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Stuart Brereton

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About Stuart Brereton

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  1. It’s not enough to know the distance between the two objects, you need to know the distance from camera. Once you know that, a depth of field calculator will tell you what stop you need.
  2. So despite your “numerous tests” which prove these “astronomical” differences, you have no direct a/b comparisons, and therefore no empirical evidence to support your claim. No one is denying that, only your assertion that fogging becomes noticeable within days. If you rate 200T at 500 ISO, you are under exposing it by a stop and 1/3. They are not the same stock. Nor are 50D and 250D. I really have no idea what you are talking about here.
  3. You seem to be confusing video terms with film. Noise is what hides down in the shadows of a digital file. If you’re talking about film, it’s grain. You’re correct that overexposing 500T as 200t would reduce grain. It’s common practice to overexpose by 2/3 stop to move the exposure range up the characteristic curve, away from the largest grains down in the toe of the film. However, this has nothing to do with fogging from radiation, and does not magically make the film more permanent. if the differences shown by your testing are ‘astronomical ‘ as you claim, you should post your results and methodology here for everyone to see.
  4. Modern stocks require less light because they are more sensitive. This makes them more susceptible to fogging over time from atmospheric radiation, but this is true whether they are exposed or not. The amount of fogging of even fast stocks over a period of weeks is negligible. “Hitting the film with more light” does not somehow make the image more permanent.
  5. Ideally, you should process your exposed stock as soon as possible after shooting with it. If that’s not possible, then refrigerating it is a good idea. I wouldn’t worry too much about it degrading quickly. Film stock on documentary shoots is routinely processed weeks later if there is no lab nearby, without ill effect. As with any film stock, keeping it in a cool, dry environment is important.
  6. Well, the number of risers is a fact, and ‘combo’ is what the manufacturers call them, so...
  7. They’re low boy combos, sometimes known as baby combos. One is 2 riser, the other is 3.
  8. An aperture of f8 is not small enough to cause any significant softening from diffraction on these cameras. Even at minimum aperture the effect would be subtle. Also, as stopping down minimizes lens aberrations, it would not explain the heavy chromatic aberration that Stephen is describing.
  9. Dom Jaeger would probably be able to give you the most detailed answer you’re likely to get, but basically both haze and fungus can be cleaned from the glass. The problem is that sometimes the fungus has eaten into the coatings, and will leave its own shape etched into the glass even after it’s removed. With something as expensive as a speed panchro, you’d want be sure how bad it was before you parted with any money.
  10. I think there’s a difference between being a DP on a specific project, and being a DP as something you do for a living. It’s both a description and an honorific. When I was an assistant, the DP position was something to be achieved through hard work and experience, not by buying a camera. There are many ‘dps’ on this site who are evidently very inexperienced. We all had to start somewhere, but when you use the term DP to describe anyone with a camera, it renders it meaningless.
  11. No, the difference in resolving power between a lens designed for large format, and one designed for APS-C is really only noticeable when looking at MTF charts on a lens projector. It’s more felt than seen. It’s certainly nowhere near enough to appear as blur. If your lens works ok with other cameras, I’d say there is something wrong with the lens mount on your 70D
  12. As you say, you mostly shoot content for yourself, so you can choose how conscientious you want to be about checking the gate. Paid work for other people is a little more exacting, and having hundreds of feet of footage needing expensive fixes because of gate hairs won’t make you popular with employers. In narrative work, gate checks are simply part of the process. Spending a few seconds checking is much preferable to expensive reshoots. In documentary work, it’s often harder to find the time, but it should still be done as often as possible and practical. Gate checks are not done just to give assistants something to do, they are part and parcel of ‘best practice’ when working with film. However you choose to run your own camera, it’s probably not that helpful to be telling other people that they don’t need to bother checking the gate regularly, particularly when this whole thread was started by someone complaining about gate hairs and scratches on his footage.
  13. You need to check the gate a lot more often than between each roll. It’s very easy to get tiny flakes of emulsion building up in the gate, even after rolling even just a few feet of film. Also, checking the gate after removing a magazine is pretty much pointless, as any dirt or emulsion that was in the gate may well have fallen out when the pressure plate was removed. Always check the gate from the lens side by removing lens and inching the shutter out of the way. If you’re using a longish zoom, you can check through the lens by zooming all the way in, focusing at infinity, and then shining a flashlight through the lens at the gate.
  14. You might try asking local production companies if they have any short ends they don’t want. This used to be a sure fire way of getting stock to practice with, but these days, who knows? Worth a try, nonetheless.
  15. In narrative work, it’s common practice to check, and if necessary, clean the gate after every good take.
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