Stephen Perera

2 hours ago, Abdul Rahman Jamous said:

watched the trailer, absolutely hate it!

don't get me wrong I enjoyed watching Anderson's movies, Moonrise kingdom an absolute master piece. I didn't watch "The French Dispatch" but I remember that the movie had a very exciting trailer. but watching this trailer felt that I'm watching a stop motion movie, the composition felt very much like the isle of the dog. the character of the film felt like robots. the trailer didn't work for me.

Moonrise Kingdom is also my favourite so far....one must watch a film to talk about it though haha

I also left unfulfilled in terms of the plot and understanding of what I saw but in simple terms it was an existentialist piece and as such open to interpretation

so did you buy it then?

I saw it again in original language and I really enjoyed it. It lost a LOT in translation. Anyone else seen it?

Has it become less about cinematography and more an 'art director' 'production design' masterpiece?

will definitely watch it when possible....it will not release anywhere near me so I have to wait for it to be available

....as Robert says, just loosen the screw on the spindle (see image) and lift it off...you will be left with a much thinner, metal spindle onto which you place your 100ft daylight film easily.
The take-up is with a plastic CORE and NOT on a daylight spool

Although called a daylight loading spool I load it in the dark the same as with 400ft spools....

Thanks Tyler Purcell for the Perfect Loop....so simple....perfect! received today.....

For those that don't know what it does well it simply creates the 'perfect loop' of the film when loading the Aaton magazine, traditionally done by using our fingers...two of them,...but hey I have small hands and slim fingers.......which can result in a loud magazine and inner magazine accidents if not looped correctly.....

so....what do we think after watching it???????

I saw it in the cinema in Spain, in Spanish - could not wait to see it! so will hold off my review until I watch it in the original language.....I loses everything in translation I think...

Its on the cinemas here in Gibraltar in English language as from tomorrow

9 hours ago, Jon O'Brien said:

Epically cool, Stephen. Love that big chunky Sachtler the Aaton is on too.

Hey Jon, yes the Sachtler is a lethal weapon in the wrong hands hahahaha

I bought this model as it was the most manual.....I don't want a video tap and I don't want any electronics.....I want as much of a purist experience as possible...the most similar to shooting a Hasselblad. I LOVE the standard 16mm format and I'm glad I didn't pursue my initial thoughts of converting to super 16mm. I also don't care about PL mount. I can use Arri-B, Nikon F and M42 lenses on it. One can get carried away with what the 'industry' uses only to forget one is nowhere near the pearly gates of said industry but oceans and continents away haha

In lockdown my batteries died...my fault....but Tyler Purcell has rescued it with an 'adapter' (for want of a better word but as such one that belittles the importance of it!) for modern batteries!

here are my two loves

or.....as Emerald Haywood said in NOPE

“Didn’t I tell you this motherf*cker is gonna come up here with a nonelectrical camera, let’s go, boy!”

looks great.....I have the XTR XC....no electronics other than the battery!

I'm by no means qualified to venture a resolution but let's disqualify the obvious.....
1. how are the magazines seals looking? anything pinched on there in the rubber? 
2. are you taping up all the 'seams'....

When this happens on Hasselblad photography camera magazines its a problem of the 'seals'

As part of my usual, annoying to some hopefully not, film evangelism.....here's some information about Cannes this year....taken from the Kodak website.

"Kodak Motion Picture and Entertainment is celebrating thirty productions shot on film at the 2023 Cannes Film Festival. Four on-film titles, Asteroid City, Fallen Leaves, La Chimera and The Old Oak, will compete for the Palme d’Or, with an additional three titles featured in Un Certain Regard and ten titles across Directors’ Fortnight and Critics’ Week captured on film. 2023 also marks the centennial of 16mm film, and as proof of the format’s continued relevance and popularity, eighteen of the on-film titles at the festival chose 16mm as their capture medium. 

Out-of-competition productions Maïwen’s Jean du Barry, Sam Levinson’s The Idol, Martin Scorsese’s Killers of the Flowers Moon and Steve McQueen’s The Occupied City were each captured on KODAK 35mm film.

