Stephen Perera

whats the answer?

thanks for posting

As a Hasselblad film photographer and an owner of a 16mm Aaton that I shoot at 4:3 ratio I found the framing of this film excellent.....anything with people in it looks better with this format in my opinion.....I found the bars on the side less annoying that the bars top and bottom that you get with very wide aspect ratios......I thought the texture of the film using 500T specially was superb and the cold high contrast vibe really cool......other than that it's not my kind of film at all......in contrast I watched the 1967 film Two For The Road with Albert Finney and Audrey Hepburn on Amazon Prime video yesterday and was enchanted by it and thought the editing was superb......definately recommend you all watch it........

agree......film holds well and much more rugged than people think......

it really IS night and day in this TV series.....I was quite surprised how much of a difference it made.....excellent series from start to finish regardless of film and digital use.....really enjoyed it.

photos please

I would argue nobody has made digital BW look like e.g. Double X in movies that will fool people who know......but the general audiences who don't care.....certainly.....add some grain and a few scratches and there you go......Which is not to say serious attempts are not being made to emulate as best as possible by people who love film but are not allowed to shoot it.....

I finally got round to make an effort to watch it through after a couple of false starts. Really enjoyed the acting by Gary Oldman, Charles Dance etc...Orson Welles sure looked like him I think. So I give it a 7/10 as a film to enjoy. as for the look......very digital BW with very strange what seemed to me like a layer of what Photoshop calls Gaussian Blur on the edges of the actors and an infrared film ish look in the exteriors lightening skin tones in key areas and then lightening foliage.....I didn't like the amateurish film defects filter applied in parts etc when showing the footage of the elections interviews.....the appearance of the film punch hole in parts was also amusing.....also didn't like the RGB black and white look in parts......I saw a lack of grain applied so could be the Netflix Europe's version I saw who knows if that's even a thing......in some wide shots when the cars we shot driving away in the distance I could appreciate nice grain.......the lighting etc I can't fault and it's certainly not my place too but merely as a cinephile I comment.....some cool interior sun through shutters shots in the studio heads offices I enjoyed......the whole thing should have been shot in Double X quite simply not pretend BW but hey.....who cares....nobody.....some people ar Arri and some are Red and that's the reality

Thanks so much Dom appreciate it and thanks Tyler for trying to help too. I will look into it

Please scroll back up to original post for video of the problem

Ive added the video to the original post could you have a look at it????

tech specs: Aspect Ratio 1.37 : 1 Camera Arricam LT, Leica Summilux-C Lenses Arricam ST, Leica Summilux-C Lenses Arriflex 235, Leica Summilux-C Lenses Arriflex 435, Leica Summilux-C Lenses Negative Format 35 mm (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 500T 5219) Cinematographic Process Digital Intermediate (4K) (Master Format) Super 35 (source format) Printed Film Format 35 mm (Kodak) DCP

I find 14 frames showing NOT the 15 frames showing when you load the film on the take-up side to make the 'loop' is crucial to good movement of the film inside the magazine......also make sure you get a lock on each of the curved things above the rollers haha cant remember technical name....if they dont lock with a noticeable sound you're in trouble and film will fly off.....it's not good enough that it goes into place....you have to hear a lock sound "clack' for each one

990 euros...says it all about the rip-offs out there haha

Hey Maxime hows it going.....what battery are you using then? My number's +34 711014545 whatsapp me as usual

I use Nikon F-mount and M-42 mount on my Aaton XTR XC. I think the one Aaton made for Nikon is really crap though as mine slides off too easily unlocking the lens...hack is to tape it to the metal. I had an M-42 to Aaton mount adapter beautifully made by Les Boscher in UK for £200. He also did an Arri B mount to Aaron mount for me. Les is a lovely man and makes great adapters. He is highly regarded. les@lesbosher.co.uk

Hi there...the extension eyepiece just flops down and its very annoying as I have to stick my eye on it to hold it in place as I want it.......in other words it rotates down without any friction and doesn't stay in place at any angle that gravity doesnt affect it......what screws does one tighten? I dont want to mess up internal optics.... Thanks for any help..... aaton_xtr_perera_420.mov

In my experience no problem with 100ft spools although as Tyler says they are 'noisier' inside the magazine...... ........and yes fold the tip of the end of the film and push it into the slot on the core on the 'take-up' side of the magazine. Further to this I always apply saliva with my finger to the surface of the film about half a core's length to give it a bit of an adhesive as you wind film onto it. This will ensure it doesn't all fly off and yes don't be modest with the 5 times round as Tyler says...you will have your own 'feel' for what's right for you..... Important: for me 14 frames showing is how my camera is happiest....NOT 15

....not to mention you can of course simulate camera filter effects in Photoshop for example......when converting to B/W......yellow filter....blue filter....red filter....green filter......etc

I guess I'm too B/W film 'encoded mentally' haha as I've shot it for 32 years now in stills photography.....and in recent years also at 25fps on 16mm......I applaud the way it has deep contrast and great midtone range at the same time.....magnificent.....also The Lighthouse.....should have won best cinematography but instead they gave it to 1917.......anyway....the modern day Who Killed Virginia Woolf with Burton and Taylor Also the irony of my argument that FILM B/W is the best B/W when digital B/W can be what some people prefer and thus its great we maintain the options....is not lost one me haha

Stuart, yeah you're right I did word it wrong.....the point I'm making is that it's an exquisite use of Eastman Double X that absolutely reigns high and above digital BW in my opinion.....having shot and scanned BW photographic film for decades in many film/developer combinations I am just standing ovation mode at the look of this film....as I am at The Lighthouse.

Just saw the film.....notwithstanding any comments regarding the storyline, styling, pacing, casting and acting......as far as visually is concerned......this film.....alongside The Lighthouse from our friend Jarin is a big capilatised F*CK YOU to those that think pseudo black and white digital looks as great as B/W film....the only true black and wWhite medium in stills and moving image is film.....there you go.....just my opinion......regardless of my lack of credentials in moving pictures to justify you even considering listening to anything I say I urge you to sit back and enjoy this film......

I'm very much into the vibe of a proyector at home.......my cousin gave me his Sony proyector and screen and it takes me back to the 70s and beyond when the cinema was a visit every week without fail......so yes....interesting to see what they do.......regardless I dont think adjusting things depending on where we're looking is worrying to say the least for people the other side of the camera when producing content

very interesting Robin

it's a shame people in here are not paying attention to this thread and more importantly to the intention of SONY with this new technology on TVs.....I'm astounded by what this cognitive intelligence thing could be doing.....and let's face it....its all going to home entertainment more than cinema's