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Mitch Perkins

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  1. Maybe just swap the 200T for 64T - the colours are retro compared to the negs. 500T will be good for the (darker) reception, along with 9fps on that Canon. I always feel manual exp is the only way to go - weddings are all about the faces, which (especially in the case of the bride) can be a little over exposed, (or even a lot, a la fashion shoots), but never ever under-exposed. You can't risk exposing for the sky or white buildings behind the couple. Handheld is great, but...*good* handheld, if ya know what I mean... Mitch
  2. Nikon Superzoom 8 w/exp dial soldered to the iris armature, side panel cutaway to "finger-drag" the motor for super-slow film transport in extreme low light. The little lens is razor sharp wide open. Just shot a wedding yesterday using 64T, Tri-x, and 500T, all of which ran like butter - no jams or jitter (which I can hear when it happens, kind of a "galloping" noise). I love the Superzoom 8's cuz they're cheap, small, bullet-proof and simple, (and therefore easy to fix if anything does go wrong). I'm at a place now where if I did have anything "high-end", I'd probably just sell it to buy cymbals ~:?) I need 'em soon, cuz we start recording tomorrow... www.myspace.com/mitchsperkins Mitch
  3. Black bride in a white dress on a bright day, even? I shoot S8 almost exclusively at weddings these days - I like the exposure to remain consistent during pans, or if not, do an iris pull. In fact an iris pull to white (extreme over-exposure) can be a nice touch...conversely, it is not accepted procedure to stick the lens in the bride's face to take a reading. Let me re-phrase, though: the use of auto-exposure is questionable at best ~as a substitute for experience~ on run and gun shoots. Mitch
  4. Hi Matthew, 1012 was one of my first cameras and did indeed produce super-sharp images, and though auto-exposure is useless even for run and gun situations, (wherein experience, not a light meter, is required), the camera does indeed look to be under-rated...judging from this thread so far...~:?) Mitch
  5. Use a short strip of currently-offered film, placed in the gate, firmly against the PDC slot side to gauge. I usually take it (remove material) just past the edge of the filmstrip, but if one is worried about the film buckling during transport (doesn't happen), one could stop short of the edge. This of course will result in a less wide image area. No bevel needed, but he will have to buff the worked area with wet diamond grit sandpaper. Then put pressure on the (virgin) filmstrip while dragging it through the gate, then use a powerful magnifier to check the filmstrip for emulsion scratches. I use a Sharpie to black out the worked area - it (the ink) will not (cannot) chip off. This step is necessary to avoid halation. Remove material from the side ***opposite*** the pull down claw slot - there is no point widening the aperture into the perfs... Try a tiny dab of contact cement to keep the evil springs in place when re-installing the gate. Mitch
  6. "They used a Projector-Camera telecine system. Those ALWAYS turn out horrible" Absolutely wrong 100% for sure. We use a chain w/VX2000 or sometimes Z1U, to often *stunning* (depending only on the quality of footage) results, and I am tired of folks dismissing this setup offhand. Mine too - the transfer blows, both figuratively and literally. ~:?) It's not enough just to have the equipment; you gotta know how to work it... Agreed. We've seen a ton of dazzling, deep rich colours from this stock. Mitch
  7. Sorry I can't help with your specific camera's auto readings, but - the internal filter does help (if not 100% correctly) to warm the image negative always needs CC after telecine; the filter is not absolutely necessary ditch the auto-exposure - look up and apply the "sunny 16" rule; negative has awesome latitude HTH Mitch
  8. Wrong. Modified light source, diffusion. Incredibly simple. Mitch
  9. The resulting Super8 footage will flicker and have a severe blue cast. Mitch
  10. The "client" in the blind test would have the money required for processing and a one-light transfer of one roll each of negative and reversal film. That's one way of setting it out... The test would not be conducted using 6 year old film, unless it were a test of the sanity of the testers. Seven or eight, nine tops. But that hasn't much at all to do with a blind test of labs... Sure, throw in some rookie mistakes (identical on each roll), and see how the labs handle them. Good idea. Now you've made me sad... Mitch
  11. There is a tiny set screw at the back of the camera which holds the rod/hinge in place. Loosen the set screw and, using the same tiny jeweller's screwdriver, push the rod out. The handle will fall to the ground and smash into pieces. Just kidding... Mitch
  12. Because nobody's going to pony up the cash for it? :) Too bad, because you're right - blind test is the only way for the average low budget S8 shooter to get a broad idea of service levels lab to lab. If a facility knows it's being tested, of course they're going to be on their best behaviour. Here's the thing - there's no reason to tell them it's a test, because that's irrelevant; all the labs are supposed to be on their best behaviour all the time. Mitch
  13. Just saw your pm when I logged in to answer you here. Glad to see you went ahead with the procedure yourself. Pretty tight in there, isn't it? I found the hardest part is not melting the little plastic aperture scale, right next to the armatures. Way to go, and I do very much appreciate your thanks. Mitch
  14. Soderbergh quoted on IMDb - "I'm not a world-class cinematographer, but the momentum and the closeness to the actors ... I'm so close to them that I can just whisper to them while we're in the middle of a take." Interesting in terms of this discussion... Soderbergh DP/Cinematographer credits - The Argentine Ocean's Thirteen The Good German Bubble Ocean's Twelve Solaris Full Frontal Ocean's Eleven Traffic Schizopolis Even with the best gaffers, what else would one call a fellow with that many shooting credits? Mitch
  15. Because the R10 has macro "in the long angle", so to speak, you need to first mount a 1:1 element, and then the WA attachment, and then you have to critically focus all your WA shots, as opposed to say, a Canon 814, which has one fixed macro "in the wide angle" focal setting for WA. The 1:1 can thread directly onto the front element, and then rods are indeed handy for mounting the WA element. Here is a picture of some mods I made to an R10 for this type of purpose - http://friendlyfirefilms.ca/nikonr10.html Here is a picture of the WA attachment in use - http://friendlyfirefilms.ca/lenses.html HTH Mitch
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