Giray Izcan

I tried the DI route as well and was let down each time for some reason. It feels like trying to recreate a look each time. Of course this is my opinion/preference - not some universal truth by any means. I have my database with different print light values at different ratings for stocks in accordance with gray chart under different circumstances named accordingly, i.e. "Late Afternoon Overcast." So I provide the timer what print lights to use at what sections or an entire roll on camera reports. Then I watch the prints to make sure everything's as I intended and then get the prints scanned. This workflow works for me.

Thank you for your kind words.

Thank you. I shot it on an Eclair NPR(R16) and a Zeiss 10-100 lens. As my routine workflow, 4k scan was done from a 16mm one light lowcon print at Fotokem as I prefer photochemical finish for 16 and 35. Since there is no lowcon print stock anymore, Fotokem processes the regular 83 print stock in ECN2 bath to imitate it. There is no digital color correction so it is as I shot and exposed. I shot it on 7219 and rated the stock at 250 for high print lights for saturated colors and high contrast. Except for a couple of shots on sticks, it was all handheld.

Hello all, I'd like to share this music video I shot last week.

Super 16 is a standard format so you can work with any professional lab you want instead of being limited to one or two.

Hello all, I am searching for a crystal speed motor for an Eclair NPR. If you have one that you would like to sell, please drop me a line. Thank you.

I like the good old TV Logic 5.6inch on board monitors.

For NPR owners, they ask that you send the camera in as the front of the camera where the mirror shutter is sticks out too much so they shave it off a bit so that it physically fits there. It is a 500 dollar professional adapter so no issues with infinity focus etc.

Visual Pdoducts has C mount to PL adapter. I would get that if I were you.

How much for the SR? And the NPR? Is the NPR crystal sync? Is the SR super or regular 16? Pl mount? Thanks.

Stephen, I love the cinemarography of the Love Witch. I will watch it again as a movie as it may be an acquired taste and would like to keep an open mind.

Or you could underexpose by 2 stops but push one stop instead of 2 to keep the contrast in check and then print up in post. When you push film, your contrast and colors get affected also. With 1 stop push as opposed to a 2 stop push, the contrast would be more "normal." If you underexpose the pushed film 1 more stop it would normalize the built up contrast as underexposing film for a thin negative also subdues the colors and contrast. Essentially, you would be counteracting the push in terms of colors and contrast - film's density. As for the grain levels, it depends on your taste.. Since you're doing post digitally as opposed to photochemical, you can mess with the footage even further.

The max you want to push is 2 stops, which, even then is pushing it too much especially on 16. Like Gordon Willis used to say, there is no such thing as a 3 stop push. Besides, you're shooting 16mm so... I suspect a 3 stop push would be a mess anyway.

Wow, I should have read better. My apologies.

Put a shirt/towel over your shoulder and hold on to the mattebox - if it is a studio mattebox. If not, get some handles. As long as the camera is balanced, you'll be fine. Alexa is not heavier than most 35 cameras and plenty of handheld was done on 35 cameras - not all those cameras were 2c's and such either.

It makes sense. Thank you David.

I haven't really detected any moire issues myself. I get lowcon prints scanned however so I don't know if moire is more of an issue with DI workflow as opposed to film prints.

Hello all, as the title says I am looking for a crystal motor and a sound barney for an NPR camera. If anyone has one and would like to sell, please drop me a line. I am located in LA. Thanks

Be prepared though. LA is very very expensive so your dreams would be short lived otherwise because you'd be too consumed just to exist and pay rent with a random job of some sort and such- let alone shooting movies etc.

I dont know if pulling on wheels is a good idea as it has gears in them. You don't even want to set the head down leaning on wheels let alone pulling on them as hard as you can. Wrong tool for the job.

I should have been more tactful nevertheless. I didn't need to be judgemental. Thanks for being understanding though.

Now I am reading what I wrote this morning and I have to admit I could have modified the tone of it. I sincerely apologize for being offensive. In other words, I was an a... and messed up big time with the tone of my messages earlier so I owe everyone here an apology.

I apologize if I offended anyone.

I just paid my union dues last week so I am not an amateur person. I guess the movie didn't do it for me aside from its photography. Funny, I guess if one has an unpopular view, that must be a sign of being an amateur. All good... I hardly write on this forum anyhow. I love the cinematography of it for sure. I find it very inspirational and refreshing.

On the contrary in a way, I can't stand 95 percent of the current movies in terms of story, style and look. There are some good ones but my heart lies with 2005 and before - the 60s and the 70s in particular.