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Stephen Perera

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Everything posted by Stephen Perera

  1. very kind of you to watch....its quite fascinating watching a guitar come to life..... Other than what I've said it was just camera on tripod in his small workshop. Filmed from April to December in all sorts of heat during the summer! I shot 1800ft in total. 4 cans of 400ft and 2 of 100ft. Quite an expense but hey, it's a family heirloom....f*ck it
  2. Adriano I used available light and the little lamp you see and a Neewer lamp I have attached. Very simple set up. Obviously he needs light to work in so I thought it was ok to have OBVIOUS light on the scene albeit I erred on the more artistic side of lighting so to speak. It’s not like I can get away with chiaroscuro on this one hahah. the Neewer lamp is affordable and can be controlled by the phone nicely. I shot on 500T which is balanced to 3200k so I had the Neewer at about 2700k to push in some warmth. I run out of 500T at the end and u see a very obvious switch to 250D which went a lot warmer in comparison but I thought the guitar is done so wanted to switch it up visually…..maybe not a good idea hah very kind of you to take time to watch the piece I didn’t think anyone would much bother.
  3. I really don’t know what you’re saying Jeff haha. Scrooby? That’s a small village in Nottinghamshire historically significant for its association with the Pilgrims who founded Plymouth Colony in America…according to the internet haha…..please expound on your latest comment @Jeff Bernstein
  4. Oh and I received a Cineonlog ProRes 444 scan from Cinelab London which I brought back from the UK weather look to more Mediterranean look by altering the curves and not much else hahaha. As it’s film, not much to do to bring back the colour to what was pleasing and expected. No LUTS or faffing around finding ‘a look’. I had to tame the grain on the dark backgrounds in the theatre was about it. Oh and I added as if I had a pro mist filter on the camera with DaVinci for a bit of ‘romance’ on the lights around….bloom basically. It was all scanned on the Scanity at 4K. In the past I had Arriscans at 2K but this time round I opted for the more affordable Scanity with the help and advice of both Cinelab London and people in this forum when I was thinking of what to go for. I hope this piece inspires people in here to go for it and shoot a personal project with our beloved Kodak if nothing else. It doesn’t come more basic than how I shoot. It’s just my eye on the eyepiece, a tripod, a Sekonic light metre and no monitors on the camera or anything…..and an idea in your head.
  5. Hey Jon you mean the footage of his performance where it looks like I had 4 cameras going? Well, I asked him to play the piece 4 times and I moved the camera to 4 different positions. I started with the long shot, then a closer medium shot a then close side shot and a behind shot. I matched the music to the different camera positions and then cut the music in the slight pauses he made to change rhythm etc. he played the piece very similarly so that helped immensely. The performance was very moving being there in an empty stage filming him. The theatre staff were clapping after he finished! What we did was the only way for me, alone, to film him as if I had 4 cameras going. I used the theatre lights and spotlight to light him up and metered the main light and let him come in and out of shadow knowing the 500T would perform. I used up a 400ft mag for the theatre section alone.
  6. Hey thanks for watching the piece much appreciated…..yes Tyler saw your piece back in the day we had a conversation about it haha….on instagram I think we spoke. I’m going to do a long edit for myself where all the steps appear this edit is shorter so people don’t get bored haha
  7. Here's my piece 'Luthier'. It's the making of a classic guitar by an artesanal luthier. Shot on Aaton XTR XC + T2.5 Cooke Varokinetal 9-50mm lens + Kodak Vision3 500T and 250D. Processed and scanned on a Scanity (4K) by Cinelab London. I made the live recording of the music in the theatre using a Rode NTG4+ mic into a Zoom F3 recorder. The music was composed by Jeremías (the guitarist/luthier) and is called 'Aida' named after my mother that passed away a couple of Decembers ago. The why: finding out this talented busker was also a luthier, I asked him to make a guitar for me with the idea of filming the whole process. Both the guitar and the 'piece' are intended as a family heirloom. I can't play a note myself! I want to pass the guitar down on the one hand and have the 'filming' as a testament to my 'art'. I hope you have a bit of time to watch the piece. I will be entering it into the very modest Gibraltar Visual Arts Spring Festival in some months time. If I win it will pay back some of the costs I incurred and that's good enough for me haha. Watch at 1440p on YouTube for the best quality! Thanks for watching if you do watch!!!
