dee

hi all,

I just got a beaulieu 6008s off ebay. what a nice camera...

anybody has the manual and want to share? :D

cheers and long live film,

Dee

well... I'm a student at brooks...and I'm anxious about this lawsuit thing..

but I learned alot at brooks and enjoyed it alot, eventhough I have to agree that Brooks is getting more concern to please its corporate share holder's financial interest.

hey it you would like to see how the school from a student point of view i would be more than glad to show you some of the work I did, and my sad student life...:)

a_solaiman@hotmail.com

dee

using a yellow instead of red25 will yield considerably different results, particularly with foilage.

 

color filters with bw footage will darken opposing colors of the additive spectrum, while making the corresponding color relatively brighter. a red filter will darken cyan and to a lesser degree greens and blues, while lightening reds. yellow will darken blues and to a lesser degree magenta & cyan, so foilage will seem to be unaffected or even lightened, depending on its shade of green.

 

and i'm not certain on the science of this... but based on my experience, red filters tend to give you bw footage that has a greater percieved increase in contrast than yellow-filtered footage, though that may simply be because red25 has a higher filter factor.

 

you can always get a good idea of what your footage will look like by spot metering through the filter. a great example of red25a-filtered bw reversal would be richard myers' "monstershow", a longform experimental film that i was lucky enough to see projected-- the look combined with the subject matter looked incredible. i recall him saying he created the neg from the reversal himself on an optical printer and used a slow stock, and that the prints looked very close to the original footage. i'm pretty sure it's available on dvd through canyon cinema.

 

one suggestion i'd make though... if you're intending to transfer to video, then i'd shoot neg and just tweak the contrast to taste in telecine. i've seen some people shoot bw/red25a and come back with some unuseable stuff, especially when shooting in direct sunlight with caucasion actors.

 

hope this helps,

jaan

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it is because filters only let the same color of light pass through and block the opposite: red filter let through all red light hit the film, block some of the green, block most of the blue. now all things in red has more light hitting the film than the cooler color, that means it will look brighter.

I personally think red filter is abit to extreme. and it kills about 3 stops of your exposure. I prefer deep yellow for greens. but red is awesome for desserts. however, that's just a humble opinion :D

thanks..

i will do a test... and..

I heard that it's not that the meter is not calibrated to 18% grey.. but the actual middle grey is not 18%.. it's about 13% ?

I'm not sure.. but that has not really brought me any problem so far... maybe 1/3 of a stop on EI?

I usually do an EI test to any film i'm going to shoot anyway..so my meter should be calibrated to it.

Hi,

thanks guys..

i just got outbided on ebay for the beaulieu..

sometimes i just hate ebay...

and yes.. this will be my first camera..

Hi,

I'm looking at a Bauer A512 and a beaulieu 6008S. which one should I get? what's the pros and the cons? I know both have the same shutter speed 12-54fps (beauleu goes to 4fps, but i don't want it anyway) how about it's image performance compared? shutter angles? or even lens quality and interchangability?

Price is out of the question... Beaulieu is like 3 times the bauer.. but is the quality 3 times better as well?

I know there are some people here that know every little detail about every camera :D ...

Thank you very much!!!!

Dee :D

Your exposure ideas seem about right for black and white reversal, have you never shot negative film before? Still film and motion picture film are essentially the same thing, except for some differences in the base and certain lubricants that exist on motion film that still film lacks. There's not a fundamental difference in emulsions, really. Get some color negative still film and see what I mean. You can easily get a 10 stop range from paper-base-white to the paper's D-Max black, if not more in some cases.

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hmmm interesting comment....

I have used some BnW film, some negatives, as well as some slides..

I'm still pretty positive that even still negative has a more limited exposure range, about 5 stops for the final print or file.

the first time I shot motion picture film, i did not realize that it has such a great latitute; I shot it with still film ratio. of course everything turned out damn flat.

I did a little grey card test with all the film i've used and motion picture film is the craziest...

Hi all,

thanks for the advice!!

spot meter brings everything to zone 5..that's what i have to remember.. shoot.. i forgot the very basic of it..

hello everyone,

I used to do still photography a lot, and just recently got dragged into motion picture, which i find more fascinating and confusing at the same time.

anyhow, i'll jump straight to the point.

still films has a lot less latitude that film for sure. it is only +2 stops to get white with detail and -2 stops to get black with detail. outside those 5 stops exposure latitude, you will get nothing but pure black or white without detail.

so, if I am using a spot meter to measure a white with detail object --let's say, a fabric--, i spot it, and overexpose it by 2 stops so it is +2 exposure which is white with detail.

I'm sure it works the same way with motion picture film, but the problem is it has more latitude! maybe 3/4 stops over expose to take it to white ith detail. so it raises the question: should I overexpose it by 3/4 stops to get white with detail?

Then i made a little test with my gray card and meter. I spot both the gray side and the white side, and the meter told me 2 stops difference.. OMG i'm confused, so this raises another question: does the meter I have only calibrated for still photography purposes? because if I'm using a motion picture film, it should show more than 2 stops exposure difference, right?

I don't know if you guys are following me this far.

the only purpose i ask this is spot metering maybe crucial sometimes, especially when you want an EXACT tonality for a reflection on specular object --e.g. a black car--

help...

Dee

hi Teresa,

I'm also a beginner.. well actually i'm only a poor student... but here's an idea...

since you are shooting mostly dialog, why dont you use the sun as a backlight (wait till the sun is a little lower, like about 2 - 3 pm or 9-10 am depending on the actor's position) and bounce some light with either diffuse bounce or specular bounce depending on your preference. you can also create some ratio with bounnce cards by setting them in angle...

in addition to that, I usualy put the actor against shadowed background, so the rimlight/backlight really2 do its job making the actors stand out.

this is my favourite outdoor lighting setup since it's cheap and easy. and it creates a really dreamy, pretty look. plus you can also use some diffuser on your lens to add..

-dee-