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Mendes Nabil

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About Mendes Nabil

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  • Occupation
    Director
  • Location
    Paris

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    http://www.nabilmendes.com

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  1. Thanks Ruben! The K3 is in Super 16 format yes, i would like to use my ZF2 Zeiss "25mm f.2 - 100mm macro f.2 and 135mm f.2", i think i will greatly benefit from this setup.. From what i've seen, the Meteor lacks a little bit of sharpness and punch in its color rendition.. Please let me know how your Canon conversion went, are you planning to do it on your own? As for getting the focal depth correct, is that a complex task or a lens specialist can make it?
  2. Thanks Mark! Do you know of someone with the right skill? In Europe preferably? I will reach out to rental companies here in Paris, let's pray.. And does someone know if this conversion will really benefit the K3 camera? Or is the Meteor lens best suited for that beast? Thanks all!
  3. Hi all! I would like to share with you my last film for Hermès, i directed, shot and edited it mixing the old Red one Mx with Super 8 : And here is my website : https://nabilmendes.com I hope you'll enjoy!
  4. Hi all! I've seen in a really old topic that someone had his K3 converted into a Nikon mount camera, does someone knows where can i buy such a mount and how to make that conversion? I would like to use my Zeiss ZF2 lenses, i'm sure this mod will benefit the overall quality, and to be honest, i'm quite sceptic about the original Meteor lens of the camera.. Thanks for your help all!
  5. Thank you Chris, Actually i'm trying to figure out the best workflow / negative inversion process for my setup which is : "Drum scanner + Motion picture film negative", and i want to explore every paths.. I would like to try the Lasergraphics / Arriscan XT software, i feel like the results can be truly interesting so if someone has it or has an opinion about the best negative inversion process, please let me know..
  6. Hi Bruce, Yes i have the software of the drum scanner but it's an old software and people say that manual inversions through Photoshop is such more suitable.. So i thought that modern High end motion picture scanners have certainly an elaborated technology for inverting negatives, and i also shoot motion pictures films on my still camera, inverting through Lasergraphics or Arriscan XT software can be really interesting.. What do you think about Vuescan?
  7. Hello all! I recently acquired a high-end drum scanner for stills and while looking for the best scanning method one point remains unclear to me : "The negative inversion". So i was wondering, what is the negative inversion technology behind motion picture scanners like Lasergraphics and Arriscan XT ? Can we upload a negative (with orange mask) .Tiff file in the software of these scanners and convert it into positive? If yes, where can i get these softwares? I'm shooting Vision 3 500T / 200T on my still camera to accompany my upcoming film, Thanks all!
  8. I really like your answer Michael, Thank you, and i also strongly believe that the weak point in the Film chain is scanning.. In Portra 400 Sodium lights will obviously look strongly orange, but besides that, will the scene look massively unbalanced in term of color? Nothing that can not be fixed in post right? So according to your answer, i should go with Vision 3 processed in ECN2 without hesitation.. Am i understanding correctly? Thanks!
  9. Thank you David, it's reassuring! And Thanks Robert and Dirk, it's always good to have options! @Robert, are you by any means linked to Lumens photo lab? They seem to process ECN2 in Cinelab and i can see "Cinelab.com" in your signature.. Also, as you both seem to have experience with stills processed in ECN2, do you think that when processed in ECN2, Vision 3 looks the same in photography as it looks in Motion picture? Or should i go with Portra 400 for my Night shots under street lights even if it is a daylight stock? I feel like it can handles tungsten. Thanks!
  10. Thanks for your answer David! The guys at Lumens photo lab process stills in ECN2, i heard that one of them work at Cinelab, he just uses all the professionals machines there.. So do you think that when processed in ECN2, Vision 3 looks the same in photography as it looks in Motion picture? The discussion is still hugely opened guys, the more informations and experiences i get, the best it is, Thanks in advance!
  11. Hello all, i hope you are doing well! I'm planning to shoot some stills to accompany my next film, and i'm going crazy trying to decide whereas i should go for Portra 400 or Vision 3 500T processed in ECN2 .. I will shoot at night under street lights (tungsten and metal white lamps) so here are the questions that will help me decide : -Does Portra 400 (which is a daylight stock ) handles Street lights at night and tungsten well? From what i've seen, i really don't like Cinestill (which is based on Vision 3 500T) or V3 500T processed in C41, but i came across few Vision 3 photographies processed in "ECN2", and i was impressed by the feel and the color renditions, it looked like a still from a Motion picture movie shot on Arriflex or Panavision. -So, do Vision 3 stills processed in ECN2 look exactly the same as in Motion picture camera? Vision 3 500T is for me the most wonderful stock ever created and there is no Tungsten stock in this ISO range for still photography, so why is this stock not more popular in the photography world? Am i missing something? Some say it has a different look because of its original purpose (designed for 24fps and more), but a stock exposed and processed in the same conditions should give the same result no matter the camera right? And last thing, not all street lights are the same, what is the best stock for yellow lamps (almost white) ? Thank you all!
  12. Thanks Andries! That worked really well, the viewfinder is much clearer now! But the manual says: « The focusing screen is retractable by turning the control knob fully clockwise (that’s what i did) for some special applications at fixed focus. In this case, the viewing image is aerial. For the most critical and accurate focusing, use this focusing screen. » I feel much more confortable when this focusing screen is retracted, what problems will i encounter by shooting this way? The focusing screen make the viewing too dark .. Thanks!
  13. Thanks for your answers Peter and Martin! I unscrewed the little cap and rotated the shaft inside, the shutter moves but now i'm sure that it is not a shutter problem but a viewfinder problem. The image is a little bit misty.. A little black plastic circle knob is missing inside the cartridge door, and when i lightly blow there to remove dusts, the viewfinder becomes even more misty during few seconds.. Does someone know how to open that camera? I feel like the problem is easy to fix.. Thank you!
  14. Hello all! I have a strange new problem with my Beaulieu 5008, the viewfinder seems suddenly dark (no as clear as it was when i bought the camera), i feel like the mirror is "half way", not completely positioned and i see some black points on the viewfinder, do you know what happened and how can i fix it? I don't have batteries to run it but i will test it this week-end. Thank you!
  15. I just figured it out thanks to Bjorn Andersonn, Thank you again Bjorn! I have two last questions: -Does someone know where can i get a cheap charger for that camera? I'm using the original batteries (not recelled).. Here is a thread that talks about chargers for the 5008: http://www.filmshooting.com/scripts/forum/viewtopic.php?f=1&t=9488 Can someone tell me where can i get one for cheap? -If i put an Angenieux 6-80 on a 5008 Beaulieu that used a Schneider 6-66, will i have to readjust something or will it work right after i put it? Thank you all!
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