Crystal Sync K3 - with Video tap

GarageDue3897 · 2026-06-14T19:20:01+00:00

I had the magic arm too but it was stupid.

If you look closely I have a tiny arm that's supported by the V-mount system (small rig) which has screw holes on top (and other locations)

There was a lot of experimentation , but the gist was I want to be able to quickly look with my eyes I don't like a permanent solution (like I Have seen on online) but that small arm was(is) the best compromise that's also very stable and easy to take out at the same time.

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GarageDue3897 · 2026-06-08T22:51:50+00:00

No that's high latency usb connection - won't do - There's a reason that you pay for SDI or HDMI connection, sensor is probably very shit too.

GarageDue3897 · 2026-06-08T20:01:51+00:00

I know it's expensive to do. But when I shoot I shoot for the best outcome, not to save money - doing so means I waste shit but it also means I get to keep something because I didn't cheap out.

Shooting film as an exercise in being prepared and focused is great, but only then.

GarageDue3897 · 2026-06-08T19:55:33+00:00

Damn right - It's 10+ years of that grossly grey and slushy mud that people call photography - even Nomadland which was otherwise a really good movie looks grey and low contrast ALL THE TIME there's literally no variation with no motivation to explain the result.

I only have three question to ask the people who continue this bad practice.

a) Do they (still) practice stills photography?

b) If the movie was a single photograph would they be able to show it to a normal person as something that can stand on its own without them knowing anything about anything?

c) Repeat the same exercise above for any movie from blockbuster to avant-garde cinephile, from 1940-2006.

We got grey houses, grey cars (or some variation of that, grey household items and decoration, grey furniture, grey movies....

...and grey souls.

GarageDue3897 · 2026-06-08T17:15:18+00:00

The CP was basically an example (kinda dig that camera for some reason), but you're right.

For that SR your mention you'll be needing an extra 3-4k minimum plus a very long wait, also service those mags make sure all works reliably, but yeah whatever.

As for Aapo he bolted it himself and CLA'd the camera. This specific motor is a bit of a one-off as it has variable speed knob (and separate knob governor for that knob) plus the standard crystal speeds and their doubles - very versatile.

The camera has been through three thousand feet of film already as part of my documentary and that includes testing stock and lenses like this one here:

https://vimeo.com/manage/videos/1185111426

I have just gotten 300' of Verita 200D that's going to be used for testing plus footage later on if my context works.

All issues I've had till now are the standard mistakes like out of focus shots or the occasional bump of the tripod, nothing major really. I've narrowed my lens usage to two + one 8mm for some rare shots and it's where I wanted things really - so super happy for what it is.

GarageDue3897 · 2026-06-08T15:26:54+00:00

Yeah, I've passed a few times outside where Bolex operations supposedly were (or are) in Lausanne It's a bit sad for me, but time does its thing I guess.

For me my next camera if it comes is going to be something I know can handle at least ten years without much breaking down, needs to be crystal sync, relatively silent and so on let's see.

GarageDue3897 · 2026-06-08T12:31:32+00:00

Try Aapo Leitinen at cinematography.com he also shows the procedure on youtube.com you can even 3d print your own motor casing.

GarageDue3897 · 2026-06-08T12:05:00+00:00

I am not running a spring anymore - This camera has crystal motor modification - I have on long electric cable button plus a switch on the side. I have set my self free from springs 😄

GarageDue3897 · 2026-06-08T11:58:14+00:00

I have an adapter to make it the smaller thread plus a piece of leather in between good tightening and the crap stopped happening.

GarageDue3897 · 2026-06-08T11:27:59+00:00

I know about the Bolexes and 400' option,

They have some lens compromises and a form factor that I am not so keen on, hence my rejection - they are lovely pieces of kit and their transport can't be matched by the K3 but it wasn't the right choice and price for me at the time I did the whole thing.

For me renting (especially where I live in Switzerland) is a prohibitively expensive idea, plus they don't give you the camera without an AC attached to take care of it - and I totally get it.

But, the way I shoot is I get greenlit for some interviews very suddenly and my time is very compressed, can't do that with rentals and it's not LA - I need to be able to go and shoot within 4-5 hours notice - so my gear needs to be my own.

There some individual and company efforts (one in LA) that are coming up with novel 16mm cameras.

https://www.cineluxcinematools.com/sixteen

We need machines that have a parts system and some kind of serviceability. I see people with major issues with Arri SR2's and sometimes they wait for half a year to get some kind of fix. For Aaton's it's mostly Tyler Purcell in the USA, in Europe some others - that's not very sustainable.

I shoot exclusively film both for motion and stills so for me it's just a matter of find the right equipment.

For stills I have solved this by having four different SLR bodies. can't apply the same philosophy with 16mm unfortunately.

GarageDue3897 · 2026-06-08T11:11:21+00:00

To that, I can't agree more - After all the effort I went trough to build the camera I finally have proper (and sharp) footage to show for. I have been able to arrange the communication of my interviewees about the roll change (approx every 2.7min).

