Gautam Valluri

Congratulations on a fantastic career Gregory! Wishing you the best for your next chapter!

As far as I know, the 416 was designed to be able to take 35mm lenses.

Stephen, Rogue One was shot on the Arri Alexa 65.

Skyfall was the only Bond film shot digitally (by Deakins). I believe Van Hoytema shot some Spectre sequences on the Arri Alexa (the one-take opening sequence). No Time To Die AFAIK was purely film, knowing Sandgren's preferences. I think the last Villeneuve film shot on film was Prisoners. And taking into account that Amazon is a digital streaming platform, it looks highly unlikely that it will be shot on film. In any case, the filming format is not important. Villeneuve and Amazon are not the right forces to be making a next-generation Bond. The Craig-era was already too self-serious and joyless. Villeneuve's male protagonists are too soft-spoken, low-energy and passive. I fear that this version of Bond will be geared towards young adults, where cool gadgets and action sequences become front and center, and a villain who's nothing more than a living sculpture in a ridiculously high-ceiling environment. My favourite Bond films have all been directed by non-auteur/ workmen directors getting things done, much like Bond does himself. People forget that Bond is an employee doing his job. I would've gone with a director like Kenneth Branagh or Edward Berger (the Conclave guy). They have an non-obtrusive, invisible style of directing. With Branagh, he might even play the villain or M so even better.

Is it still ECN2 if the remjet removal step is skipped? No wonder the Cinestill images were always a little "off" on their colours.

@Aapo Lettinen do you happen to have any example stills of what the "ghost reflections" look like on these chrome pressure-plates when shot without the remjet layer?

Looks like bleach bypass on the new negatives will be tricky nigh pointless. Interesting that Spielberg & Kaminski are testing these stocks on their new film. Kaminski always does bleach bypass on the negs right?

I got hold a copy of this document from Kodak for anyone interested. AHU_FilmMaker Talking points_05-20-25_Final[41][92][65].pdf

Any other issues to be expected from the removal of the remjet layer? For example, there have been many discussions here about how some chrome-plated pressure plates in some Aatons and Arriflex cameras have presented issues with B&W Double-X film. Will this be an issue with this proposed non-remjet colour stocks?

Where in Europe? There are great labs everywhere. I personally recommend Dejonghe (Kortrijk, Belgium) and Andec Cinegrell (Berlin). There is also a vast network of artist-run film labs where you can develop your own film: www.filmlabs.org

As with every year, IndieWire covers the cameras and lenses used in the films features at this year's Cannes film festival: https://www.indiewire.com/gallery/cannes-2025-cinematography-cameras-arri-alexa-35/amrum/ Linklater and his DP apparently used an Arri 2C to film the 35mm sections of Nouvelle Vague. The film also features the Cameflex, the one that Jean Painlevé loaned to Godard to shoot Breathless. Although its used only as a prop in Linklater's film. Back in 2018-19, I used to work in Film Restoration at the Panlevé archives and there was his Cameflex stored in the downstairs storage area. My boss claimed that it was the one that was used on Breathless. There was no way to verify that claim though.

As far as I know, they cross-processed the Ektachrome in ECN2.

Here's a list of technicians on the FIlmlabs.org website. No one specifically does CLA for K3s but it might be worth checking with them: https://www.filmlabs.org/technical-section/providers/where-to-have-film-cameras-repaired/

All of Joerg's recommendations are legit. You can find the whole list on the Filmlabs.org website: https://www.filmlabs.org/technical-section/providers/leader/

Yeah I generally am not a big fan of S16 for wide shots. I think its the same reason Caesar Charlone used 3-perf 35mm for establishing shots in City of God and The Constant Gardener. Nice to see a a proper visual comparison now.

My mistake! I meant to write 7203, the 50D Vision3 stock.

This is a very interesting study. I didn't think there would be so much of a difference between the 7219 and 7213. Also, would you say that the 7207 is close enough to the 5219 (3-perf)?

Bump. Anyone?

I'm considering filming 7222 on an Arri SR3 and was concerned about the light streaks caused by the chrome pressure plate of the camera due to the lack of a remjet layer on the stock. I've read several discussions on these forums over the years, warning people of this but I couldn't find any examples of what the light streak/ halo actually looks like. Anybody has any example stills or links to scans, or even examples from finished films that I could look at? To see how bad it actually is? Also, which of the Arri SR or S16 Aaton models have a non-chrome pressure plate? Thanks in advance of for your help,

Then you should sell it to this person before they find out they're overpaying.

This looks to me like undiffused tungsten light (probaby 800W-1000W) on the left (slightly back) of the subjet, probably shaped with a flag. Then a second (probably 500W) light, probably filtered through doubled-up blue gels, coming from the front right of the subject. This looks like three frontal spots, either colour-dialled or cool white with blue gels on them? They also look very soft, so maybe heavy diffusion? These could also be fresnels? Sorry I'm not so sure about this one. The lamp on the nightstand is a practical, probably fitted with a 150W-250W photoflood bulb. Your advantage is that you're shooting on an old digital camcorder, so test, test, test. Shoot a lot of tests and see what you can get. There's nothing like experimenting live and seeing the results. You might find something about your camera that is very unique- so do a LOT of tests. On digital, it costs nothing, so might as well.

I believe he used to light with a Lowel Tota kit. Here is an old article that breaksdown his costs and approach to the making of his film The Living End: https://www.peterbroderick.com/writing/writing/abcsofnobudgetfilmmaking.html Basically try and shoot with old tungsten lights like the Tota or the Omni, using colour correction gels, diffuseurs, barn doors etc. If you're filming on an old digital camcorder, the 2/3 CCD sensor might actually come closer to emulating the gritty 16mm images of Araki's first films, but you have to take care to protect your highlights. I would get some old tungsten lights, they're probably pretty cheap to get on ebay and do lots of tests with the camcorder, and keep experimenting. Unlike film, you don't have development costs so no reason not to do hours and hours of test footage.

Congratulations Jarin for the Oscar nomination!

I'm guessing The Brutalist and PTA's The Battle of Baktan Cross?

Wasn't there the Iwerks 8/70mm camera back in the day? Did it shoot sync sound?