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Repair K3 or go more professional (Eclair ACL)


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#21 Willem Jansen

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Posted 07 February 2018 - 04:14 AM

I'm thinking about making a DIY blimp for my K3. Putting it in a sleeve of a coat doesn't really work for me.

Anyone with tips?
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#22 Will Montgomery

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Posted 07 February 2018 - 12:56 PM

If you're K3 dies, just by another one. Cheaper than trying to fix it for sure. You may have missed the best buying opportunities for pro level Super 16 cameras, but keep an eye out for an ACL or Arri SR 2/3 if you want to shoot with sound.

 

Blimping a K3 seems like kind of a futile gesture...once you get it setup you'll have to take it apart to change your 100' reel out...not very practical for most shooting and that camera was never meant for that; it was meant as a step up from Super 8 for home movies and is great in that way.


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#23 Willem Jansen

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Posted 07 February 2018 - 01:17 PM

it was meant as a step up from Super 8 for home movies and is great in that way.

 

And that's why I bought the K3 and not an ACL or Arri SR2/3. I thought of myself not being ready to own a camera like those (especially an Arri SR2/3) at the time.

 

 

If you're K3 dies, just by another one. Cheaper than trying to fix it for sure.

 

If I buy a new one, that'll be my third... and who knows if that one will work properly... I rather get this one fixed and shoot my upcoming short film with it and in the meantime save money for a better camera.


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#24 Samuel Berger

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Posted 07 February 2018 - 01:21 PM

I'm thinking about making a DIY blimp for my K3. Putting it in a sleeve of a coat doesn't really work for me.

Anyone with tips?

 

Yes. I'm seen people create them out of Pelican cases with foam and a hole cut out. Google Pelican case camera blimp to see how it's done with DSLRs. I tried to find a pic of the one somebody made for the K-3 but that was in 2005 when I left the hobby, so it's gone now.

 

I would not spend the money on a Pelican,  I would look for something like a Fat Max foam padded toolbox since your main preoccupation is blimping sound and not whether it will get hit. 


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#25 Perry Paolantonio

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Posted 07 February 2018 - 03:21 PM

Google Pelican case camera blimp to see how it's done with DSLRs. I tried to find a pic of the one somebody made for the K-3 but that was in 2005 when I left the hobby, so it's gone now. 

 

Why would you blimp a dSLR? to muffle mechanical shutter noise for still images? They're silent in video mode. 


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#26 Samuel Berger

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Posted 07 February 2018 - 03:22 PM

 

Why would you blimp a dSLR? to muffle mechanical shutter noise for still images? They're silent in video mode. 

 

People do it to take stills during filming.

 

https://www.google.c...se camera blimp


Edited by Samuel Berger, 07 February 2018 - 03:30 PM.

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#27 Perry Paolantonio

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Posted 07 February 2018 - 03:57 PM

Seems like it'd be easier to just get a camera with a mirrorless shutter, which are pretty ubiquitous these days. but, i digress...


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#28 Samuel Berger

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Posted 07 February 2018 - 04:21 PM

Seems like it'd be easier to just get a camera with a mirrorless shutter, which are pretty ubiquitous these days. but, i digress...

 

I imagine it's guys who've spent thousands on their cameras and aren't quite ready to give them up.


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#29 Chris Burke

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Posted 07 February 2018 - 06:12 PM

Seems like it'd be easier to just get a camera with a mirrorless shutter, which are pretty ubiquitous these days. but, i digress...

Nope. On all the big shows I have worked on, the stills photographer always had a blimped DSLR. They all shoot Canon or Nikon. Perhaps the specs on a mirrored shutter cam fits their needs better.


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#30 Chris Burke

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Posted 07 February 2018 - 06:18 PM

But as said before, blimping a K3 may be too much work for what you get, only two and a half minutes. I would look into other methods for sync sound. Like record an audio only take immediately after the film take. Roll audio for both, but do an audio only take with your camera wrapped in a sound blanket. If you can, have the camera far aways as possible. 


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#31 Gareth Blackstock

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Posted 07 February 2018 - 11:44 PM

Years ago I made a blimp for my super8 camera that worked great.  It was easy to make, parts are available from your average electronics store, and I used a run switch to run the camera.  for that camera I used a makeup case, but for a k3 just use a bigger case.  The reason I used a case was so that when I needed to change a cart, I could just open the side, swap carts and re-seal the case.  Easy.

 

http://www.mishkin.y...amera-blimp.php

 

If you did'nt want to use a box, just buy some heavy duty zippers, and make it out of material with the same sound deadening materials.


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#32 Perry Paolantonio

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Posted 08 February 2018 - 08:31 AM

They all shoot Canon or Nikon. 

 

Ahh, well that would explain it. Lots of money spent on expensive gear. Should have bought a pentax, I say!


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#33 Will Montgomery

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Posted 08 February 2018 - 09:45 AM

If I buy a new one, that'll be my third... and who knows if that one will work properly... I rather get this one fixed and shoot my upcoming short film with it and in the meantime save money for a better camera.

 

Some cameras just aren't made for fixing...to find a part for a K3 someone would have to take apart another K3 so why not save a couple hundred dollars and buy THAT K3 for $200? Then maybe you'll get lucky and find one that doesn't break. I got lucky on my first one and it was great.