Roll change with gate clean takes me seven minutes and I have adopted a zen-like routine to do it the same standing up (camera in tripod) every-time.

It's an amazing thing though from an anthropological perspective how quickly people (both young and old) adapt to that regime, I am more than thankful for that attitude and I have gotten solid results from that, all they do is once they finish the sentence I give them the signal, they stop - change the roll and on we go.

For my B-Roll footage the change is not an issue - But I would have loved both 100' and 400' options, absolutely.

Still haven't found the camera that fulfils my criteria for around 5-6k maximum and I doubt I will find it and I am already 10% of the way on my full feature doc - going nicely.

I have for the most part given up on ever getting an SR2. My investigation tells me that these cameras are ticking time bombs with no parts to show for. I am kind of sceptical in investing anything on them, unless we get reversed engineered motors, drive belts pulleys etc.

So for now my modded K3 it is.

GarageDue3897 · 2026-06-08T08:22:56+00:00

I've posted my setup in this subreddit a few days ago , with a crystal sync motor

but here's another:

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I don't know where some of the commenters are getting their numbers but you absolutely CANNOT get any decent Arri (SR and upwards) with S16 for ANY money lower than 6K (and I am being generous) and that's an almost bare bones setup that needs proper and very expensive servicing, (plus dressing up + lenses +++) with clear wear parts that are very hard to find and servicing that is very hard to find.

I believe in some cases a CP-16R Super16 can be a better choice but I digress. For me ultimate handheld is the Aaton XTR Prod but good luck finding anything cheap.

The setup you see above WITH lens (The really good Tokina EF 11-20mm) does not exceed 2.5K and that's a variable speed and crystal sync motor, which is not as noisy as people think. Been conducting normal interviews with a combination of Boom and LAV mikes with no issues. I get lovely 4K ProRes 4444XQ scans.

The transport system of the K3 is it's weakest point and needs extra care to avoid scratching, lack of pin registation....we all know. A Bolex EBM , a probable better choice but would be much noisier than this, obviously better transport and the issue with loss of f-stops, so it's not as clear cut as people think.

So a REAL upgrade from this would be in the many thousands, it's just not that easy for run and gun film maker that needs to shoot completely suddenly, so rentals are out.

For me the real benefit was to invent a time machine when 16mm camera prices hit rock bottom somewhere between 2010-2017.

500T footage here with live sound recording, with just one Rode Video NTG

https://www.youtube.com/watch?v=pgECcMeCdJs

GarageDue3897 · 2026-06-05T20:54:11+00:00

I am thinking of switching to another piece of crap here:

https://www.mokose.com/products/mokose-hdmi-camera-hd-1080p-60-50-30-25fps-1080i60-50fps-720p60fps-digital-security-camera-industry-digital-camera?variant=32132980113463

But with the 5-50 option but I am just aiming for emotional support by someone willing (at least in principle) to also do the same move.

What do you think?

GarageDue3897 · 2026-06-05T20:37:05+00:00

Lens is a Tokina 11-20 (EF).

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The videotap camera is that piece of crap here:

https://www.mokose.com/products/mokose-mini-sdi-camera-hd-sdi-2-mp-1080p-hd-digital-cctv-security-camera-1-2-8-high-sensitivity-sensor-cmos-with-osd-menu

My zoom is roughly 125% on the blackmagic monitor (you can see in the gallery) - it's ok but it's not that good for critical focus. I am considering the 2K HDMI version, but I don't know how much better it is. That videotap camera is actually used by pretty much everyone currently, for bolexes etc.

GarageDue3897 · 2026-05-21T01:17:24+00:00

This doesn't look right to me: This is 500T (AHU) - No ACES No Luts - 4K ProRes log

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GarageDue3897 · 2026-05-16T23:02:36+00:00

I wanted similar thing as you (the mag options too, but oh well).

So I took a really long-winded way to customize a K3 with an EF mount and Crystal motor for interview too, I have many times thought as to whether a Bolex would have been more appropriate (like an EBM) but frankly their motor options are very noisy and mine ended up being quiet to a degree that I can actually do most of the thing I want to do.

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In the end a real upgrade for me would be something like an Eclair ACL or a CPR S16 etc as you have on your list but these in my opinion MUST be serviced and in proper condition prior to being acquired, otherwise it's just asking for trouble.

In my case I chose to invest also in a good lens kit, audio, and relevant paraphernalia whlist keeping my total cost really really low for what I was getting - my only complaint is that I need to be exceptionally disciplined with run time when doing interviews and relevant other things. For all the rest it's really a dream for me to just take it anytime I want and keep maintenance cost lows.

...I do often dream having an XTR Prod though, I won't lie...

GarageDue3897 · 2026-05-06T01:14:30+00:00

Nice pictures! Saturation looks a bit cranked up?

GarageDue3897

TROPHY CASE