camera. This empty spool becomes your new take up spool. Just put it in place. Your old takeup spool (now full of exposed film) goes to the lab for processing and scanning.
Any advice on unloading the film?
You can hear it when the film runs out. I highly recommend unloading in total darkness, so you don't lose anything at the film end and don't risk any uncontrolled light leak, ruining your last shots. If you unload during a shoot outside, you might want to use a dark bag. It's very easy. Just remove the tape around the door/lid, open it and lift the take up spool. Have the original film package or can in the dark and do the exact inverse of what you did when opening the original package or can and taking out the film. Make sure it is again 100% light tight before turning on the light or exposing the package/can to light . Hope this helps.
Thank you for a really useful video. Is there any special kind of black tape you'd recommend for light sealing the camera or would black PVC electrical insulation tape be OK?
Electrical insulation tape is fine for sealing the camera inside, as well as gaffers tape. To seal the lid, or any magazine for that matter, professionals use camera tape, which is paper based. It might be hard to find, so insulation tape or gaffers tape will do. The latter leave residues of glue which can be removed with a tiny bit of lighter fluid for example. Hope this helps.
What kind of tape is best to use for this?
Any black tape will do. Gaffers tape is strong but expensive. Camera tape, paper based, is hard to find. Electrical insulation tape is easy to find, but it's elastic and not the strongest. Some kinds of tape leave glue residues and can even rip off a little paint. I have no problem with that, since the final result is more important for me personally.
How do I do all of this if I can’t see the film? I need a bunch of light to know what I’m putting in.
You can see the film, just in very dim light. 400ft magazines are loaded in total darkness. It needs some skill, but it's worth it. It's good old handicraft, not unlike playing a musical instrument, which you should be able to do (almost) with your eyes closed.
Does it not have the loop formers because its converted to S16? What part of this process needs to be done in the dark? None? Thanks
I highly recommend removing the loop formers in any case. It has nothing to do with S16. Loading should be done in subdued light, not in direct sunlight. Unloading should be done in total darkness.
@@truefilm6991 Do the loop formers scratch the negative? And thank you! I’m used to 35mm still where you can load and unload in light (subdued when I load). Thanks!
@@vc6218 yes, the loop formers were an afterthought, added to the original K-1 and K-2 design. They are not very well made and don't retract correctly by now. They will scratch the emulsion, as you can see in some K-3 footage with the infamous "tiger claw" scratches.
You don't need a black changing bag?
No need for a black changing bag. The black 100ft spool is protecting the film from light. You just need to protect it from too much light creeping in. Just load in dim light or in the shade, not in direct sunlight. Changing bags are for 400ft (and the discontinued 200ft) loads without spool. I highly recommend unloading the film in total darkness though, to make sure your last shot has no unwanted exposure to light.
So I will probably get a changing bag for unloading the film at least since I live in sunny SoCal. That is still a relief. Because the idea of spooling the film in darkness intimidated me.
@@afewbadhombres1703 sounds good. Best of luck for your upcoming film projects!
Had any issue where the film comes off the spool ?
What do you mean exactly, if the film slips and comes off during loading? No I haven't had any issues with that, since I always secure the film with my right index finger after removing the paper seal and adhesive tape, while rolling off a couple of feet and inserting the spool into the camera. The spool also doesn't come completely filled, so there is no problem. It does tend to slip if you get, say, expired film that was respooled from a 400ft load and a little too full. But there is no problem at all if you do it calmly. There is no hurry in subdued light. Hope this helps.
@@truefilm6991 when I loaded and started shooting the bottom roll was wrapping but when shooting in like slow mo it was going through the rollers but loosely wrapping around the bottom day spool
@@javansmith3080 Ok, that means your pickup spool isn't being driven with enough strength. It works through friction. I suggest you post this question on the Facebook group 8mm and 16mm for fillmakers who shoot on film: facebook.com/groups/8mmand16mmfilmmakersgroup/about
Great and knowledgeable people there. Hope this helps.
@@truefilm6991 it’s like the flim has too much slack saw Maybe a peice of tape at the film tip will do the trick
@@javansmith3080 does it pile up at the lower half of the film chamber? As I said, you need enough torque. It may just be a matter of some fine tuning. Perhaps try to loosen or tighten the screw on top of the lower axle (pickup spool).
Thank you for this. Quick question, do you know how how much film I can use to load? meaning, Im concern to ruin the film, Im using that same one you have. I feel that if I open the box it will get ruined, or if I pull out from the spool. This can be done in daylight right? Shade, of course. Does not have to be in completely dark right?
