Stephen Perera

I admire your dedication to doing it old school.....chapeau...that database des sound very interesting and people in here would like to see that Im sure.....even though it would mean nothing to me as a film photographer principally and not a cinematographer

good for you man...chapeau.....thats how to do it....in camera and proper exposures

very hip......share details??? great work

finally....somebody humours me again.....hahaha....touching and special......the filming superb.....

well that's my point......do you BELIEVE....are you IN the film/series or are you OUT...due to the choices that were made to shoot on what and how......specially so for period, factual, historic topics that are in our memories (for those of us old enough).....

I watched the first episode on BBC last Sunday evening.....loved it......I'm very much into civil rights films/documentaries......came across it quite some time ago as the Cinelab London posted about it as they processed all the film for the series.......it's on Amazon Prime on the 20th November....directed by Steve McQueen and shot by Shabier Kirchner. This is the film v digital debate right there.....do we believe we're back in the 50s, 60s etc when we watch The Crown......do we believe we're back in the 70s when we watch Small Axe.....

So we have a date.....limited theatre release December plus blue Ray etc

as i said I really think you have to be in late 40s early 50s at least to REALLY appreciate how spot on it all is in everything with what was being produced back in the day.......the colour palettes on screen of Star Trek original series which I am watching for the first time again in COLOUR (Netflix USA) as opposed to how I saw it....on Black and white television.......

ironically......I watched the film in a cinema in Spain with Spanish subtitles so I did know what they were saying all the time hahah but I was still confused The film is released for home consumption on December 15th on DVD and BluRay etc...interested to see the 60 minute 'making of' that comes with the release for home consumption. I quote Variety: "Christopher Nolan’s “Tenet” will finally be available the way the filmmaker decidedly does not want you to see it — at home. The sci-fi epic, which stars John David Washington and Robert Pattinson, is debuting on 4K, Blu-Ray, DVD and digital rental services starting on Dec. 15. For film buffs, or anyone who felt they didn’t get enough “Tenet” during the two and a half hour-long movie, the 4K Ultra-High-Definition combo pack and Blu-ray contain special features. That includes “Looking at the World in a New Way: The Making of ‘Tenet,'” which is an hour-long deep dive into the development and production of the film as told by key cast and crew members. The combo pack cost $44.95, the Blu-Ray costs $35.99 and the standard DVD costs $28.98. “Tenet” will be available for pre-order beginning on Nov. 10."

......perhaps you have to be of a certain age and with countless hours of cinema-going (when that was the only entertainment within reach for most of us) to truly 'get' how cool and 'spot on' this film is in style and look for example......once I saw how this was being lit and the colour and texture thanks in part to Kodak film......Hollywood stage 'brightly lit' reminding me of Adam West's 60s 'Batman' series and Russ Meyer's 'Beyond the Valley of the Dolls' 70s......I was like wow....this is special....I was also mesmerised by the lead actress and the rest of the cast......10/10 for me.....

Terrence Mallick Voyage of Time

Gracias Ignacio y todos......had never even heard of Baraka...thanks for mentioning.....I'm gonna watch it!

Terrence Mallick Voyage of Time is similar have you all seen it? Thanks for your great anecdotes

I quote a review: A film that took 5 years to make and co-ordinate. Shot in Panarama 70mm, across 26 countries, needing major government and regulatory clearances, having to wait for certain seasons or lunar phases to get the light to hit the way director Fricke wanted...carefully strung together with a massive 7.1 surround sound design and music score from Michael Stearns, Marcello de Francisci, and Lisa Gerrard (of Dead Can Dance).The 70mm negative has been digitally scanned and oversampled at 8k resolution (much like the 'Baraka' Blu-ray); the TIFF Lightbox theatre installed a brand new Christie 4k projector (Christie Projection Systems rushed the projector before its release to the market specifically for this event) making it the first true 4k screening of it's kind. From sweeping landscapes to time-lapse sequences of the night sky and from exclusive looks into the processing of food to the consumption and effects it has on the human body, Samsara is nothing short of astounding. Modern technology, production lines, and human robotics are juxtaposed against a backdrop of deserts, garbage mounds as far as the eye can see, and traffic congestion in modern centres. The time-lapse footage is simply transcendent. In fact, I caught myself questioning the reality of some of the landscape vistas and night skyline montages...they looked so hyper-real that I thought they must have come from a CG lab somewhere. Simply astonishing. The richness, depth and clarity of colour and image achieved within the processes utilized gives birth to the most beautiful visual meditation that I have ever witnessed.As one film journalist noted, "That Samsara is instantly one of the most visually-stunning films in the history of cinema is reason enough to cherish it, but Fricke and co-editor Mark Magidson achieve truly profound juxtapositions, brimming with meaning and emotion. It sounds preposterous, but it's true: In 99 minutes, Samsara achieves something approaching a comprehensive portrait of the totality of human experience. If you're even remotely fond of being alive, Samsara is not to be missed."If you ever come across the chance to see this film in a decent theatre, run, and let your eyeballs (and earholes) feast upon its brilliance.

