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neil kerr

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About neil kerr

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  • Occupation
    Director
  • Location
    Ireland
  • My Gear
    Canon 1014XL-S, Nizo Pro
  • Specialties
    noise, photos, films, food

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  • Website URL
    http://shop.aarckandaawe.com/
  1. The Kodak Photoflo will be fine, not sure about the Ilfostop. I believe you can do a test where it goes purple if it is off, anyone care to elaborate on this as I can't remember the exact method of deducing this?
  2. Yes, it was bucket processed with pretty much the set-up I initially asked about. Am just about to start on a new super 8 project and was hoping to use the same chemicals but I went to look at the Ilford Rapid Fixer and the 4 odd litres remaining in the original tub look pretty cloud so will probably just have to dump them. Annoying as cash is tight at the minute but then it was bought over 2 and a half years ago so is pretty dead I'd imagine.
  3. Ta' It's a bit random as it is a hair video but turned out pretty well, was one of those shoots where the client, who is extremely talented, didn't really understand that you can't shoot a super 8 piece in about 20 minutes and so was a rushed shoot, which I hate.
  4. Am about to process some more Tri-X for a new music video project I am working on. Lost the timings that I used for the video I was discussing here, which is annoying as the processing turned out pretty well. This thread helped to jog my memory though and so at least I have a starting point and a little less fear this time round. Here is how the film stock from the project discussed previously turned out...
  5. Cheers, the strobing was done on set, there was no strobing added in post. It is pretty relentless but I am pleased with it overall as I wanted it to be disorientating, I can understand why some people would find it a bit much though. It was very much a last minute shoot, I had to assemble the set and sometimes got only 15 minutes with a model so I am quite surprised that i ended up liking it so much. Yeah, I am pretty fond of lens whacking and veering off to the left a bit. There isn't that much added in post, I shot in really low light at points to get lots of noise etc...that along with the whacking created a pretty surreal feel.
  6. Thanks again for your help, it's really appreciated. Just going to go with buckets and will agitate the film throughout in a bid to aid the processing. I know parts won't be processed but i am ok with that. I'm still not sure about hat I do once I have developed the film, I was going to try it over a clothing rack that I have then attempt to put it back on a reel. Do I need to buy some sort of special reel or will it go back on the reel from the original cart? Have never opened a cart up so am not sure if it is even possible to get it back on that reel? Thanks, I owe you a beer!
  7. Cheers, will make sure not to turn the lights on as that would be too much fogging for this project. Without meaning to sound like a dumbass, it's going to be pretty awkward doing the developing, washing and fixing in complete darkness. I have a small, crappy sink in my studio and no natural light in the bathroom whatsoever but I can't see my hand in front of my face. I am clumsy at the best of times so this could get interesting. How do you navigate your way around in the dark, are you all half human, half mole? I am assuming I can develop the second reel right after the first one in the same developer etc...? Seems like it will be straight forward enough. Apart from not being able to see anything. Thanks
  8. Thanks for the advice guys!! I shot 500T and Tri X and got exposure levels with a lightmeter. The 500T looks great but a little underexposed a points, just a little. Given that I didn't think I was going to process these reels as negative I am going to give the film a little extra time in the developer to push the film. I'll probably will use a stop bath seeing as it's not particularly expensive to buy the chemical or awkward to do. I am still undecided about the Photo Flo as I want a grungy look to the film but without it, maybe it will be far too much...decisions, decisions.... Is it difficult to get the film back onto a reel? Do I need to buy empty reels rather than reusing the reel within the cart? Sorry, finally can I switch on the light after the developer phase or do I have to wait until I apply the fixer? Many thanks for all your help.
  9. Just remove the film from the reel and stick it in, bunched up but as lose as I can. I am going for a rawer aesthetic and am aware that this method will damage the film but that is fine. I saw another post where someone said that a tank that accommodated 5 35mm reels was sufficient for 2 super 8 reels but I am going for the larger 8 reel plastic tank. A bucket might be a better idea but I don't want to do it all in complete darkness, I am way too clumsy for that.
