Stephen Perera

I never abhorred the answer merely stated I am not technical in understanding what you described. Thank you for taking the time to answer I appreciate it very much.

thanks for the reply but far too technical for me im afraid.....hahaha....I dont see any flicker when I look through the viewfinder of my Aaton...I don't use a monitor....plus I cant adjust anything on the Aaton either.....it's 25fps at 180 degree shutter and thats it.....it's a modern LED light strip on the ceiling and overhead thats im asking about.....

....so there I was happy as a clam as they say and I was shooting my Aaton with Vision3 500T 16mm film inside in a room that was lit with a couple of overhead LED tube lights.....plus one light that I brought along.....so day two of shooting and the person I'm shooting tells me......when I record video with the mobile the light flickers, no problem with your camera right........so I went blank and carried on......but with that doubt in my mind hahahah.......I know MY light won't show flicker......but the two overheads????? we're in Europe obviously..... Can anyone share wisdom on this with me without any of the deep science......

this has become a really interesting thread indeed. I also really like the look of it. As a stills photographer I can test the film for stills haha....so which would you recommend I try Mark? you mentioned the UN54 looks great? https://www.orwo.shop/collections/photo-films

I thought Mark had done the tests with Cinelab London??

No problem.....so it will take just one major director/DP to use it in a big film and it will start selling 'properly' I assume.....

no worries thats sufficient and thanks for your time Im sure many people here will find this interesting.....

well I think it looks great - notwithstanding the way YouTube tries to 'correct' film grain etc - it bodes well that we have an alternative to Kodak out there albeit I can only go to 16mm format (one man band) thus this test for me is simply my subjective appreciation.....perhaps you could make the footage available or visible in a way that none of these platforms screw with it? Vimeo perhaps?

would be great if anyone have any more photos or whatever to add to this thread of perhaps stuff they have done themselves...thanks to everyone for the message much obliged

now I see how its done physically thank you very much

I have no idea nor can imagine anything of what you have just said hahaha...but I am sure its accurate and correct and I thank you for your message

...and this is when making the contact print to project right? so like colour grading before computers.....

Hi all, obviously, as a 'nobody' in this world my experience in motion picture film is simply that it's scanned once processed for me......in stills I shoot, process film and print myself in the darkroom if I want or else scan the negatives but I really dont know much about what the 'printer lights' system, can someone give us the definitive 'printer lights' for dummies guide in this thread complete with images or videos or whatever? Is it kind of like printing colour in the darkroom where you adjust the RGB 'filters' on the enlarger...for example, setting it at 70 yellow, 50 magenta and 0 cyan.

Cinelab have an Arriscan yes.....

hey Mark great you're not pissed off I posted this for you in here haha thanks man. Also glad Cinelab is your lab with Sonji, Aarti and the gang doing their thing for you.

interesting! anyway I don't know if Mark Wiggins is in this forum...would be great to have him come on. As for price (in 16mm) it's ball park Vision3 500T so....but the texture looks great in that clip he posted

https://www.orwo.shop/products/orwo-nc500-colour-cine-35mm After 50 years, Orwo has finally returned with a colour cine stock to take your productions to the next realm of adventure. Proudly still produced in Bitterfeld-Wolfen on the original site where film manufacture has been a tradition since 1910, our new NC500 Colour Cine stock allows for DOPs, Directors and Post-Productionist alike to create a versatile range of looks and provide a clear blank canvas for anyone to build any story upon. With a lack of Remjet layer, you can now also rely on any form of processing, whether it be ECN2 or C41 making your productions faster, reliable and greener! We are not trying to imitate current stocks available on the market, we are creating an alternative, something with different characteristics and a different palette. Additional Information Film Type: Colour Negative Film Development: ECN2 & C41 ASA: 400 Reel Lengths: 100ft & 400ft

Hi all, came across this. I hope Mark is around and he can share more interesting facts etc

It's a great idea to record the camera rolling.....ingenious really for us down here at the one man band end of things!

Not started yet thanks for the input appreciate all comments from everyone other than why shoot film haha as that is blasphemy to my ears hahaha come on sense of humour time please

Tyler, is that DaVinci Resolve full version or the free one can do that too?

ahh great I will look into that thank you very much

thanks Tyler will watch that piece as I did at the time when you first started helping me getting my Aaton back working with your battery adapter which you 3D printed, not forgetting the 'perfect loop' as well I got from you.

Go for it Jon, film is king, always.....thanks for commenting

excellent advice thank you, I had not thought about recording the Aaton only in the room to 'profile' it.....can you explain how this is done?