Jump to content

Prashantt Rai

Basic Member
  • Posts

  • Joined

  • Last visited

Everything posted by Prashantt Rai

  1. A super 8 trial film. shot with 2 rolls of ektachrome and 500T. damn that 85 filter toggle switch is hard to understand. :-) https://www.youtube.com/watch?v=lKt_Gojn8G4
  2. Harald, the difference was not 2/3rd of a stop but good 2 stops over. anyways I use manual exposure settings. good advice regarding the use of + button for filming in backlight or beaches etc. Most of Super 8 cameras are useful only if manual exposure is possible otherwise they are no good. most of them can't read modern stock's speed.
  3. I used Kodak Ektachrome 7294 cartridge on my Agfa Movexoom 10. There was a good 2 stop reading difference between my "spotmeter" and the camera meter.
  4. Hi there folks I am seriously considering selling my Arri SR3 HS body with accessories because of my left shoulder injury. I wish to know what kind of price range I should expect. There is body, batteries, mags, filters, charger, matte box with rods in two aluminium cases. I had a Zeiss 11-110 lens but its front element is cracked. I am not including it in the package.
  5. Am looking for recommendations for servicing Zeiss 11-110 zoom lens in U.K. and an ArriSR3 service.
  6. 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.
  7. 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.
  8. 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.
  9. Ay idea how much a 400 ft can of S16 EKTACHROME is going to cost? any speculation?
  10. 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.
  11. Sometimes the Xray does get through on exposed cans. My experience!
  12. 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/
  13. Employees taking over their former Employer. This is classic. #Tetenal http://new-tetenal.de/tetenal-how-things-will-continue/?fbclid=IwAR1529pwmOG-eQ4y6W8CXqBRAUdlzqbpmHlp6tGM84umlDsp3a1yc3ILLFc
  14. Tetenal UK clarified that UK subsidiary will continue. Info will get clearer in few days.
  15. 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."
  16. "The number of ads shot on film and processed at Cinelab doubled in 2018 to around 350, and there was an increase in pop promos to 50-plus, many shot on Super 8 and Super 16 as well as 35mm." https://www.broadcastnow.co.uk/tech/film-stages-digital-fightback/5135915.article#.XEHdhn_xPh0.twitter So film is far from dead.
  17. Don't worry about "what sucks" as long as you continue to make reels, its all good. keep up the good work.
  18. the footage does look good. wishing you all the best to get a good finished doc in hand. cheers
  19. Thanks Pappas, this is what I wanted to know - stand alone creations/work of art. Thanks for the lucid explanation.
  20. Why do Musicians, Writers, and even photographers have copyright and get royalty. Why are cinematographers 'work for hire'?
  21. The last time I saw 16mm projection was in early 80s. I lived in a small township. Every weekend they showed Bollywood movies on a giant screen with 35mm projectors. sometimes they showed documentaries or children's films or maybe some off beat movies on 16mm. The audience crowd wasn't that big though but still a lot of us sat and watched those movies. Fast forward to 2010s, era of multiplexes. Some auditoriums have big screen and 800 seats and sometimes there are only 10 people sitting and watching the movie. Its a waste of resources - electricity, staff, air-conditioning, etc. May be somebody will take a cue and start a chain micro movie parlours with 16mm projection with a seating capacity of say 20-30 people. I am sure there will be plenty of content coming forward.
  • Create New...