  10. A few months back I was commissioned to shoot an experimental film for a hair stylist client who I had worked with early this year. He let me do whatever i wanted pretty much last time and he was really happy with the results so I was given free reign once again. Last time I shot using the canon 6D dslr but this time I decided I wanted to shoot the entire film on super 8. A few professional mates were a little concerned in case I buggered it up, the cameras didn't work etc...was a little nervous myself but I knew it was really the only way the piece would work in what was a very stale room with bland light. I just got the 500T back from Gauge Film, who processed and transferred the film, and I am very happy with the results. I was always planning on using the spaghetti method of processing for the black and white though as I am pretty confident it will sit well alongside the cleaner 500T. IF processed well! And so here I am to ask a few questions. I have decided to go with the D76 method as I don't have a lot of time to do this and I don't mind the larger grain given that I want this footage to look rawer anyway. So my workflow was going to be as follows; D76 at 20ºC - not sure for how long though as I have seen people say 10 minutes, 8 minutes and 12 minutes??? Am thinking 10 minutes at 1:1 is what I will aim for, yay or nay? Stop bath for 30 seconds - not sure whether to go for" Kodak Indictaor Stop Bath" or "Ilford Ilfostop" - does it matter which one? I know that a stop bath isn't essential but am going to try it this time around. Fixer at 20ºC - have seen people say 5 minutes and others say 20 mins! Not sure what to go for or which particular fixer, "Ilford Rapid Fixer" at 5 mins is what i am thinking, 20 mins seems like a lot after looking at the Ilford documentation. Wash for 20-30 mins with tap water - Do I have to run the film under the water the whole time? I assume not, I would imagine I can run it under the water for a few mins then soak it in the tank for a bit then run it under the water again. Final wash with distilled water for 5 mins - I am perhaps a little reluctant to use Photo Flo as I like the dirty water marks etc...and don't want to get rid of them completely. Bad idea? So that is the process I will be following. Any suggestions? Final 2 things; I didn't take the negative processing into consideration when shooting so will my film be a little underexposed? Should I adjust development time based on this? Finally, my plan is to buy one of the plastic Paterson 8 (35mm) reel processing tanks and develop 2 reels of super 8 at once in that as opposed to in a bucket, will this be ok? Will the film get agitated enough? Will it get angry and depressed? :( Thanks for reading this and any advice would be much appreciated. Here is the previous film shot for the client for anyone interested and I'll make sure to post up the super 8 film once done. ta' neil
  11. I bought Masters Of Light about 4 years ago, lost it and refused to buy it again as it I had never taken it out of the house and so assumed it would turn up. Looks like I have a ghost who aspires to work in lighting. He is also is a fan of terminator 2; he stole my VHS of it years ago. Git. Thanks for all the suggestions, that's my reading list sorted for the next while.
  12. I have a few projects in mind where I'd like to paint directly onto my super 8 reels but am not sure which paint is best to use and whether or not the transfer lab will even consider transferring my work if I paint it. Actually I don't really care if they'll transfer it as I want to do it anyway and will just go down the home-telecine route if needs be. I am not planning on trying to paint specific tiny images onto the film as that would be a nightmare, I have a a few ideas in mind where I'd like to scratch people out of the film and and replaces them with blocks of colour. haven't a clue what kind of paint/ink is preferably for this purpose co could do with a nod in the right direction. thanks
  13. I have been photographing stills for the past number of years using a number of manual polaroid cameras and feel that I have learnt a lot about lighting in that time but i am still nowhere near where I would like to be. I am reasonably confident when using strobes, softboxes, umbrellas and the usual stills gear but, given that I have very little experience using continuous lighting, I really feel that I need to improve my knowledge of lighting for film. I have read "Cinematography: Theory and Practice: Image Making for Cinematographers, Directors, and Videographers" and "Motion Picture and Video Lighting" and a number of other cinematography books but would like to read a few more. I understand that reading can only count for so much and am also just getting stuck in and shooting but I'd like to keep learning on and off the set. Any advice on books worth reading or dvd tutorials worth having a look at would be much appreciated. ta' neil
  14. It's good to doubt yourself at times, you'll probably find that a lot of those who are brimming with confidence and seem completely self-assured churn out the same formulaic rubbish again and again. Self doubt pushes you to improve and progress. Well either that or to quit but it doesn't sound like you're up for quitting. As for your mum; my mum worries about me being poor all the time, it's their job to worry. It's our job to scrimp for years then one day buy them a house when we're minted.
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