Prashantt Rai

interesting

contact Rachel baker at frame24.co.uk

Am looking for recommendations for servicing Zeiss 11-110 zoom lens in U.K. and an ArriSR3 service.

because no one knows what to do on these automated machines. 🙂 Earlier during film projections, the projectionists would diligently check the mask, lenses, brightness, etc. I mean they would be busy doing something in the projection booth. they were alert. they cared about the image.

wonderful sharp images

https://www.indiewire.com/2019/04/the-beach-bum-cinematographer-benoit-debie-master-color-1202055726/ I don't know what the budget of this film - The Beach Bum but Benoit Debie has shot it on 35 with lots of in camera effects (varicolor polariser) and spent only 4 days in a grading suite.

In the production fraternity, 95% + people feel or believe that 1. Film is expensive than digital. Digital is free to shoot. 2. They look at at an Arri 435/BL4 and it doesn't inspire confidence in them when they compare it to more modern looking digital cameras . 3. In India it was the senior lot who threw in their towels in favour of digital. Surprisingly lot of younger DPs were in favour of Film. but then precedent once set by established DPs is quoted by all production personnel to shoot digital. 4. Asia is totally digital. Shooting on Film is considered inferior. They love the plastic feel of the digital. 5. Established Actors hated digital initially because takes seem to be free and they kept rolling. Camera Rehearsal culture faded away. 6. Shooting on full fledged digital package is not cheap either. Costs almost same money. Too much time in post experimenting and tweaking. Editors lose patience finding 'OK' takes out of 12 or 17 takes. 7. This 'anxiety' of producers/directors to see the footage right away did not exist a decade back. Footage/Rushes for medium level productions were made available sometimes a week or 10 days later depending how busy the labs were. Today people won't wait even an hour to see the footage. 8. With the democratisation of Digital cameras and colouring/grading tools there are tons of such very low cost rental gears. As some DPs have already pointed this out earlier - yes it is cheap to shoot digital (in this reference). Hard to make money on such gears.

Ay idea how much a 400 ft can of S16 EKTACHROME is going to cost? any speculation?

Bravo!

Cinelab Massachusetts and Rob have been amazing help so far for my documentary on S16mm. I sent them all kinds of footage but of course in batch of 3-5 cans at least. They have been accommodating. Gave me a decent pricing. I still have to pay them for a couple of cans. :rolleyes: Jeremy, trouble is that with a single 100ft roll there would be pricing issues in any lab. Tyler pointed out right whether its 100ft or 1000ft initial prep is the same. I do hope you will shoot more that way you can economise.

Sometimes the Xray does get through on exposed cans. My experience!

A more in depth article about TETENAL. MUST READ "Even in the heyday of chemical photography, Tetenal produced chemistry for Agfa, Kodak and Ilford. Today, a hundred percent of Ilford’s and approximately 30% of Kodak’s photochemistry are produced by Tetenal," https://petapixel.com/2019/02/01/a-closer-look-at-tetenal-a-photo-firm-thats-too-important-to-fail/

Employees taking over their former Employer. This is classic. #Tetenal http://new-tetenal.de/tetenal-how-things-will-continue/?fbclid=IwAR1529pwmOG-eQ4y6W8CXqBRAUdlzqbpmHlp6tGM84umlDsp3a1yc3ILLFc

Tetenal UK clarified that UK subsidiary will continue. Info will get clearer in few days.

https://emulsive.org/articles/news/tetenal-europe-gmbh-to-reportedly-cease-trading-after-172-years "The company supplies Kodak Express Digital Solutions partners and is responsible for the distribution of Kodak chemistry in Europe, Africa and the Middle East – alongside the supply of traditional process analogue photography chemistry for a number of other companies."