Stephen Perera

Cinelab London don't do it for still photography rolls.........as I said Portra 800 is a simple fantastic alternative to Vision3 500T if you want to home process and not worry about ECN-2 process........Portra 800 is ABSOLUTELY my favourite colour negative film albeit the most expensive film out there.....typical....I HAD to love the most expensive hahah

.....so I've seen the tech specs on IMDB of digitally shot films that also go onto print film format (Kodak Vision 2383)....e.g. Skyfall (the only ever Bond film shot digitally, and not again since thankfully hahaha) and Roma.....what are the reasons this is done? is it to get the film look after all? also, what version do we see when we consume films at home on the various platforms......do we see the digital to digital or digital to film to digital versions.......assuming the 'final pass' is a creative choice to get the 'look'.....interested to know......

Great shot Uli.....interesting you graded in Resolve.....what do you import into Resolve as a 'file'?

no idea!!!! I just thought the pressure plates were on mags just like on my aaton hahah

looks very cool...love it.....shot on film obviously.....he likes his Super8.....saw the reel on Vimeo thanks for sharing.....

Very interesting and nobody has thought of this here in Europe yet that I know.....you can RENT a cinema for 99 dollars......sounds great to me..... https://www.amctheatres.com/rentals https://nofilmschool.com/amc-theater-rental?utm_source=No+Film+School+newsletter&utm_campaign=d981ebdee8-Thursday+Round-up+Newsletter+6.25.20_COPY_01&utm_medium=email&utm_term=0_00e2faa2b4-d981ebdee8-426456281

Hey Uli I thought exactly the same.....all of a sudden it looked like iPhone hahhaa

very very interesting and I have learned something new today! thanks for your responses........

Thanks Uli!! I have only ever used my Aaton XTR XC!!!

Hey David, could you explain the following.....??? I thought all magazines provided the 'pressure plate'..??? “We were shooting on ARRI Arricam LT cameras and ARRI only makes an aluminum pressure plate for two and three perf. Since the 5222 didn’t have an antihalation back what would happen is any strong light source would come in, expose the film, bounce off the pressure plate, re-expose the backside of the film, and we would end up with these crazy vertical flares. We had to shoot four perf because ARRI only ever made an anodized black pressure plate in four perf.....”

Really enjoyed it.....easy watch.....the cinematography is great in my opinion.....shot by ERIC BRANCO Great main character....loads of charisma.......the story is not that original but who cares......it can't all be Tenet.........it will be interesting for anyone interested in watching Eastman Double-X shot on 35mm......it's clear to see the 'flavour' of the stock in this film for those of us who have shot it (myself in 16mm not 35mm) and how it handles highlights in particular.....in my experience (limited, in comparison to others in here) I think its a film stock that enjoys being shot indoors......less so exterior as it has to be controlled outside quite a bit as not as forgiving as the Vision3 stocks......it's just what I have experienced......don't shoot me for what I'm saying....and no way is shooting digital and converting to BW look as good as shooting BW film! Quite a few films on Netflix shot on film eh!! so much for the 'reputation' it was getting no? https://www.kodak.com/en/motion/blog-post/eric-branco-the-40-year-old-version

#3 is a roll camera on/off cable remote which works great.....

Hey Brain hows it going over in Belfast......so....what does this do then.....how does it attach and to what and all the rest of it....no idea.....I have an Aaton XTR XC thats got no electronics and besides which I broke the wafer thin glass that enables a video tap once when blowing into the area to clean it

I posted this some time ago and would like to see if anyone can add to what I already know......forget parts 2 + 3 as they are obvious......don't know what 1, 4, 5, 6 or 7 are for.....

'West Side Story' is on Netflix US version.....I'm revisiting in the light of the Spielberg one that's still to come out in cinemas prob 2021 I guess?

for UK/Europe based interest....i have just asked Cinelab London this question......will let you know what they say.....

looks great on West Side Story on the opening dance number of the Jets v Sharks and the music is just perfect...albeit to do cuts as opposed to the La La Land one

I just heard the 'Go Creative' podcast featuring camera operator Mitch Dubin who has done 17 Spielberg films incl. this one but doesn't talk about it much other than it was a personal challenge given it was a musical and that he really enjoyed shooting it....I'm sure we will get a lot more 'material' when the film is actually out......

I particularly love this sequence from the original in 1961.....camera on the ground.....the 'compression'....the building in shadow........so expansive and cool.....

West Side Story - directed by Spielberg with Janusz Kaminski as cinematographer. Shot on Panavision Panaflex Millennium with Panavision T-Series lenses. Rewatched the original on Netflix and wow it looks fantastic.....such colour, texture....such an 'acute' image....the deep focus on location stuff shot throughout is superb.......shot by Daniel Fapp (won Oscar for it) on 65mm Eastman 50T (5251) ....very much looking forward to see what Spielberg does with this film. I LOVED La La Land so very open to this new musical......I hope they don't Disney-fy it (Disney is the distributor according to IMDB) and it becomes an over-acted, over-exuberant embarrassment that's just...wet......I doubt it......should be great...... Interesting to have Rita Moreno back in the film!

great review Phil.......I like the analogy of watching a sport you don't understand and.....to me that would be watching the 'Madison' track cycling event at the Olympics hahaha or similar......and yes the big theme could be what would you do if in the future you have a dystopian world and you can travel back and do something about it......like knocking out the US Government for example haha...the mind boggles

great they all sold!

well its the same stuff (-ish) apart from the remjet and whatever else they use to avoid scratches, etc as the film speeds through the camera and magazine........though God knows film is less delicate than people think.....many a time have I been in the dark trying to spool 120 film in a Paterson reel with the sweat and temp. rising having to manhandle the emulsion into submission sometimes hahahahaha......for perfect results when processed.....people.....if the edge of film clips its a difficult task to get the film on the spool as it catches haha

hahaha interesting documentary eh....glad you enjoyed it

OK forgive me, its photographic film but I'm sure there will be plenty of us interested in watching this in this forum....