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Mendes Nabil

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  1. Hi all, With the rise of Leds in recent years, i would like to hear what differences do you see between Led tubes in 2022 (like Astera Titan) and Kino fluorescent tubes in terms of quality of light. Does Kino have its place in the industry right now? Why would someone reach for Kino tubes over Led tubes when Led is more convenient (with integrated battery and full RGB spectrum). I'm building China balls and softboxes for a shoot and i'm trying to decide whether should i put Kino or Led tubes inside. When going through diffusion, what quality difference is there between Led tubes and Kino fluorescent? I will shoot on film, Thanks!
  2. Hi all! I have a poorly developed / Under exposed Vision 3 500T adapted to photography (30 frames, about 2,5ft of film) that i would like to scan on a Northlight. Is that something possible without the hassle of scanning two parts of the image separately and having to reassemble later? What is right now the best scanner in term of pure image quality? I tried an 8k scan out of my Dainippon drum scanner but i would like to see the results on a Cinema scanner. In term of pure image quality, would you go for the Lasergraphics 6,5k or Northlight? Northlight seems more "organic" from what i've seen so far which is the look i'm after. I'm based in Paris, any address in Europe is hugely welcome.. All the best!
  3. Thank you guys! Silbersalz has great reviews and you felt it right, they do not accept other "brands" even if it is true untouched Vision 3, i thought maybe they were selling modified Kodak V3 but that's just their way of doing things and i respect that.. I'm asking for my next rolls 😉 Any film development specialist here that has an opinion on these three processing methods?
  4. Hi all! I would like your input about Kodak vision 3 development, i have a 500T roll adapted to photography (30 exposures) that i would like to process here in Europe and i'm not sure about which one of the three would provide the best results : - Cinelab London : A very well known cinema laboratory that uses Photomec ECN2 processors. https://www.cinelab.co.uk - Silbersalz35 in Germany : "In collaboration with Helmut Rings, the renowned technology pioneer and retired owner of Film16 laboratory, we created a diminutive new film processing machine, offering ECN-2/D96 normal/push/pull/bleach-bypass processing for color and B&W 35mm film. https://www.kodak.com/en/motion/blog-post/silbersalz35 - Silverpan in UK : He uses the indy Filmomat machine. https://www.silverpan.co.uk/project-page " A small state of the art computerised film processor for small batch use. Ideal for small runs of the more esoteric and complex processes such as ECN-2 and B&W Reversal, the timing, temperature and agitation of each chemistry bath can be precisely dialled in. This allows me to fully tailor the processing time, development characteristics, and chemistry to your individual film, whilst retaining exacting standards and repeatable results." With these few informations, which lab would give the best results in terms of processing? Thanks in advance, i wish you're all good and healthy!
  5. 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?
  6. 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!
  7. 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!
  8. 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!
  9. 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..
  10. 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?
  11. 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!
  12. 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!
  13. 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!
  14. 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!
  15. 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!
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