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Stephen Perera

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About Stephen Perera

  • Birthday 06/19/1966

Profile Information

  • Occupation
    Film Loader
  • Location
    Gibraltar, Europe
  • My Gear
    Aaton XTR XC 16mm - Hasselblad V system - Leica R
  • Specialties
    Graphic Designer/Photographer

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  1. hermano Miguel....donde puedo ver esto? sale en Tele5, Antena 3 o algo así????
  2. Seems odd nobody is talking of this film in here...or is there another thread I'm not aware of haha https://www.kodak.com/en/motion/blog-post/the-french-dispatch
  3. one light i use a lot actually is a Multiblitz V6 LED which has the P bayonet upon which I can hang my soft boxes etc from my Multiblitz flash heads....a great german product from back in the day and they have since closed down. That light and Arri tungstens......there is something about tungsten i like I cant explain
  4. this set up also natural light.....different flavour light.....focal point on the faces in the print......this is in essence a product shot and not too dissimilar in philosophy from what you have to do!!!! Moral of the story is natural light is THE light for people like me......i get to choose to shoot at a specific time of day to get the light I want....as opposed to everyone else in here - I'm not a cinematographer - that have to 'make the day' and create light most of the time. If this is the case with you then chase natural light as a priority!!!! (All shots in this thread are taken with Hasselblad 2000FCM on tripod with either 110mm f2 or 80mm f2.8 Hasselblad Zeiss lenses)
  5. no issue at all just saying its a youtube favourite....loads of pseudo anamorphic out there.....and filters and stuff.....and perhaps its even going up there to the pros to stick some in cos we, the proletariat equate flares with great camera work....so in a way pandering to the masses......maybe???? also saying as a film photographer flares were always something we wanted to kill in our photography with lens shades etc unless backlit shot bla bla. Personally i love spherical flares. esp on zooms where you see all the lens groups etc and dislike streak anamorphic flares
  6. Hey Raaf, its ok to disagree and I appreciate you coming in on this......I think its 'cos I am divorced with two sons that I REALLY connected to it......I DO think you have to be in this mindset to really get it......same with the film Marriage Story......but yes the over the top eating and drinking and pouring wine sounds were annoying haha...its great for a Coca Cola commercial but you know....
  7. So this is a remake of the 1973 TV mini series by Ingmar Bergman. Originally 6 episodes but this new one is in 5. Really excellent and highly recommended - esp. for those who have gone through a divorce with children like myself. The writing and scenes and situations touch nerves of course, as intended and we have some superb acting to boot. A must watch. I don't have any tech details to share. One thing I find annoying is the too high on the volume (in my opinion) sfx of them eating / drinking - I'm one of those people that can't stand people who make noise when eating hahaha). We get it...they are pouring wine and drinking it and all the rest of it.....the folly dept. was doing their thing I guess. On a par emotionally and acting-wise to the superb Marriage Story by Noah Baumbach featuring Adam Driver and Scarlett Johansson.
  8. I remember going to the cinema and walking out of the Lynch Dune after it finished thinking what the hell was that about hahaha....I DID enjoy this one a lot more......
  9. Back to minute 1:20... Look at the slate.....I dont really know how they do their slates but from what I gather they are shooting with Vision3 50D for starters......they have a side light at 6500k which is like the colour of the light coming in from the exterior through the window.......if it was golden hour the warm light outside compared to placing a side light at 6500k immediately shows you the fact there is side lighting......obviously........hence the 'believablity' of light look.....this is the 'augmenting' that you want to do yourself....it totally looks real and believable that its coming in off the window...they have also spot metered that outside at T16. There is no top lighting..... I feel qualified to help here 'cos at the end of the day the difference between me shooting this on a Hasselblad on Kodak Portra as a still and the dolly move they are doing is simply there is motion in one...the philosophy of capture is the same..... and he's shooting at nearly T2 (f2) as that is what they have metered as key light i.e. taken a reading of ambient coming off her face from the side light and whatever light is spilling in.......Oh, and importantly, they have a low contrast filter on the lens....the LC1.....don't know if a Lee filter but here's some help on that: Low Contrast filters work by spreading light from the highlights to the shadowed and darker areas, leaving the bright areas of the image bright. The dark areas become lighter, enabling you to see more detail in the shadow areas. As there is no F-stop compensation, you will not overexpose any portion of the image. This filter also creates a very slight flare or halation around hot spots and individual light sources. This feature is a useful effect. The more light there is for the filter to work with, the greater the effect. This filter is very popular with people who shoot video but who want to achieve more of a film look to their images. Lee Low Contrast filters are available in grades from 1/4 through 1 1/2, with the 1 1/2 having the heaviest effect."
  10. all your questions now will come to you on the 'set' as answers when you set things up and see what it all looks like..... I'm not au fait with modern lights like panels etc....dont have access to any and have never used any.......I have Arri tungstens (quite a few of them) up to 1000w that Ive bought second hand over the years.....and an Arri L7c LED which in hindsight i would get rid of as not really 'for me'. As I said, unlike most people in here that actually shoot films and have been in film sets I have only been in my own film set so to speak......with at most a few friends helping me out........I also have the liberty to make the most of the limitations that ultimately make you creative..... at the end of the day move the lights around and what the eye sees is always going to be the starting point......then you can metre for getting the reality or otherwise.....by stopping down or up on the iris (T-stops or f-Stops)
  11. I'm just about to finish Season 2 (I'm on final episode). So Season 3 to start soon for me. I find the characters, their lifestyles etc despicable...which is the whole point of course.....love the satire, the cast, the comedy and the writing of the series and of course...yawn yawn....they shot with my beloved Vision3 500T. Obviously shooting mainly on Angenieux Optimo zoom parfocal lenses....hence the stylistic zoom in and out whilst keeping focus......THAT never ceases to amaze me how it just keeps focus....and then there's 'The Office' style handheld shooting too. It all just works....and 'the old money flavour' they wanted by shooting film comes across well. Has a 16mm feel about it which I really like. This series's naturalistic lighting style in my opinion showcases Kodak Vision3 stock latitude capabilities and characteristics in how it handles highlights. The 'curve' of film up there is what makes film what is IS when we have huge contrast..... Chapeau to Cinelab London for their part in all this...processing the film stocks etc.
  12. So, there's no thread I could find of this series so why not. Series Cinematography by Patrick Capone ... (12 episodes, 2018-2021) Christopher Norr ... (8 episodes, 2018-2021) Andrij Parekh ... (3 episodes, 2018) Camera Arricam LT, Leitz Summilux-C and Angenieux Optimo Lenses Arricam ST, Leitz Summilux-C and Angenieux Optimo Lenses Laboratory Cinelab, London, UK (processing: UK) Kodak Film Lab, New York (NY), USA (processing) Technicolor PostWorks, New York (NY), USA (digital intermediate) Negative Format 35 mm (Kodak Vision3 500T 5219)
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