Stephen Perera

8 minutes ago, Joerg Polzfusz said:

Great clip!

Funny side note: According to various sources, the final coating of the film isn’t done by Filmotec in Wolfen, but by InovisCoat in Monheim. Hence it’s more an „OrMo“ than an „OrWo“. But of course, this doesn’t such a good selling point… 😉

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?

6 minutes ago, Gautam Valluri said:

Once you have a sample of only the camera noise, you can feed it as a noise 'profile' in software like Adobe Audition. It's usually under the "noise reduction" menu. Once the software has the profile, you can remove it from the entire sound recording by doing "Apply profile to entire file" option.

ahh great I will look into that thank you very much

6 hours ago, Tyler Purcell said:

So what I'd do is wireless mic him and have him doing the work first on camera, forget sync. 

Then sit him down and go through the process in an interview. 

Like this: 
 

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.

5 hours ago, Jon O'Brien said:

A very exciting project and one I want to get around doing soon, too, on 16mm or S16. When it's art, or something traditional, hand made, hand painted, etc, that kind of thing, film is a wonderful medium that complements the subject. Yes, shooting digitally can be made to look beautiful too, but film has the natural edge and inclination towards giving the right artistic or traditional vibe to a project. So for this sort of short film I think real film is perfect, especially 16mm where you can see the grain but there's still enough quality in the image to make it look classy too.

I want to do the same thing but with a violin luthier/maker. I'm thinking of turning it into a short drama work, writing the script for it. it would need minimal acting skills, or just 'being oneself' and no acting at all. There's something fascinating about the work of the luthier, the shop, the natural materials, the music. Fantastic project to work on.

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

29 minutes ago, Gautam Valluri said:

Stephen, don't forget to record some room tone and if possible, also a few seconds of your Aaton running without any other sounds. This is so you can profile it in sound editing software to remove camera noise if needed.

Good luck with the shoot!

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?

7 hours ago, Giray Izcan said:

It sounds like you're really right on budget.. I would shoot digital and have a better end product instead of relying on 1 take wonders just to shoot on film. 

My raison d'être is to shoot on film amigo.....36 years shooting film and counting (photographic mostly of course). Im shooting a guy who makes guitars for a living he's not an actor nor am I asking him to act so its a different set of rules I apply to this in my mind, I can do plenty of 1 takes for sure

This is him playing taken on my phone

Thanks for all the advice....yes it's simply me all the way through so I will go for announcing the take before rolling that way I save film and don't have to shoot a slate. I'm shooting a luthier making a guitar not playing it til later prob at the very end when it's ready......

I'm having a guitar made by hand by a luthier as a family heirloom that I want to pass down hopefully to inspire a grandchild to play it and at the same time see ME in the process via this short film or whatever it turns out to be! The funny thing is I can't play for sh*t and my sons are too young (20 and 22) and don't even have girlfriends at the moment so it's hopefully still a long time away Hahaha.....

I met this luthier busking in Gibraltar some time ago and I invited him to play in my home in a get together with some friends and he played this guitar he made by hand which was beautiful and that sparked off the idea

......thanks Mark yeah a handclap is what I was thinking of cos I don't have film to burn, I will prob shoot a ratio of 1:1 mostly and maybe 2:1 if I change angles for the same given the person is not 'acting' but Im shooting him doing his thing...the mic tapped with a pencil is a great idea haha

Hi all, advice on the following please. I'm shooting a traditional luthier making a Spanish guitar on 16mm film (500T) with my Aaton XTR XC and I want to record the sounds as he works.

1. Is there any other way of synching sound other than manually (clapperboard) when shooting film?
My Aaton XTR only has a battery to run it. Nothing else on it literally, no monitor, nothing (only the physical footage counter on the magazine).

2. Here's how I plan to handle the audio
Camera - I have a basic 'sound blimp' to hopefully dampen down the rrrrrrrrrrrrrrrr of the magazine. That being said the Aaton magazines are pretty silent.
Sound: I will be using a Røde NTG4+ mic on a boom over the 'frame' and recording onto a Zoom F3 recorder taped up to the pole.

Workshop isn't large (still to see it) and I will be lighting with my trusted Arri tungsten lamps - as we all know they also add sound to the ambience as the bulbs heat up!!!!!

Advice on the planned modus operandi please very welcome! Thank you.

hi there can you explain in simple terms the benefit/use of what you have created?

Very informative and very kind to take the time to write all this. Yes I have dumb adapters as I think they call them! I use Hasselblad extension tubes in my stills photography and wanted to experiment with my Aaton as I'm going to be filming soon loads of close up stuff with 500T in a guitar luthier workshop

8 minutes ago, Dom Jaeger said:

Well if both adapters are accurate, and allow clearance of the lens, then together they should seat the lens at the correct depth. You’re just making a Hasselblad to Aaton adapter in two steps. No need to compensate aperture unless there are optical reducers in there but it sounds like these are just mechanical adapters right? 

The lenses might be a little soft for 16mm, but worth a try.

How does it look in the viewfinder? 

Thanks for the information Dom appreciate it....I will report back on what it looks like

40 minutes ago, Mark Dunn said:

You can't just connect adapters together, the FFD will be incorrect. The lens will be too far from the film.

You will probably have a great macro lens, though😉

macro....yes exactly...thats what I want to investigate......thanks Mark for the reply

Eastman Double X is a 'special' film, I love it in 16mm. Beautifully exposed / treated in 'Poor Things' - the best I have seen this stock look for years, even more pleasing to my eye than in Oppenheimer. Thus I would never shoot Vision3 and turn it to BW unless its for financial reasons as it costs more for labs to process/scan it in my experience. The greyscale on this film is special to my eyes

Hi all, so I'd like to use a Hasselblad lens connected to my Aaton XTR XC camera via 2 adapters.

I have a Hasselblad to M42 adapter and  an M42 to Aaton mount adapter which Les Bosher made for me some years ago. I've shot with a Pentax Takumar 110mm?? lens on the Aaton with beautiful results. I'm wondering whether I need to add a stop to exposure or not given the x 2 adapters. I cant test it as I dont have a lab in country and Im hoping you guys can give me an answer or indication.

.....the answer to the question why the hell would I want to do that is....why not. @Dom Jaeger any thoughts my friend?

Looking forward to this one Jarin...35mm film of course.....

fantastic trabajo...deberas....muy conmovedor y la fotografía perfecta para las situaciones......joyas.....

nobody wants to talk about this film?

Congratulations indeed...what a great coup for this highly rated/talked about film.....have not seen it yet....perhaps Dirk could give us some insight and anecdotes for it all