Stephen Perera

go the to thread I started Jarin himself comes in to comment.....

3 minutes ago, John Rizzo said:

The price will be higher than the current 35nn camera negatve stocks. I got 1000 feet to do some tests on.

you are testing the new stock??? Obv im only interested in 16mm stocks

Leica R to Aaton mount adapter - anyone make it, sell it, have it??? thanksssssss

I have a wonderful Cooke Varokinetal 9-50mm T2.5 lens and an Arriflex 8 mm Carl Zeiss Distagon for my Aaton XTR XC. I can use Aaton mount, have adapter for M42 mount (Les Bosher), have adapter for Arri-B mount (Les Bosher), have adapter for Nikon mount.

Recommends and likes? I have no interest in Super 16mm format. I love standard 16mm. Lenses give you flavours and there is always an appetite.....

3 hours ago, Tyler Fukuda said:

I don’t think i’m authorized to say what the stock is but there have been some DP’s shooting tests right now.

I’m 80-90% this is still in the testing phase but is planned to be released at a point!

....keep posting on the thread as soon as anyone knows what's up. Of course, must be in testing phase before they launch it. Long live film!

edited...I think I tell better story now:

I've shot quite a bit of Double X 16mm (processed by Cinelab London in D96 I assume) I don't see much latitude in highlights....1.5 stops if that over after that it starts to blow. Rating it at EI250 as recommended by Kodak outdoors and EI200 in tungsten indoors. I find it does great in low light. I'm more worried about blowing highlights when showing than the shadows using this film. Any comments???

funnily enough Retrolab.eu are running it in Malaga, Spain....

any word on any of this????

Just now, Dirk DeJonghe said:

Big difference with motion picture films, we are looking at 24 fps, even a small variation in D-Min will be visible as pulsating blacks.

I had not thought of this but makes sense.....still, Lina did a great job testing

This is a great great investigation by Lina Bessonova:

I will tell you my experience.......here in Gibraltar we have daily flights to the UK so I recently sent 1200ft of 500T with my sister who was taking a trip to London. She took my film to Cinelab London personally by hand after my arranging a hand check at Gibraltar airport. They did an 'explosives swab' as they called it.

Gibraltar Airport has one of the new scanners for all luggage that goes in the HOLD (where the suitcases go) that will fog film 100% no doubt, but they have the less invasive one for the 'hand luggage' that does NOT fog film.

So I decided I had to shoot another 100ft for the same project and this time I used 250D.

I was stuck, I don't have anyone to take the film for me as hand luggage any time soon so I started to look at overland couriers (rabbit hole) but NOBODY could not guarantee it would not get scanned somewhere along the line by the borders they cross etc. not to mention the cost!

Lo and behold the best option was staring at me in the face...and it was also the cheapest! The Film Gods had spoken!

I sent the roll by Royal Gibraltar Post Office registered airmail which gets scanned once using the 'normal' xray machine that does NOT fog film. I spoke to Gibraltar Airport director (a friend of mine) about how airmail is scanned before I sent it and he assured me that it would be fine. He quoted that their machine is fine for all film under 800asa.

The film came back scanned beautifully from Cinelab London.

On 1/7/2025 at 8:24 AM, Uli Meyer said:

Our local cinema runs their projector bulbs at 80% or less so they have to replace less often. It really puts you off going to the cinema.

I must say I saw the film again in a local cinema and it was slightly brighter so the proyector bulbs without doubt affect the experience of watching this film!

the lighting in the interior of the tavern was spectacular......beats Barry Lyndon by a mile.....atmospheric and laughs in the face of people who say you cant shoot film for dark scenes

I'm absolutely nobody to comment on the hardware used for the lighting...others will surely comment, but the moonlight crossroads scene with the duotone vibe I insist is the shot of the film.....I'm going to watch it again in another cinema and see if the proyector bulb makes it look different or not!! I think this film needs a fresh proyector bulb at the cinema to see the nuances of what you have shot haha...actually was that a concern at all @Jarin Blaschke do you 'fear' a Game of Thrones "it's too dark" backlash at all from it going onto crappy cinema screens?

.....award this man an ASC or whatever it is haha!!!...nominated for an Oscar for The Lighthouse in 2020 but lost to the 'one take' gimmick film of 1917 that was great (but Gallipoli by Peter Weir, shot by Russell Boyd was better film)...surely this one should be nominated for best Cinematography and win it this time round....let's see what happens.

I think this is the best example of low light shooting since Barry Lyndon....technically impressive. Would also love to hear what David Mullen thinks of this film technically as well. As a spectacle and film it IS outstanding. 

be inspired!

https://www.instagram.com/shittyrigs/?hl=en

By the way this film is a masterclass for how to shoot low light with film…..

@Jarin Blaschke could you talk us through how you created this scene in particular….my favourite set up of the whole film! Wow

Chapeau @Jarin Blaschke this is the most spectacularly shot film I have seen in a long time. Just been to the cinema to watch it and blown away (in the context of why we are here) by the exquisite intricate framing and lighting. The 1:66 ratio was perfect for the film as very widescreen sometimes you lose the tension of the actors and the space they hold within the frame. I have read Bram Stoker's Dracula book; seen Coppola's version which I also loved notwithstanding Keanu Reeve's appalling accent but this is a cut way above for the 'story' we all think we know.

This is a truly great film in all ways. Masterpiece. I can't recommend it enough.

@Tyler Purcell it works perfectly well. Obviously we have identified the weak point being the resin tab that the camera screws in to hold but so far so good! The amount battery is heavy but that doesnt seem to bother it as there is enough of a 'rest' for it in the camera metal build. Obviously I'm not explaining myself well to anyone that doesn't know this camera but YOU know what I mean.

14 hours ago, Tyler Purcell said:

Right! I remember thanks for sparking my scatterbrain! LOL 😛

Did you get VO with the guy? He seemed like someone who may have a good voice. 

well the idea is he will explain things on the longer, full edit I will do of the process the shows all the steps but this one is the edit I will out out there if not people get bored

Importantly, thanks to YOU @Tyler PurcellI could do this project 'cos you sent me the prototype? 3D printed battery mount thing for my Aaton so I could have a modern v-mount battery to run it!!!

still lost in space I am