  8. Quite clearly the IMAX / 70mm thing is an experience people want to enjoy. It bodes well for us celluloid evangelists. I keep boring everybody with it but this all keeps us being able to shop / shoot / send motion picture film to labs that remain open.....allowing us to feed the soul with the projects we love. There is no better feeling for me than hearing that film whirr through the mag next to my ear with my eye on the eyepiece of my Aaton and seeing that flickering image speed at 25 frames per seconds.....there is no better feeling than clicking the shutter of my Hasselblad or Chamonix 4 x 5 camera knowing I have imprinted an image on the roll of film of which every frame is valued and decisions have been made before the finger depresses the button..... Viva film! por hoy y por siempre!
  9. From IMDB: "If it wasn't already crystal clear that Christopher Nolan is box office gold, that was proven in a big way over the weekend. Paramount Pictures and Warner Bros. re-released the filmmaker's 2014 sci-fi blockbuster "Interstellar" in theaters both in North America and overseas in honor of its 10-year anniversary. To say that the re-release went over well would be a bit of an understatement. "Interstellar" made $4.6 million domestically in its first weekend of re-release, good enough to place sixth on the charts for the weekend. Most impressive of all? The film was only playing on 165 screens, most IMAX, meaning that it scored a ridiculous per-screen average close to $28,000. The showings were booked solid. This is especially interesting for a movie that was a little bit divisive in its day. /Film's original review of "Interstellar" questioned whether Nolan's film was "too ambitious."
  10. The film I most want to watch….out in this part of the world 24th January 2025.
  11. hey @Tim Carroll yeah I was trying to 'fool' myself into thinking its as basic as it gets but of course there must be tons under the hood. Do you have any more information about the Aaton XTR XC??? I have the 'romantic' notion of it being a camera taken into the jungle and other environments by crews as a back up if the main cameras failed....
  12. @Tim Carroll what's your view of Aatons? I have an Aaton XTR XC which has no electronics just the battery to make it go at 25fps. I specifically wanted a 16mm camera with no electronics (assuming it would be less 'problematic') and standard 16mm framing cos I shoot Hasselblad and I love framing this format plus the lenses are cheaper. I use a beautiful (to me) Cooke Varokinetal 9-50mm T2.5 lens I shoot everything with. It's a very silent camera in my view and looks nice too!
  13. I value Ed Lachman in particular as he's philosophical about how he shoots and explains things quite eloquently....always a pleasure to learn from him....I remember reading about his work on Wonderstruck with Eastman Double X stock that struck a chord as I also found the small latitude of that film in particular on the highlights nobody else was talking about
  14. article on the Kodak website: https://www.kodak.com/en/motion/blog-post/maria/ Looks like the Pentax spot metre to me, favoured by us 'still' types for zone system application etc.
  15. very kind of you Dirk thank you. My footage came to me as a ProRes 444 though.....not .dpx files
  16. @Dirk DeJonghe send us a link?
  17. @Uli Meyer you keep creating really cool stuff my friend.....looks super...what are you up to...send us a few frames????
  18. Thanks for this @Dirk DeJonghe.....in my case though it's just me on DaVinci Resolve Studio and nothing goes out to anyone.....it's just a ProRes 444 clip in and edited and out to YouTube etc...nothing special at all. That being said I will put your settings in and ee what I think.....at the end of the day the output file is what speaks....
  19. I like to post questions like this not only to inform myself BUT also to help others and to have it on record for anyone that comes to this issue themselves...the whole point of the forum!
  20. Thanks Ludwig.....as Tyler said it's much simpler than I am thinking of making it. I have tested out exporting and watching it back on YouTUbe and I am getting what I wanted/expected
  21. Agree totally with what you say as it's what I see on my screen....and it's just one project so no biggie. I did it all in camera anyway so all I'm doing is levels and stuff for the 'log' look. That plus the filming was very basic.
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