Stephen Perera

ok here's the final edit for the client pending the text that needs to go in:

Hey Phil yes I get you but in this case its fine and not an issue.....it just annoys me I don't see what i did when on internet land.....Ive since uploaded a HD version of the piece....as ProRes 422HD to see if it looks better

yes Vimeo is no doubt the best......here's the footage...I'm traditional stills photographer not a cinematographer but that being said I know what I'm looking at.....I'm after my original 'acutance'....I shot 250D for the first part (Governor's Banquet Hall) and 500T inside the glass factory......I've bored everyone with this project before hahaha but here it is anyway as my final edit to show client....need to add the 'text' in the info sections....the raison d'être of this piece was to show on a TV screen at the factory when the glassblowers are not creating pieces.....and yes I know the candles went sideways as I dollied past the table....nothing I could do....I was shooting 1:1 ratio.....what I shot is what I have used.....and I was on a clock to finish and get out of there as this is a highly 'restricted' area.......if anyone is remotely interested in anything about the filming please ask....e.g. camera? Aaton XTR XC (the one where i don't even know how much film I've used up, no electronics whatsoever)...lens? Cooke Varokinetal 9-50mm T2.2 zoom on standard 16mm gate....lights? I used Arri tungstens 650plus, 300plus, Arri L7-C that I own.....with gels on some....I wanted surreal and colourful as opposed to the bright white light (6500k) they work under.....remember this is to attract attention a TV screen.....the music? well I wanted it all to look and sound like its a piece from the 70s

Subscribed!!!!! nice one Justin!

Response from VIMEO: As you may know, bit rate controls the visual quality of your encoded videos. Higher bit rates lead to a higher quality reproduction, but they also lead to larger file sizes and therefore reduced streaming performance over the web. It's a tradeoff. The bit rate for each video we generate is variable, meaning it will change over the course of the video depending on the visual complexity of each frame (or series of frames). For example, visually complex portions of your video will be encoded at a high bit rate but a lower bit rate will be used when the visual complexity drops. This allows us to efficiently balance visual quality with playback performance. Though bit rate varies during our conversion process, they never exceed the maximum bit rate we set. We impose a maximum bit rate to ensure that our videos will be playable across a wide range of viewer Internet speeds. If we allowed bit rates to rise above our maximum, it would produce HD files that many viewers would not be able to view without excessive buffering. Most videos never hit the maximum rate, so there is no significant quality loss. It's only videos (or particular shots within videos) with extremely high levels of visual complexity that may suffer visibly. If you'd like, we can encode your video at an extra-high bit rate. This should preserve the grain of your 16mm footage. Please be aware that the resulting video will larger, so the playback may suffer for viewers with slower Internet connections. If you'd like to proceed, please send me a link to the video you'd like extra-high bitrate encoding for, and we will be able to move forward from there.

thanks for the comments everyone...Ive also raised a ticket with Vimeo and see what they say themselves.....will share

......so I've completed a project (nearly) and uploaded to VIMEO to show client.......even though they are very happy and thrilled with result I am NOT happy with the way VIMEO tries to take out my grain....I shot on 16mm.....enough said.....any thoughts?

all very interesting thanks for the replies and information

wow I knew you would all give us great info!!!!

looks great eh Brian....

Watch this beautifully shot, vibrant clip....was wondering what it was shot on.....tech details if anyone knows? looks like 16mm kodak stock to me but what the hell do I know hahaha....looks fantastic!!!! a reviewer of the 'film' that's being sold said this... This new release of the legendary Rolling Stones Rock and Roll Circus is only a slight upgrade to the original DVD/CD released in 1995. There is no new footage or commentary beyond the extras provided on the original release. Even the David Dalton essays are repeated. Oddly, the photo gallery from the original DVD is missing from this edition. Because this show was recorded in 1968, there is only so much that modern technology can do to improve the sound and visual quality. The colors on the video are noticeably brighter and cleaner, and the audio is just a bit more cleaner.

thanks for the positivity!!

.....very kind of you all to explain things

very kind of you all to explain things

So I've seen it attached to both film and digital cameras and I know what it does but HOW is it used....is there anywhere online where someone does like a tutorial of how to use one? I assume the camera shows a screen with the readout to a focus puller that looks at that screen only? not the scene? or like both......does this person simply try and match the e.g. 4m on the camera to 4m on his handheld device that moves the lens focusing to 4m?

Alejandro Paino in Spain sells me my film. If you're around here his email is: alex@tucontactocine.com Mobile: +34 629 781 118 I process and scan at Cinelab London. This is a very very useful post for me thanks a lot! Whats left to discuss is what they scan with.....I have Arriscans at 2K at Cinelab London....whats this ScanStation LaserGraphics like etc etc

..........what does 'work done at Cinelab or Kodak in London' mean??? specifically "work done'? thanks

....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!