Thank you for watching Alex. Loading these 100ft spools doesn't have to be done in compete darkness. The black spool protects the film from getting exposed in dim light. You just lose the first few feet, nothing more. Only 400ft loads, which cannot be used with the K-3, need to be threaded on total darkness, since they come without any protection. Hope this helps.
PS: please stay tuned, much more to come.
how long should you run it to get to untouched film. say the first thing you film is important, i dont want to realize its a bad exposure way later. Would it make more sense to buy the Krasnogorsk-1 or 2 instead or are there more downsides to those. Thanks for the videos man theyre very helpful
Well there is no way to know 100% exactly where the "virgin" film starts. It depends on film speed/sensitivity, how long the film was exposed to how much light during loading, etc. I know it sounds ridiculous by today's standards, but daylight spools were one of the solutions manufacturers could come up with back in the day, together with pre-loaded magazines. To be sure I'd guesstimate: run at least 5 seconds after completely sealing the camera. Since film is expensive, it feels like a lot.
I would refrain from buying the K-1 or K- 2 for two reasons: 1) the magazine is very fiddly to load, which needs to be done in complete darkness - and the film is very curled towards the core, which doesn't help image quality since it will fight the pressure plate; 2) The K-1, K-2 and early K-3s only have a Russian bayonet mount, that means no Super 16 and no M42 lenses.
A slightly more affordable alternative to the K-3 is the Kiev 16U, which can be converted to Ultra 16 by yourself if you have the skills. The image registration is excellent and it comes with three very sharp prime lenses on a 3-lens trurret. Not sure if it works, but I have seen an adapter ring for the 16 U, allowing for M42 mount lenses to be used. The Kiev 16 UE even has an electric motor. The huge drawback is that any Kiev 16 U very likely doesn't run smoothly or run at all. The manufacturing tolerances were terrible, so you have to disassemble, lubricate and tweak. Check this article including film footage: www.filmkorn.org/small-but-excellent-the-16mm-camera-kiev-16u/?lang=en
Here is a video and a reply to my comment from the great Vario Pancolar channel (run through DeepL for translation from German): ua-cam.com/video/q3g5E7T27UU/v-deo.html
Hope this helps finding the best film camera for you.
arkadaşlar bende bu makinadan çantası ve parçaları elimde mevcut kime sata bilirim yardımcı olursanız sevinirim teşekkürler
Türkçe'ye çevrilmiştir: En iyisi bunu "8mm and 16mm, for filmmakers who shoot on film" Facebook grubunda yayınlamak. Teşekkür ederim.
im getting ready to do a conversion and in between going for S16 or Ultra16. Curious as to your thoughts on the two. (the conversion hasn't been done yet). I see a lot of scanning can now do ultra no problem. Also curious if you've ever tried using a gimble on your camera? I have an RS2 and I think it can handle the weight. Also has anyone tried using audio programs to cancel out the camera sounds, something like isotope RX9. Going to try to use wireless lav mics into a recorder then clean the sound and see how well it works. thanks much, appreciate you sharing.
Will reply in more detail about Super 16 vs Ultra 16. About removing camera noise: Waves Clarity is much better for this specific job than the otherwise excellent iZotope RX9. Trust me, I'm a professional musician/producer.
O.K. Super 16, vs. Ultra 16:
Super 16 pros: it makes use of all available real estate, but doesn't extend into the sprocket hole area, avoiding an array of possible problems. With a native aspect ratio of 1.66:1 you have headroom for reframing and jitter stabilizing in all wider aspect ratios (zoomed and cropped that is): 16:9 (=1.78:1), 1.85:1 and 2.39:1.
Super 16 drawbacks: the optical axis needs to be shifted and your viewdinder system needs to be heavily modified or rebuilt. With a K-3's stock viewfinder you won't see the added 20% on your right, making framing very hard. You also need different lenses, especially for wide angle, since vignetting occurs.
Ultra 16 pros: Optical axis stays the exact same, cameras are way easier to convert. It has a native aspect ratio of 1.85:1 and at this format or wider (zoomed and cropped) the image quality is almost exactly the same as Super 16. It is much easier to frame with the stock viewfinder.
Ultra 16 cons: you are stuck (sandwiched) between sprocket holes, which means 1) no vertical headroom for reframing or de-jitter and 2) if your camera doesn't align the frame line 100% with the center of the sprocket hole, you will get a vertical shift in your framing. Also: The pulldown claw slot in a K-3 goes into the image area (as opposed to be offset one frame beneath), so you will get undesired reflections at some angles. You might want to check Ultra 16 footage.
Hope you find this helpful.
