chris descor

Hi I posted this request in the super8 subforum, but now realise it was the wrong place to post it, since my question/request is about film stock & processing etc Does anyone have any examples of Ektachrome 100D pushed processed 1 or more stops ? i.e. shot and push processed as 200ASA, or 2 stops as 400ASA, or 3 stops as 800ASA ? in either super8mm, 16/s16mm, or 35mm (motion film). I've seen some medium format still things on flickr, but I would like it see how the ektachrome holds up on 8mm/16mm/35mm etc not still, but motion ;) I've seen a little still example/s on nanolab.com.au , but I would like to see more vids/examples. I understand grain would become more noticeable and all etc but I'm interested in how it looks when pushed processed 1,2,3 stops. I've searched youtube and vimeo , but havent found that much. thank you

Hi I would be very interested to see a side by side comparison of Fuji motion picture stocks vs Kodak stocks, so that one can see the differences. I cant do this myself unfortunately. Other would love to see such a comparison as well I'm certain. If there is a website or video/s someone could link to I'd appreciate it. Ive heard about the fuji 'look', but havent seen it for myself. I have also heard that fuji has a more limited dynamic range, thats its harder to correct underexposure/overexposure in post etc

thats absolutely visually amazing Brian! would it be possible for me to obtain such footage? i.e. like your image and the kodak-youtube kodachrome test film, of women in those costumes in that dark background, looking into the camera occasionally as if looking at the spectator directly! Could I obtain a DVD-R or download such early footage? from you or someone? for private viewing of course. I've checked all over online, youtube etc, but I see almost exclusively early colour footage of street scenes and horseies and grand homes etc which bores me tbh. the footage of the fashonable women is so striking!! that blueish-greenish AQUA light is lush!

Hello Does anyone have any examples of Ektachrome 100D pushed processed 1 or more stops ? i.e. shot and push processed as 200ASA, or 2 stops as 400ASA, or 3 stops as 800ASA ? I've seen a little example on nanolab.com.au , but I would like to see more vids/examples. I understand grain would become more noticeable and all etc but I'm interested in how it looks when pushed processed 1,2,3 stops. I've searched youtube and vimeo , but havent found that much. thank you

anymore anywhere?

I knew this was something special the moment I saw it. Hope it gets a blu-ray release soon. the single layer DVD I have is severely badly done & of low quality. there is a mention/link to a Savides interview in this thread, but its now gone. can anyone possibly refind it again? also, was there a Savides article in ACS mag about Birth when it came out ? and lastly, in the book 'New Cinematographers', is there a section on Birth/Savides ?

hmm... this is interesting. I wonder if also next year, more film cameras will be for sale/on the market. guess its time to catch some good deals. then a boom occurs a few years later when everyone says "why did we forget that technology/craftsmanship"

can you please repost the original images and the grain reduction results, as they are gone. thanks

Hello I just revisted 'Birth' on DVD. It was a single layer DVD unfortunately, so the quality was quite awful, but it was slightly upscaled as it was played on a Sony Blu-Ray player, plus my tweaking of the image properties itself. I went to see this when it came out at the cinemas in 2004 when I was younger. I remember most people hating the film. I love the film, it is extraordinary. The look and feel of the film stood out in such a perfect unobtrusive way. Glazer's previous film and work is also brilliant, but this film is just like a peak, or like turning a page to something new, foreign/alien, and close. It is also enhanced you could say by having previously seen his amazing first film 'Sexy Beast'. Both his films are polar opposites in ways and very close in other ways, to each other. But this thread I've created is for the cinematography of Birth. Harris Savides is someone I truly admire. His films are just so precise in what they are doing to me as the spectator. So, could any members here, please post your thoughts on the cinematography of 'Birth' ? I've seen tidbits of a tiny quote here and there, but thats not why I opened this thread. I would like to know, as would other readers, how Savides photographed 'Birth', in as much detail as possible. I know they push processed the film. But what else did they do to achieve the film's 'look' ? Does anyone know what film stock/s was used? if any lens filters were used? - I thought they might had used a very very faint brown tint on the film. etc What about the lighting? what lighting was used? Also, I suspect there was no or at least minimal use of what every film now days/as of the last 3-5 years shamelessly and effortlessly subject the look too; that is, digtal colour correction, namely the boring teal & orange 'expensive' palatte. But I suspect Savides treated this film photochemically, pushing the film so as to heighten the constrast if I' m not mistaken, and giving the shadows and blacks of the film Caravaggio-esque milky purples and browns. How did they light the film? What lenses were used? How was the film treated? etc Anything else related to how exactly the film has this 'look'. Any links would be very helpful. I can post screenshots for more discussion.

yes India! thank you for reminding me. I wonder what good affordable labs they have there? i'll check the kodak list.

yeah, the wrestler and hurt locker both shoot on super16. quite cool. i hope next years best picture will be 16mm or the year after that.

Like Simon Wyss said, try getting some ORWO 74 B/W 400ASA pushed +1 stop(800ASA) or +2/3rds(to 640ASA). You said wide exterior shots, with not much light. So in combination with the ORWO film, perhaps run the camera at 8fps so that the shutter is opener longer, letting in more light and use a f1.4 lens apeture opening. I'm assuming the shots you need are of the location setting and wont contain people, in which case you could run the fps-rate even slower at 2-6 fps. If people or cars are featured in the shots, then simply have them move/drive slower and shoot at 8fps. Any thoughts on this approach?

http://www.visual-memory.co.uk/sk/ac/len/page1.htm

how do you know you've spooled exactly or around 100ft ?