"Congratulations to all of the motion picture artists whose work has been selected for Cannes 2023," said Vanessa Bendetti, Global Managing Director of Kodak Motion Picture and Entertainment. "To have so many shot-on-film productions screening and competing at the festival this year is undeniable testimony to the intrinsic value of the film medium and those who create with it. It is Kodak’s distinct honor to partner with these filmmakers to help bring their artistic visions to the screen."

On 5/21/2023 at 9:12 AM, Simon Wyss said:

Different opinion here, about technique. Had you had a contact print made the highlights and the fine shades of bright could have come out. When scanned the grey base of the negative covers these portions.

Content is beautiful.

I find Double X to be of tighter latitude and requires good metering. Overexposure is to be reigned in especially.....it's kind of like shooting with slide film that you're watching blow outs on highlights as opposed to exposing for the shadows and forgetting of the highlights.....depends what you want of course........exterior shooting is more critical when it's high contrast.....that's just my opinion.....I think actual cinematographers give it 1.5 stops either way of latitude and I would agree.....

I love Double X for interiors though.....the interior stuff I had natural light come in off the window - shot at specific times to get what I wanted.....plus an Arri 300w tungsten clamped to a shelf to fill in some bits......that's it.....

thank you for the nice comments......interesting about the contact print.....I have zero experience of that.....shoot it, process, scan it is all I know

I entered a local Ministry of Culture visual arts competition a week ago…..and I won the ‘video’ category with this piece (originally just intended as a family heirloom). I re-edited the footage processed for me by Cinelab London in DaVinci Resolve. Not many entries from our 33,000 population, so not exactly a Cannes winning equivalent haha but the prize money will be used to shoot something else on my beloved 16mm film. Watch in 2K if you can. The grain is a bit sludgy no thanks to YouTube…..and no I will not be adding ‘award winning cinematographer’ to my legend hahahaha wtf as if

Buena suerte Diego que vaya todo bien

Everything looked great to me….great grain and great exposure all round…..the story is up to personal taste thereafter…

Still to see this film but I will……always good to create a thread of all the big films 

Vintage Sony VCR-4 Telecine Adapter and HVT-2100  Titler - in original boxes after minimal use (single project from new) for sale: any interest amongst community members message me.....they are not mine, they were my uncle's and would sell on their behalf if anyone is interested.

https://van-eck.net/en/product/sony_vcr-4_telecine_adaptor_/

18 hours ago, Robin Phillips said:

You usually want to set your input profile for film as cineon, but its not necessarily going to be perfect due to a variety of reasons (say you are mixing 2 week old film with 6 month old film, there will be subtle differences). I've also worked with some labs who had instructed me to use arri log c instead of cineon, so you want to talk to your lab/scan house just to be sure. 

As for Aces vs Resolve color management, I think it just depends on your needs, what you're mixing, how heavy a vfx show it is etc. Personally I lean toward ACES when dealing with heavy vfx where Nuke is the main compositing tool due to the linear workspace, but Im not convinced thats vital. It seems to make things easier for the VFX houses and simpler to solve color management problems though should shots come back wonky. 

No VFX at all in my stuff it’s all one man band. I will stick to the default colour settings in DaVinci Resolve I think as ACES is a bridge too far for anything I will do that’s for sure and will probably frustrate me as much as ColorSync did back in the day when designing for print and dealing with colour photography scans on Apple Macs via Photoshop or whatever it was back in the 80s and 90s.

I wasn’t even aware you had to put in an input profile for film scans…..I always get .dpx files that magically appears intact as one video file after importing.

On 5/6/2023 at 12:20 PM, Dirk DeJonghe said:

Here is a document that I send to customers, this question is asked frequently. Please share freely.

Some people try to tweak Cineon Log with contrast settings, this is wrong.

 

 

CineonLog_DaVinci.pdfUnavailable

very kind of you to share this….much appreciated!

very very interesting thank you.....my father was a projectionist of 16mm films for a little film club locally that used the theatre where he worked that also had book library and a record library.....so I remember him using the splicer and the glue and I was with him in the booth often......

thanks Mark appreciate the explanation