@@truefilm6991 oh sweet thank you! yes im an audio engineer as well. im sure most of us have multiple things going that consume us and time ha ha. "photographer, cinematographer, painter, animator, architect, woodworker, etc etc..) ill look into clarity, although ive abandoned waves because they abandoned me :( im sure you know what I mean. And for sure, would love to hear about the S VS ultra thing. have a great week
@@flipnap2112 already posted. Yeah I get it, LOL. And yep: too many things and only one life.... 😂The basic Waves Clarity costs just 30 bucks, so it'll be a good investment. Let's hear our friend Warren Huart on this: ua-cam.com/video/EWo4sjcDKu0/v-deo.html
@@truefilm6991 wow VERY detailed, thank you so much. From what you said, it sounds the the image gain for ultra is not worth it, but the logistics of hardware is. Sounds like in post its much better for super. interesting. ill have to do some hard research into these modifications, but really sounds like a personal choice at this stage. not as beneficial as going from standard to super. thanks so much. either way pretty excited about getting back into it. I appreciate your time!
So when you unload the film reel, how come the film is not getting over exposed ?
You should unload the film in total darkness, but even if you don't or can't, the tight black daylight spool will protect it and only a couple of feet at the end and a bit more around the edges will get exposed to light. Just don't load or unload in bright direct sunlight, but in the shade and you will be fine.
@@truefilm6991 Thanks for clarifying that, very helpful
@@663 thank you! That's what this channel is about. If you have any further question, please feel free to shoot.
So everytime a 3 min roll is finished, one has to unglue all this black tape and glue back a new one for the next roll ?
Looks like a such a huge amount of fuss..
Yes it is. Professionals use paper based camera tape, which is much faster to remove than gaffers or electrical tape, but harder to find. You can also make a black cover for your camera, which is less hassle. Michael (YT channel: Filmboy 24) did exactly that. Hope this helps.
@@truefilm6991 Thanks for the info. I suppose if you don't do any of these things, your shots will have light leaks, unless if one doesn't mind about it and wants the leaking light as part of the aesthetic.
@@AntoniosPapantoniou If you just tape over the footage counter box inside (that one is very important) and cover the viewfinder between shots, you might not get any light leaks at all. After all the lid was meant to be light tight. All these measures are meant just to be absolutely sure. You can play with light leaks, say by opening the lid very briefly betwen shot for example, but the results are unpredictable. I know that working with film is a lot of hassle, but the results are more than worth it.
@@truefilm6991 Thanks a lot. I agree with you. No doubt film remains the best aesthetic medium. Organic texture, grain, movement, light, impressionistic feel, color and so on. But for those not living in the US or other places where film deals can be found in good bargain prices, believe me that one has a hard time paying almost 300 euros for a 3 min roll (film, development, scanning, shipping and taxes), without being even sure for the quality of the end result. The money factor is not something to be taken lightly and unfortunately it gets in the way most of the time.
@@AntoniosPapantoniou that's true. I'm located in Portugal (German born). Everything needs to be ordered from other countries. Cost is a major obstacle.
Does this need to be loaded in darkness?
Not in total darkness, but in subdued light. No direct sunlight. You might want to unload on total darkness though, as not to lose anything at the tail end.
am i supposed to load the film in the dark? or I can do this in daylight?
No need to load these 100ft spools in total darkness. The word "daylight" is a bit misleading. Only 200ft and 400ft magazines need to be loaded in total darkness. I usually load in a room with dimmed light, just enough so I can see what I'm doing. The black spools are light tight, so that light only goes through the film itself. No need to hurry either. I take out the film in total darkness though, to make sure my last shot will not get fogged.
@@truefilm6991 thanks so much. i recently bought k-3 and it seems like the battery is dead or something because when I press the button nothing is moving. what should I do?
@@shadinrish are you referring to the motor? It's a spring driven motor, you need to wind it up conter-clockwise. You only need a battery for the internal light meter, which I don't recommend anyway. Hope I understood you correctly.
Schön, endlich jemand mit deutschen Untertitel! 0:37min.: Danke für eine sinnvolle Perspektive die nix verdeckt angezeigt hat.
Freut mich, dass mein Video dir hilft, mit der K-3 richtig zu arbeiten. Auf diesem Kanal sind alle Videos selbstverständlich mit deutschen Untertiteln.
I can't get mine to operate smoothly and I have no idea what I am doing wrong. :S
O.k. Can you describe exactly what happens? Is the motor running smoothly without film (always use lower frame rate, such as 16fps, without film)? Are you losing loops, are there strange noises indicating that the film doesn't run smoothly?
thank u so much
Thank you for watching!