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Prashantt Rai

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Posts posted by Prashantt Rai

    Camera's meter reading different to light meter

    in Super-8

    Posted

    5 hours ago, Harald Vonhoegen said:

    1. Super 8-cameras like the Agfa Movexoom 10 have a beam splitter. Shares of the light passing the lenses always get deflected to the viewfinder and to the exposure meter by this beam splitter. These shares are therefore not available for the exposure of the film. The internal exposure system of the camera is adjusted accordingly. An external handheld lightmeter does not take this light loss into account, so you get a difference.

     

    2. The Agfa Movexoom 10 reads the film speed automatically, but it can read and adjust only 2 values: ISO 40/17° and ISO 160/23°. Ektachrome 7294 is ISO 100/21°, so the exposure system works on a wrong basis: ISO 160/23° instead of ISO 100/21°. You get an underexposure of 2/3 f-stop.

    Solution: The Movexoom 10 offers backlight compensation. It is the +-Position of the switch-on-off button, to be used instead of the A-Position. The backlight compensation works with + 2/3 f-stop. Using the backlight compensation you have  an precise compensation for the wrong ISO-setting.

    Backlight compensation can nevertheless be made by the manual aperture setting und aperture fixing button.

    Hope this helps. Best regards

    Harald

     

     

    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.

    ArriSR3HS current market

    in General Discussion

    Posted

    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. 

     

     

    The Cinema Experience

    in Cinematographers

    Posted

    7 hours ago, Manu Delpech said:

    The biggest problem but no one gives a poop, ugh. 

    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.

    • Like 1

    Is it really cheaper to shoot in digital ?

    in General Discussion

    Posted

    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. 

     

    • Upvote 1

    How Cinelab charged me $161 for 100' of 7219

    in Film Stocks & Processing

    Posted

    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.

    • Upvote 1

    Copyright Collectives and Cinematographers

    in Business Practices & Producing

    Posted

     

    Musicians and still photographers use their creativity to create "stand-alone' works of art (separate from the film) that may have potentially tremendous value apart from the value of the film. To wit: the soundtrack of a mediocre and/or poorly grossing film that sells millions of albums or downloads. Granted, still photographers can't seem to exploit their "stand-alone" artwork as much as the musician, but it does seem fair that both have that contractural right.

     

    Unfortunately, the genius contribution of the cinematographer, editor, set designer, costume designer, etc., has zero value apart from the film itself. Even more unfortunately for them, the contribution of their works of art, great as they may be, can at best be only a necessary condition of the success of the film, history has shown.

     

    Whereas the contribution of a screenwriter, an actor or sometimes a director can be and often is a sufficient condition of the success of the film. In that sense, it does seem fair that they command a potentially higher amount of money for their services.

     

    Edge case: a costume designer whose design "takes off" and is sold in stores, (very rare, but I would also hazard a flat-out guess that they have some contractural rights in that regard, for their "stand-alone" objects).

     

    Edge case: the Zapruder film, where a frame grab has great value (I can't think of any other film where a frame grab, even in a documentary, has had any real value that that the cinematographer could realize).

     

    Not really an edge case: a Stan Brakage type film, where the cinematography and editing seems to be the only thing on screen but where Stan can be compensated as a producer, "writer" and "director" who provides sufficient value towards the success of the film.

     

    That is my take, that "stand-alone" creations and providing a potentially sufficient condition for the success of a film account for those seemingly unfair contracts.

     

     

     

     

     

     

    Thanks Pappas,

     

    this is what I wanted to know - stand alone creations/work of art. Thanks for the lucid explanation.

    Super 16

    in 16mm

    Posted

    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.

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