 

Repairing a K3 could be a minimum of $250 from a decent repair person and only if they could find parts.

 

I have about 12 Canon AF310XL Super 8 cameras that I've purchased over the years for $10-$50 each and I hand them out at events I'm covering to attendees to get really cool "home movie" footage. They have old plastic gears and at least one fails at every event. I have a pile of 4 or 5 dead ones but it's just not practical to repair them when I can buy another for less than $50.

 

Also keep in mind that once you step up to a pro level camera you'll need a good camera tech to send it to for maintenance once a year depending on how much you use it. Think of them more like a fine Swiss clock that you're constantly shaking and rattling rather than a solid state camera that will live forever if you don't drop it. So add about $300/year to your cost calculations for a clean & lube. 


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#34 Willem Jansen

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Posted 08 February 2018 - 11:40 AM

I sent out the camera to a company in Amsterdam called Etkon who have a repair and rental department. Somebody on this forum got his Eclair ACL repaired by them. They're factory trained by Arri, Aaton, Panavision, Zeiss etc. They said that the problem I have with my K3 is that the ground glass needs a little adjustment. So no new parts/K3 necessary.

 

If this works out, I'll have a camera tech I can rely on. Which would be really great because it would save me quite some money on shipping+maintenance costs.


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#35 Luigi Castellitto

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Posted 11 February 2018 - 06:03 PM

A couple of years ago my K3 crashed on the ground because a foot of the tripod did not fix well and is slowly back. Result: it is not even scratched, it's like new. I don't know what would have happened to other more complex cameras... It works well and for what I have to do is excellent, the only thing that bother me are the "leaks" of light that can be seen in the films shooting with this camera, which I think are a constant of K3 (for reflex of light inside the lens and body of the camera) and not due to the crash at ground.
Anyone have "leaks" with K3too?

If it were broken, I would buy it again, and not repair it.
 


Edited by Luigi Castellitto, 11 February 2018 - 06:08 PM.

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#36 Patrick Cooper

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Posted 12 February 2018 - 05:12 PM

Same thing happened to my K3. Somehow, it detached itself from the top of my tripod as I was carrying it and fell to the ground. It was completely fine. Though Ive never experienced light leaks with mine. 


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#37 Luigi Castellitto

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Posted 13 February 2018 - 02:31 PM

More than "light leaks" on the whole frame, I detect, even very rarely, some "spots of light" in some places of frames, at random places.
One thing that does not happen to me with any other camera that I have.


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#38 Will Montgomery

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Posted 15 February 2018 - 11:40 AM

Cameras like the K3, ACL or Scoopic are great. They let you run & gun and capture things that would be really hard with an SR...they really are wonderful home movie cameras and can supplement a big camera shoot well in some circumstances. Especially in music video performance shoots. I recently hauled an SR 2 all around town for a music video and was really happy with the footage but I was thinking it would have been so much easier with a Scoopic.

 

The issues you run into are steadiness, sync and general reliability. Can you make a feature with one? I guess you could try but not sure if you'd want to try... but for what they do they really are wonderful and can be amazingly sharp with the right lens, lighting and exposure.

 

The question of whether or not to move to an ACL or SR is kind of confusing; they are totally different cameras for different situations. If you do move to one of those cameras I'd definitely keep the K3 and you may find you'll use that more often for the type of shooting you do.


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#39 Willem Jansen

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Posted 15 February 2018 - 04:51 PM

I called the Edwin (from Etkon) who was going to repair my K3 and, after he explained what was wrong with it, decided to leave it as it is. I don't know how to tell this all in English. But simply said, it's better to save up money for a better camera. He wasn't really fond of the K3 to say the least.

 

He said that the Eclair is a great camera, but it's quite old and parts are scarce (at least in the Netherlands). The same goes for the Arri SR's. Besides that, it is an excellent camera.

 

He suggested me to go for an Aaton (LTR). I think everyone here knows what makes it a good camera. But for me, it's also really important to have a repair guy that has parts for it and is based in the Netherlands. Which he does.


Edited by Willem Jansen, 15 February 2018 - 04:52 PM.

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#40 Samuel Berger

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Posted 15 February 2018 - 05:15 PM

I called the Edwin (from Etkon) who was going to repair my K3 and, after he explained what was wrong with it, decided to leave it as it is. I don't know how to tell this all in English. But simply said, it's better to save up money for a better camera. He wasn't really fond of the K3 to say the least.

 

He said that the Eclair is a great camera, but it's quite old and parts are scarce (at least in the Netherlands). The same goes for the Arri SR's. Besides that, it is an excellent camera.

 

He suggested me to go for an Aaton (LTR). I think everyone here knows what makes it a good camera. But for me, it's also really important to have a repair guy that has parts for it and is based in the Netherlands. Which he does.

 

Why does it matter that the technician is in NL? There's repair guys all over Europe. I use Bernie O'Doherty in New York, he's probably farther from me than Les Bosher in England would be to you.

 

Eclairs are great, I doubt very much you'd need "parts" after a guy like Bernie brings it up to standards. Aatons are okay but they're not usually cheap.


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