Stephen Perera

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

Directorial debut of Celine Song and exquisitely shot by Shabier Kirchner film of the year for me for many reasons....not least the beautifully calm camera work.....no special effects, no stunt people, no 'establishing' aerial drone shots, no cranes, no crazy edits......camera on sticks and a couple of shots with the camera on rails and thats it....chapeau.....AND a film that shows how beautiful 35mm film is.....if you are of the sensibility that loves films like 'In the Mood for Love' and Coppola's 'Lost inTranslation' this one is for you....

I really enjoyed this film.....Fassbender can always gives uf the quality of being 'unhinged' in a way that it suits films like this and e.g. 'Shame'' where he plays a sex addict, 'Macbeth' and '12 Years a Slave'.....and then he can give us the sensitivity of the beautiful, exquisite 'The Light Between Oceans'......he could be Bond for me.....

4 hours ago, Uli Meyer said:

 

Hey Uli.....the reel they put together is very cool.....what I meant was giving out the film few labs develop

2 hours ago, Uli Meyer said:

Everyone is moaning about the price tag but I am sure that if the camera could be offered cheaper, it would be. Back in the Super 8 days, there were hundreds of thousands if not millions of potential buyers of cameras. That market doesn't exist anymore. It probably cost Kodak quite a bit to develop the camera. The target market appears to be professional cinematographers and prosumers and there aren't as many out there. And by the way, I remember looking at some of the top end Beaulieu cameras when I was a kid in the 70s and they cost a fortune too ?

Totally agree......the only bad decision here is the film they give out with the bundle.....should have been any of the Vision3s

Thanks Dan! the price tag? prob want to try get the music video DPs who are all into film these days and good for them!

...so Kodak in their infinite wisdom decide to include film that my lab of choice will not touch.....

e.g. Cinelab London: We only process Kodak colour negative film. We do not process Tri-X Reversal, Kodachrome, Ektachrome, or B&W 8mm film. 

regardless of that it looks super cool as a product design....

The 'long-awaited' new super 8mm camera from Kodak.....let the dissection begin

The KODAK Super 8 Camera MSRP is $5,495 USD

https://www.kodak.com/en/motion/page/super-8-camera/

What's Inside the Box: Pelican Case, KODAK Super 8 Camera, Wide Angle 6 mm Lens 1:1.2, C-Mount Cap, Lens Cap and Lens Hood, Pistol Grip with trigger, KODAK Super 8 Camera Battery, Micro USB Charging Cable(s), KODAK Super 8 Camera USB Power Adapter, Cleaning Cloth, KODAK TRI-X Black & White Reversal Film 7266

KODAK-SUPER-8-Camera-datasheet.pdf

wow develop before 1930!!!!

'Eastman Kodak Company proudly celebrates the centennial of 16mm film. Introduced in 1923, the incomparable, inherent, and distinct texture of 16mm is still as relevant today.'

https://www.kodak.com/en/motion/page/100-years-of-16mm-film/

The Wager.....Scorcese new film already in the pipeline starring DiCaprio.......again from David Grann author of Killers of the Flower Moon