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Hugo Alexandre

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  1. Hello, It's that time of the year again! I'll be shooting outdoors, in color. I'm not sure what the Daylight/Tungsten filter setting should be. 1. Does the camera automatically detect that 7203 is a Daylight stock, therefore effectively pushing the 85filter out of the way? 2. Does the user have to set the filter switch to Tungsten to make sure the 85filter is out of the way? 3. Should I just always keep the filter switch set to Tungsten (light bulb), so that the 85filter remains out of the way? Thank you!!!
  2. In a last-minute situation I used this stock to shoot inside a basement with low electric lighting. 1) Does it make sense to push only +1 stop? Or should I go to +2 stops for a more striking effect? 2) Does anyone have experience push processing this film stock? How were the results? Any other info about push-processing Super8 stock would be appreciated. Thank you!
  3. Hello, The motor keeps running, even after the film counter reaches the end....Is this normal? Thank you,
  4. Hi Mark. Thank you for this info! What about the fact that the Nizo 561 is configured to detect only up to 160 ASA? Have you heard about this? Also, the Nizo 561 has a Tungsten setting on the camera. Wouldn't this setting automatically enable the blue filter?
  5. Hello, I will be shooting on a Super8 camera, specifically the Nizo 561 Macro, with Wittner Chrome 200D Reversal Color Film. There's a few things I'd like to know so that I can get the correct exposure for every shot. 1) The Nizo camera cannot read the 200D ISO for the Wittner film...What does it default to? What should be the compensation I make using Automatic Exposure? 2) Does the Nizo recognize that it's a Daylight stock and not a Tungsten stock? If not, should I make any adjustments when I'm shooting in Daylight? What if I'm shooting in Tungsten light, should I make any adj
  6. Hello. I have a question concerning this issue. If I am shooting a scene at f-stop 4.0, at 24fps, and I decide for some reason to shoot it at 48fps, since the film is moving faster inside the camera isn't each frame receiving less light? So wouldn't the logical thing to do be to open up the lens to have more light, bringing it to an f-stop of 2.8? I believe my logic is faulty because I was told to change the f-stop to 5.6 if it is at 4.0 and I want to go from 24fps to 48fps, thus closing the lens. Thank you for your help.
  7. Hey. Thanks for your reply. But there's something I don't understand though. This business about "printing 'up' to a normal brightness". Is this something special that I should tell the lab about, apart from pushing the neg 1 stop?
  8. Thank you for the suggestion. However, this is for a class assignment and there is no digital post-production work allowed. So if I want it to look acceptable when projected, would you still recommend to push 2 stops?
  9. Hello. I shot 100ft of 7231 (80D ASA) film thinking it was 7222 (250D ASA). If I want to get good exposure when I develop it, how much should I push or pull? And what are the pros/cons in terms of grain, etc.. Thanks.
  10. Ok. I was told that if I use a lens labelled 'RX' on a Bolex RX-5 (a Switar Zoom lens for example), then I have to take my reading at 1/50th instead of at 1/80th because the f-stops on the lens already compensate for the viewfinder. But this thread seems to state otherwise... Anybody care to comment?
  11. So should I use a yellow filter in particular?
  12. Yes, let's assume my subject is a human being with fairly normal caucasian skin. My understanding is that I can use the reading straight from the meter if I'm exposing for his skin. But are you implying that since I'm shooting around snow I should close down from the reading the meter gives me? And should I keep that same reading for all other scenes? I don't want to branch out into another topic, but this whole "keeping skin tones consistent" business is a bit confusing too. Does that imply to always have the same light intensity on our subject's skin (not including instances where the fa
  13. Hey Vincent. Thank you for the wonderful explanation. And good call on the background getting brighter if I open up the lens to expose for my dark subject. Of course in hindsight it seems self-evident, but when you're trying to understand a few concepts simultaneously it doesn't always come to mind.
  14. But If my subject is a rather dark object with some texture to it, then wouldn't it come out overexposed if I use the reading straight off the meter? Shouldn't the proper method (assuming i want to expose for my dark subject) be to take the reading the incident meter gave me and closing down the lens 1 or 2 stops from it. I'm trying to learn and will soon conduct some tests but until then it can get very confusing reading the forum because of the different ways of explaining, etc.
  15. I dont want the sky to be too dark but I still want it to have good contrast. Should I use a yellow filter? And if so, which one in particular?
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