Filmed over nearly five years in twenty-five countries on five continents, and shot on seventy-millimetre film, Samsara transports us to the varied worlds of sacred grounds, disaster zones, industrial complexes, and natural wonders. Camera Fricke 65 Time-Lapse, Panavision System 65 and Schneider Variogon Lenses Panavision 65 HR Camera, Panavision System 65 and Schneider Variogon Lenses Laboratory FotoKem Laboratory, Burbank (CA), USA (65mm film services) Negative Format 65 mm (Kodak Vision2 50D 5201, Vision2 250D 5205, Vision3 250D 5207, Vision2 500T 5218, Vision3 500T 5219) Cinematographic Process Digital Intermediate (8K) (master format) Panavision Super 70 (source format) Printed Film Format 35 mm (anamorphic) (Kodak Vision 2383) D-Cinema

Great film indeed......I saw him on the original series of Ballers And felt he had great charisma and he indeed went on to great things......

very interesting article thanks for posting

thanks for this david I was just rationalising it all in my head

Hey David.......OK so as a film stills photographer this is my understanding (I shoot, process and scan Portra 160, 400 and 800 myself at home).....so they shot the 500T by rating it at 200 ASA which means they over exposed By 1 stop and a third more or less.....as 1 stop over exposure would be 250 ASA............then they asked the lab to push it 2 stops as if they had metred the film under exposed at 2000 ASA.......but really they had under exposed by less than 2 stops.......and for those that don't know as far as the lab is concerned they keep the film in the developer longer........

begs the question why not have shot it on film hahah....sorry...too obvious, flippant and ignorant a remark from me.....

what is a 'film-out'?

this is interesting: https://filmmakermagazine.com/110570-i-wanted-the-movie-to-have-a-time-out-of-time-feel-cinematographer-eric-branco-on-shooting-the-black-and-white-the-40-year-old-version/#.X5_Yxy9h1-U

anyone else seen it......????

best moment for me was the return of Bill Murray to a film.....loving the 200T and 500T stocks with their beautiful blues...read a bit about the film here too.... https://www.moviemaker.com/on-the-rocks-cinematographer-philippe-le-sourd-writer-director-sofia-coppola-vision/ Quote from article: "After five or six light tests I concluded that I was going to pull the film at night. There was something very soft, and beautiful, and pulling the film helped us find shades of gray and black in the streets. Doing tests also allowed me to establish a general look with my colorist, Damien Van der Cruyssen. We both realized that scanning the film at 4K gave us the freedom to give the look we wanted to the final film."

I saw the film on Apple TV and I really enjoyed it......a lot.....Bill Murray...great comeback.....what can you say.....his singing voice was very good too hahah...and the lead actress was fantastic with her expressions that said it all when words weren't forthcoming....and I liked the philosophy of the film......"a woman that is confident in her effect on you.......that's...sexy" is my favourite line Technically I enjoyed the 'lensing' of the film......it being an introspective piece where a wife is wondering whether she is being cheated on I get the loads of shallow depth of field and the few occasions where the focus slipped etc are forgiven hahah....the colour palette of Vision3 as expected had beautiful texture and colour depth in the daylight scenes and it looked like a film not like an ultra-realistic set up piece of fiction...... I CAN criticise the sound design a bit on one occasion.....do we really need the vintage Alpha Romeo sports car to sound like Chitty Chitty Bang Bang...I think we have developed as audiences from that need to hear the extra backfires etc.....comedic as they are of course.... Well done to Sofia Coppola and I look forward to your next one.....for personal reasons Lost in Translation is in my top 5 films of all time.....