I'm a keen observer of this forum and appreciate all the information thats out there about the K3 camera. There's still a few things im unsure about concerning a Super 16 film I'm planning, and I'd be glad about some thoughts of the community here.
I've had my K3 for a good while now and it does a great job. For an upcoming project I'm planning to shoot in the Super 16 format, scan the negatives, edt digitally and laser the files out to 35mm print film for projection.
About the upgrade of the K3: I'm aware this requires a change of the gates. However, I've read that sending in the camera for an upgrade sometimes also involves a change of the film rollers. I don't see why that is done, considering that film passing through the camera stays the same. Is there a point I am missing, and do I need to change the rollers too (I'm planning to do the conversion myself)? I've already removed the loop formers.
This is quite important, as I'm planing to afterwards shoot in regular 16mm again, as I prefer this format due to its possiblitiy of directly striking 16mm prints. Thus I'd like the 'upgrade' to be reversible rather easily.
I'm not using the original zoom lens for this project, but two Pentax M42 lenses, that should cover more than then entire S16 area. Hence, am I correct in thinking that I won't need the recentering ring?
I am also aware that the viewfinder only covers the R16mm area. I've read about the possibility of adapting the viewfinder to cover more then that. Does someone has an experience with this adaption?
About film formats: The only reason why I'm converting my camera to S16 is the blowup to 35mm. If the recording to 35 is done without any kind of mattes, would the scanned image come out as a 1:1.66 on 35mm film as well? And is this a format cinemas with 35mm projectors can screen? Or is it necessary to crop the image to 1:1.85? I'm really not an expert in formats, so any advice is appreciated.
About an optical Blow-Up: I'm thinking about, after having done the digital blow-up, to also conform the negative to the digital version, enabling the possibilty of an optical blow-up. The main idea being - besides the fascination with negative editing - the creation of a second (different) porjection print, and a comparison for future workflows. I'm aware there's a difference in the grain structure between an optical blow-up and a D.I.? Any thoughts on that matter? Maybe even any projects done in that vein? Do I have to think about this already when shooting (i.e. overexposing my neg when going optical?)
Thanks for reading, any help is greatly appreciated.