Mendes Nabil

Hello all, I was about to replace a d-tap connector with an XLR one, i teared it down to see which wire was "positive" and which was "negative" before soldering, but to my surprise, there is one wire only, and the other pin is connected to "shield".. Is that normal? This a dedolight cable supposed to go from a battery (d-tap side) to a dedolight dimmer for a DLH4. I've already done that, but last time, there was twi wires (dc connectore instead of d-tap). Also, the connector flipped from my hand so i don't know which wire is used for positive and which one is for negative.. I guess white wire is for "positive" and shield for "negative" but i'm not quite sure.. Any help would be greatly welcome, Thanks!

Hello all, I'm about to shoot Ektachrome E100 (daylight balanced film) at night on Hasselblad medium format. I will have two tungsten sources, one with a Tokyo blue filter, one without. Two strategies to convert my daylight stock to tungsten : Strategy 1 : 80A filter on the lens. Issues : 1 : I don't know how much light does my 80A filter cuts "exactly", Ektachrome being a slide film, no error is allowed.. 2 : It might introduce some flare or ghost effect 3 :My viewfinder will get dimmer which is an issue at night Advantage: the ambiant tungsten lights will also be corrected Strategy 2 : Gelling my two sources with CTB. Issues : 1 : stacking up a ctb + tokyo blue effect is not a combo i'm sure about 2 : Ambient practical light will not get corrected (They will be minor in the scene) Advantages : No flare issue, and clear viewfinder What would be your strategy? Thank you all,

Thank you Simon, that was my conclusion too,.. My tripod looks like this (a vintage Gitzo), do i need a plate with a dowel pin between the tripod and the head or maybe just a pin? I don't know what to look for, Thanks,

I just bought this exact same head, can someone tell me what is the bottom hole for? I received it exactly as it is pictured above, am i right thinking that a plate is missing?

Describing light is a very subjective task, i love Paolo Roversi words about the "feeling of light", incandescent, like film, resonates with my sensitivity.. Darius Khondji had few words about Leds : " DK : Yes, sometimes I use led panels, especially when I am working with a particular American gaffer who uses them a lot. But I always feel like the result is too cosmetic… a little too perfect, like Kinos. You’ve got to play around with them and diffuse them to make the final result interesting." https://www.afcinema.com/Cinematographer-Darius-Khondji-AFC-ASC-discusses-his-work-on-Magic-in-the-Moonlight-a-film-by-Woody-Allen.html I'll be shooting Hasselblad film on the legendary 500CM for the first time, the feel of this beauty inspires to go above and beyond.. As for the clamp, i'll have to buy something like that to go with it (around the porcelain socket), with the right plate and thread obviously.. For now, i didn't found a better solution :

You're totally right about the flatness being somewhat cut by the modifier, that's why i seriously considered going the Led route for that project, but then i came across this video comparing an Aputure Led lamp through diffusion to an incandescent 150w bulb + diffusion too : Maybe i'm biased but to me, the results just speak for themselves, incandescent has that sumptuous deepness that Led lacks.. I'm actually using it as my main light for still photography, medium format Hasselblad with long exposure (1/8 and slower) I've found this clamp : https://www.amazon.co.uk/Phot-R-Studio-Multi-Function-Reflector-Cameras/dp/B00MR0VPOQ that should do the job i guess.. Thank you again for contributing Mark!

I appreciate your answer Mark, Thank you! Domestic fittings have a 60watts tolerance nowadays because of the large spread of LEDS, so for safety, i prefer to use a porcelain or ceramic one.. As for the modeling lamp, this particular one is 100watts but said to have a 150watts output of light thanks to the 196v calibration, i'm gaining +50% of light with no extra power consumption.. As for Leds, those are a little bit flat to me but if someone has a "Led vs incandescent" comparison, i'm ready to be convinced..

Hello all, I would like to use a 100w incandescent bulb inside a 105cm (41") deep umbrella with diffuser on : https://www.bhphotovideo.com/c/product/765953-REG/Elinchrom_EL_23002_Modeling_Lamp_100W_230V.html/overview + https://www.bhphotovideo.com/c/product/1327208-REG/elinchrom_el26352_41_deep_umbrella_silver.html To do so, i will have to buy a porcelain socket that supports high wattage : https://www.manomano.fr/p/culot-en-porcelaine-pro-socket-76105-6729186 My question, what clamp or attachment would you use to safely install this E27 socket on the umbrella rod ? There are E27 clamp like this but they only support low wattages.. Thank you all!

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!

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!

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?

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!

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?

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!

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!