Stephen Perera

huge Mallick fan.....Tree of Life is a masterpiece.......disappointed he shot this one in digital though........I love digital for sports and nature/wildlife programmes.......not films.......the more the top directors choose film the longer it exists and the easier it is for nobodies like me get option of buying film to shoot.... Its great for the big guns that can get to use Arri Alexa's etc but us at the bottom of the barrel will be forced to use Sonys and Canons and Fujifilm cameras and all that....come on....youtube....it looks like 99% of the 3 billion videos on it or whatever were shot by the same person on the same camera.....as David Bailey said of digital...."it's visual communism" hahaha when the jump cuts became fashion I was like what the hell is going on.....

did a crappy Instagram cut I did in a rush...its all out of time but it will do for now....this is just a small cut from the first 400ft....I have another 1200ft for the project I'm shooting.....to tell the story.....it will do for now...some of the stills don't appear in this cut...also the final piece will be 2048 x 1556px not this square format for Instagram...I despise how they try and kill grain with their compressions....Ive raised a ticket with Vimeo to give me the highest data rates as i pay the PRO version .....

I created a thread of my results so far:

The close-up of the sand hour-glass + my father's face + running on the bridge were shot with a Pentax Takumar 135mm lens on my Aaton XTR XC 16mm camera - Les Boscher made an M-42 to Aaton mount adapter for me for £200........the rest with Cooke Varokinetal 9-50mm lens....all scanned at 2K on Arriscan by James Wren at Cinelab London...standard 16mm full gate. This is the first 400ft of the project....I'm going to order another 1200ft to complete the 'story' I want to tell..... Basically the theme is.....RUNNING WITH TIME....its a play on the fact that he's in his 80s and he's out there running.....is time catching up with him or is he running away from time trying to catch up with him......that sort of thing...... Note: the astronauts image on the wall....my auntie...his sister...went to live in Los Angeles back in the 50s and she sent us the original LIFE magazine of the moon landing and that was like a hard cardboard poster in it Note 2: The boomerang was given to him as he competed in the Commonwealth Games in Perth, Australia in 1962...called the Empire Games at the time - thats him in the race on the photo he's pointing at....behind the darker man obv.

Hi all....got back the 400ft of footage from Cinelab London for the personal project I'm shooting on my father - an athlete, still at nearly 82 years of age.....this is a personal project and family heirloom.....so Im putting my hands in my pocket and going for it....

thanks for the comments as usual...much appreciated..... I spoke to a couple of Kodak resellers and they confirmed there was going to be an increase in the prices of motion picture film.....'slight' increase I was told......Im going to buy stock now thats for sure!

hey Stuart, no was wondering of what its like.....I will stick to Kodak fresh stock thats for sure.....will be interesting if Ferrania bring out a 16mm stock

thanks for posting Michael...would also love to hear what this film can do

So apart from the Vision3 films, Ektachrome, Double X and the Tri X what are the complete list of films available to buy today..... I came across Fujifilm F-64D on sale in Spain - never heard of it whats it like???? https://www.foto-r3.com/es/fujifilm-16mm-super-64d-8622-1r-305.html and Fomapan R100 on sale in Spain - whats it like? https://www.foto-r3.com/es/fomapan-r100-16mm-1r-305m.html ...and where's the best place to buy film in the EU? I been told Kodak raising prices on motion picture film too is that the case?

look forward to also learning about this....good post....

I can't help in that I've never even heard of the LAD method......I'm sure people in here will know.....I use the zone system with a light metre and that's worth learning....will follow this thread to hopefully learn about that

and another Prada one

and this one for H&M

I'm a total, absolute fan Gregg....watch this little gem for Prada if you haven't already:

Here's the official trailer for his next film....I'm looking forward to another masterpiece......shot with Arricams in 16mm and 35mm apparently

wow super interesting what a lens hood!!

looking forward to see some footage....please post

Absolutely....Will post some dpx stills of the stuff I shot with the Pentax Takumar 135mm lens on the Aaton 16mm

I will preferred my Gossen Mastersix but I needed spot meter.....i had the Gossen Spotmaster 2 in the 90s but too many things to carry

hahaha the Aquarius time of the year!!!!!!! Im gonna trust my instincts in what I did out there with the iris etc.....haha what I meant to say about EI 200 out there is that I noticed the Sekonic had slipped from my 250 asa rated to 200 asa rated and thus half a stop off...the Sekonic has the touch screen

As we speak 2 x cans of 400ft Eastman Double X are flying to London - Jarin recommended I shoot the 'cleaner' Tri-X in 16mm but Cinelab London don't process it and I already had a stock of Double X in my fridge so my hand was forced.... anyway....normally I just tell Cinelab I want a normal processed negative (no push or pull) and then a .dpx log scan at 2K..... but this time I'm taking the stock to its limits....shooting against the sun, person in silhouettes and high contrast in most cases.....some not......I shot at EI 250 in daylight and almost always at f11 to f22 on a Cooke Varokinetal....spot metering the skies to get detail.....thinking zone system always...then mixed in with interior scenes at T2.5 to T4 max with tungsten I was wondering whether there's anything different I should tell the lab....sometimes out there i was EI 200.....shooting in the last half hour of magic hour before the sun set over the mountains of Algeciras opposite our Rock of Gibraltar....in my experience Double X doesn't have much latitude.....not like BW film for stills photography where you have a much larger range of interpretation of a good negative...... any advice comments, advice, thoughts, experience, welcome

the thing about 1917 to British audiences and I count myself as part of that cos of the military history of the Rock of Gibraltar is that from the off we walk into anything about the trenches and the tragic loss of life already sold on the sentiments the director would like to evolve....in other words the history of it already works for the film no matter what......as I said earlier I think Peter Weir's GALLIPOLI with Mel Gibson in it is a better film with similar storyline

thanks for the information Dom much appreciated to learn stuff in this forum.......

you mean Im on the right lines Uli? not far off???

My first impressions are the following......it seems to blend some parts of a scene into each other which you think will be distinctive due to their colour and pops out other parts....makes you realise what is distinctive and what becomes a visual mush of the same tone with no 'edges'.......e.g in an interior it would make me think of throwing in some light here and there if i wanted separation..... am I along the correct lines?