Stephen Perera

Deakins is Mr. ARRI Alexa digital....even his podcasts always side-track fast when he has people talking about the beauty of film.....seems he doesn't want to shoot film anymore.

so here's the article:

Thanks for commenting my friends and yes I did learn a lot from this 'test' and yes unless uou go to the 1440p on YouTube it will look smudgy of course. Overall quite impressed with the Super8 format and given I shot the 500T only which is supposedly the one with most grain well it bodes well for 50D and 200T etc. The suits were blue yes haha. I will send .dpx files on personal request stating which you want to see based on time from the YouTube video I posted privately here.

Hi all, I tested a Nikon R8 super 8 camera and shot the format for the first time at a wedding down here in Southern Andalucia a couple of weeks ago. Thanks to you all that helped me figure out what 'light loss' was likely through the 85A filter and the viewfinder. I rated the Vision3 500T WITH the 85A filter engaged at EI 200 in daylight and EI 320 after disengaging the filter when it got dark. I used a Sekonic 858-D light meter not the internal meter. The film was processed / scanned at 2K by Cinelab London and sent to me as ProRes 4444 cineonlog and .dpx files. I shot 2 rolls of 500T. On the day I used a Sirui monopod with tripod legs for stability; a Tiffen 82mm variable ND filter via a 52 to 82mm step up ring on some shots to kill a few stops and a little Neewer video light which I placed on the camera that proved to save the 'dance floor footage' Observations: 1. The first roll had a scratch down the side which gradually disappeared - can anyone think why? 2. Film relatively clean throughout - thats good - goes to show you can shoot Super8 without all the crap 3. The dinner part of the wedding was soooooooo dark that I didnt shoot (only a few seconds) just to prove the point - I think of the Sekonic had a voice it would be laughing at me as it was sooooo dark 4. The dance floor part and cutting of the cake part I 'saved' the day with the light I mounted on the camera 5. the start of the film rolls have quite a bit of weave and then stabilises? Comments please.

Two cartridges en route to Cinelab London, wish me luck hahaha basically I exposed EI 200 on the 500T for the daylight stuff with the 85A filter ON and EI320 for the night stuff with the internal filter off

yeah good advice......I'm gonna just do what I always do....and hope for the best.....err on the side of overexposure and "publish and be damned"

OK so what would you do!!!!!???? and thanks for the help.....I simply didn't have time to shoot a test and send to lab...the camera arrived on such a date and from that moment the lab could not turnaround for me given have to send it by post too

Anybody?

OK so I have a Nikon R8 super 8 camera I'm going to use for the first time at a friend's wedding. It's a no-pressure-ish situation where they're paying for the film and processing and not my time as it's a favour for a friend of a friend. Regardless there IS pressure 'cos I wanna do a great job. So, the WeinCell 1.35V batteries I have ordered for the Nikon R8's internal meter will probs not arrive on time before Saturday thus I have to use my Sekonic light meter. No worries. OK so I am told there is light loss through the lens as the light also feeds the viewfinder + have to take into account the internal 85A filter so what compensation should I have on my Sekonic. Im thinking 1.5 stops???? I'm shooting at 18fps with 160 degree shutter

OK so I bought this pristine Nikon R8 I'm going to use for the first time at a friend's wedding. It's a no-pressure-ish situation where they're paying for the film and processing only as it's a favour for a friend of a friend. So, the WeinCell 1.35V batteries I have ordered for the Nikon R8's internal meter will probs not arrive on time before Saturday thus I have to use my Sekonic light meter. No worries. OK so there is light loss through the lens + the camera has the 85A filter so what composition should I stick on my Sekonic meter. Im shooting 200T and 500T. I'm thinking 1.5 stops???

Hey Mark, yes the counter is running and it sounds different with the film running yes. The Nikon R8 has a backwinder too. He who dares Rodney hahaha I have no choice. It's a 'no pressure' wedding where I've said if the camera packs up etc it's all on me in terms of costs. They weren't gonna have any filming done but slowed me to 'have a go' and test things.

Thanks Patrick and everyone else for your messages.....good things to think about indeed from all your messages. I have NOT had time to shoot a roll and send to the lab (as the logistics didn't work cos the wedding is this Saturday) but I have tested film in the camera and it's advancing well and sounds fine. I did a few X marks on the film with a sharpie to check the film was advancing and it 'sounded' normal, so I'm confident all should be fine. That being said it's still a risk of course to go with ONE camera only. I'm using this wedding as a test for myself to see whether I enjoy it and offer it as a service why not, as it's en vogue haha. Importantly, I'm going to test the camera's light meter against my Sekonic using a grey card under different lights. I will reduce 2/3 of a stop on the Sekonic to take into account the inbuilt tungsten filter and if I see the camera responding well I will get the exposure from the camera and 'fix' it with the manual function, as my friend Tyler here advised as well.

here in Gibraltar and Spain, AHU if pronounced like in yahoo but without the 'y' is something we say like to mean "oh dear" as the British say, or "oh oh" etc.....so its quite entertaining to hear of Kodak AHU stock hahaha...we say 'ahu' in a foreboding way haha

Spoke to Cinelab London and they're still testing the 'AHU' so will see what they think soon enough. I imagine all the mayor labs in the world are testing the film as we speak.

We shall see how labs respond to all this....