Stephen Perera

....and this is why YOU will shoot film....cos it will make your work different no?....ya sabes hermano, dale caña al tema, echale cojones!!!!

.....the point of posting footage is for people considering using the stock to see perhaps what they haven't already seen as a characteristic......a pay back for all the help I get in this forum myself......for example....for me the amazing dynamic range of the part where the master glassblower is dumping molten glass in the bucket and you can see the cat in the blazing sun walk past the door and there is still information

Hi all thanks for the responses...spoke to Les Bosher and he confirmed no adapter is possible would have to convert the camera to a PL mount......cost is £500 (GBP) which Im sure is a good price for the wonderful job he would do......Ive heard great things about him and to be honest I love the fact we have old school doing things like this......recently sent my Hasselblad 201F to Ulf Kühn in Germany, a specialist for Hasselblad V system and scanners and I love guys like this are around

Hey Carl can you explain how to read one of these characteristics curves.....explain how we extract information on them please.....that would be great......e.g. what density means in terms of how it affects image and make it as fool proof as possible? thanks

Hi all...does anyone make an Arri PL to Aaton mount adapter? i.e. to enable PL lenses to be mounted on an Aaton XTR 16mm camera

thanks for the clarification! I load in the dark regardless.....but good to know

16mm film cans (100ft or 400ft) state to load in complete darkness.....I do'nt see how, when loading, the 'film' knows ur camera has a super 16 or normal 16 'gate....please explain what I'm missing

I really enjoyed the video....you have exposed really well and the light leaks look cool (the ones all the youtube digital shooters pay for as an effect!!!!!!) the Vision3 is fantastic on anyone who has creamy pre summer skin eh! haha love film...long live film!

the answer is in what do you feel when you see this done in films yourself....as simple as that.....

Hello Stephen, The Ektachrome is not yet available in the UK, the planned availability is the end of this month.Thank you. Best regards, Sweatha Shanthakumar EI UK Sales Support - TraineeKodak Limited | Building 8 | Hatters Lane | Watford WD18 8PX GB-EI-Orders@kodak.com | 0370 8501904 Sales Support www.kodak.com/go/ukmotion

Grading lack of confidence???? start grading with 'curves' if e.g ur in DaVinci......start adjusting the white point and the black point.....oh and the clip looks great to me......love it!!!!! so don't worry too much!!!!

......what gets my attention is that its a newly developed film that's got excellent reviews in the stills photograph......so I'm hoping to get hands-on information from learned friends out there like for example Mr Mullen who can tell us how it compares with our beloved Vision3 stocks.....I've got a tourism project coming up that I'm going to use Vision3 or this one if available in time.....saying that Cinelab London ain't touching it for example.....

Tarantino used it on Once Upon a Time in Hollywood hahaha Im sure he got a good price

Kodak email: We are very pleased to announce the availability of KODAK EKTACHROME 100D Color Reversal Film 7294 in 16mm motion picture formats. Please note that initial inventory is very limited. We will not be able to offer student discounts on this item. Order quantities will be limited for both individuals and resellers. As we gain manufacturing efficiencies during our scale-up of EKTACHROME products, we will consider discounts and larger volume purchases. Complete product details are available on our website. Our customer service reps are ready to assist you with your orders.

Hi there.....was wondering if.... 1. the American Cinematographer Manual is worth getting and 2. which edition to buy that has the best information for shooting film. I'm not interested in information about digital capture. Thanks for your comments and help in anticipation.

try this? https://www.imdb.com/list/ls008404641/

great fun! enjoyed it!

.....really appreciate you watching this Uli....your friend might know Paul Alexander...formerly of Dartington Crystal many years ago he's the man!!

.....so I've put together a big edit...some crap shots in the mix but hey its decent enough to tell a story of sorts before i cut and move stuff around.....the informative 'text' pauses have to be edited of course as you can tell......the raison d'être of this piece is that its going to be on a TV screen at the factory whilst the glass blowers are on breaks or done for the day..the walk in tourism/clients can watch this piece instead...are there is a LOT of walk-ins..the TV screen is like 50" For anyone vaguely interested: The filming was not easy for me....I shot completely alone with no help.....I shot 1:1 ratio 99% of the time and being near furnaces etc I was worried about the film inside the magazine to be honest......I was ambient / spot metering using zone system technique, no video monitors etc, no tests with digital camera at all....my Aaton XTR XC doesnt any electronics (dont even know how much film has gone through so I count seconds in my head and write them down on the magazine as I go hahaha)......I went old school totally hahaha. Lens is Cooke Varokinetal 9-50mm standard 16mm. Style: I lit and shot with Arri L7-C + Arri 650Plus + Multiblitz V6LED with gels as colourful/saturated/moody as possible......cos the master glass blowers actually work in very bland, highly lit conditions with awful 6500k overhead tubes so they can see what they're doing of course....but I wanted to create something more surreal and akin to the colours the final pieces display I have flicker issues on a segment as the first roll of 100ft 500T was sent by me to a lab in Spain and they did a really bad processing job....very dirty and flickery.....so sent that roll and the next rolls to Cinelab London to redo and process the new stuff. Absolutely no comparison.....Cinelab London unit all clean and beautifully. I need to de-flicker but I only use the free version of DaVinci in summary.........isn't 500T a beautiful stock!!!????......the beginning banquet hall stuff is on 250D and the rest of it all on 500T.....but 500T has really captured my soul......BEAUTIFUL

Here's the big edit.....some bad shots in the mix which will get rid of or whatever but a good first final edit-ish

so here's a big edit for me to see what's going on.....some bad shots in the mix but hey.....thats what edits are for....

Gregorio....como estas hermano....mira....te explico.... Rated the Vision3 50D at 50asa....I used a Sekonic spot metering to target a middle grey in my mind (I do zone system in my head) to get the scene as I was seeing it.....I knew I would get enough detail in shadows and the silhouette look i was after....the film handled the sun so beautifully!!!!!!! the sun was low but already enough to blow out but it didn't.....I guess I did keep a bit under to hold the sun in check.....cant remember what my readings were.....I often just go with the 'feel' of a scene and adjust the aperture.....if i see it brightening i close.....I get log scan 16 bit 2K so Cinelab do a great job

...so in summary........ 1. Load in complete darkness 2. Don't put film in the luggage and check it in...have it in hand luggage and its fine there

thanks for the encouragement!!!! everyone.....ive realise done thing...they scanned at 24fps and i have my timeline at 25fps.....is that why its a bit jumpy??? should not be but is....

.......have since generated and put up a ProRes version to replace the H264/5 and looks better than before..the grain looks better