Stephen Perera

grain is beautiful to me.....its part of my 'visual life' and I will always associate it with the eras I have lived through watching big old cinema screens in my hometown....

In my opinion the look of 16mm Kodak film is the most unique look in movies......with DCP projection obviously.....and thus I would call it THE filmic look bar none. ....digital is nowhere near looking like 16mm as opposed to digital being used alongside 35mm in many films and more successfully copied by Arri Alexas etc with all the subsequent manipulation in post. I read it all the time in American Cinematographer how DPs want to mimic film look etc when not allowed to use film for whatever budget reasons etc. For fun I watch movies and determine what they were shot on checking IMDB for confirmation. To me Arri Alexa stuff all looks the same (big generalisation but I'm sure u know what I mean) and 35mm stands out to me with colour palette mainly plus the way highlights look....65mm I can't tell the difference in the small cinema screens where I come from and less still on my TV.....but 16mm screams out at me as unique and unmatched no matter how big or small the screen. Don't pick out my generalisations and argue them but rather the spirit of the debate I am hoping to start.....

well thats my point.....16m is more 'filmic' than 35mm in MY OPINION AS A fan of cinema

a worthy project indeed look forward to seeing it in full at the end of your journey

Very interesting pdf on archival footage scanning by...... http://kinetta.com/diastor.html Summary: DIASTOR (2013–2015) was an applied interdisciplinary project developed and managed by Barbara Flueckiger.7 It was one of DIASTOR’s main objectives to develop non-destructive, scalable solutions for a variety of film materials in different conditions and for diverse color processes, including a special focus on improving the scanning and rendition of film colors such as early applied colors, Technicolor, Dufaycolor, Agfacolor and additional chromogenic processes. This research is now taken up and extended in the current research project Based on insights gathered in the previous projects AFRESA 9 and Film History Remastered, scanning was considered crucial for digitization workflows. Most scanners available are not designed for capturing historical materials but for more recent chromogenic negatives. Therefore, the present scanner study was designed to deliver insights into the material–scanner interaction for a variety of color film stocks, from early tinted film to more recent chromogenic stocks including reversal film. We decided to collect a selection of reference materials, to investigate the technical details of scanners currently on the market and then to test a selection of the most widespread scanners in the high-end domain, currently in operation at archives and service providers for the digitization and restoration of archival films. Our goal was to provide a well-grounded framework for archives and film labs to select scanners according to their needs with a special focus on capturing certain film stocks.

haha yes, this is for me the 16mm v 35mm debate as a cinema goer, Im nowhere near anything other.....what Im saying is arri alexa footage gets thrown in with 35mm and 65mm in Christopher Robin for example and nobody other than people like David Mullen can tell the difference due to the grading etc but 16mm in my opinion is the most distinctive look out there that digital just can't match Spec on Christopher Robin: Arri Alexa SXT, Panavision C-, E- and G-Series Lenses Panavision Panaflex Millennium XL2, Panavision C-, E- and G-Series Lenses Panavision Panaflex System 65 Studio, Panavision APO Panatar and Sphero 65 Lenses

good post thanks for this

.....also agree its fantastic.......have a look at this.....

I stand by what I said a long time ago.....16mm is THE look of film.....digital looks nowhere near what 16mm looks like

Really enjoyed this film and the look was spot on for the 'message' and vibe of the movie in my view....check it out: https://www.imdb.com/title/tt5613484/?ref_=nv_sr_1 No word of which cameras or lenses were used....

Love film as u know.....can u explain what this is all about though I don't know what cosplay and fandom is and who these people are and what they do....haven't seen this in my part of Eurooe....other than not knowing what this is all about i love the look of it and the filming

light meters all the way....you will feel better and more empowered for it too....not only that but film handles highlights way better than digital so meter for the parts you want 'lit as you imagine it'...added to that the dynamic range of film and you will do a great job if you get it scanned properly too....zebras, monitors and film unless you test will be off I would imagine.....

for sure lets see pics!

well, I have long held the belief that in this day and age 16mm is THE look of film....its unmistakable and unquestionable in its look....Moonrise Kingdom, The Last King of Scotland, Anthropoid, Black Swan, Mother!, The Wrestler, Beach Rats, Blue Valentine, The Hurt Locker, Walking Dead (series), El Mariachi....etc etc etc

reminds me of the Kodak TMax photographic negatives......its the familiar pink/purple stain on the negative.......nothing new to what Im seeing with yours......Fuji's magnificent Neon Acros 100 washes and dried clear....Ifford's superb Deltas are clear too.....

Thanks Adrian appreciate the comment!

Hi all, would like recommendations for individual 4 x 5.65” or 4 x 4” ND filters for use with film camera mainly (Aaton XTR 16mm (standard gate) with a Cooke Varokinetal 9-50mm on it) Price range: maximum 350 dollars / £300….looking to cut 4-5-6 stops….. Haven’t got a clue whether IR or FS ND filters would suit me better cos all the marketing is now about 4k, 6k bla bla bla high end cameras Being old school, Schneider appeals to me as a brand…..just cos I have their lenses on my 4x5 Sinar camera and darkroom enlarger but nothing more…..could not argue the case for any brand…..have been using variable ND filters until now…... Thanks in advance…..also posted this question on Geoff Boyle's forums haha

...the problem is i have a 2 hour slot to set up and shoot that's it! the rest of the piece is very moody and colourful so i will definitely go more Barry Lyndon vibe......I even have to go buy the candles haha.....

hahahah loving it!!!!!!!!! thats a great idea about the 'sounds'....this place is amazing: The Convent has been the official residence of the Governor of Gibraltar since 1728. It was originally a convent of Franciscan friars, hence its name, and was built in 1531, and heavily rebuilt during the 18th and 19th centuries. The dining room at the Convent has the most extensive display of heraldryin the Commonwealth of Nations. After the capture of Gibraltar by an Anglo-Dutch fleet in the name of the Archduke Charles, the Franciscan friars did not follow the exodus of the Spanish population and remained in Gibraltar, at least for some years (their presence was recorded in 1712).[5] The Franciscan friary was later taken over as the residence of the British governors in 1728 and has remained so ever since. The building was heavily rebuilt during the 18th and 19th centuries in the Georgian style with Victorian elements.

I'd go ambient light and hang a space light on a boom above the actors for a bit of facial definition but keeping the vibe of the place...they're not sat by the windows so you expect a bit dimmer light

....I'm shooting this space and was wondering how you would light it....... ..these are my lights....this is it apart from reflectors etc 1 x Arri L7-C 1 x Arri 650plus 1 x Multiblitz V6 xx Candles on the table I'm shooting on 16mm Kodak Vision3 250D or 500T There are scaffolds outside the windows so the shutters cant be fully opened...the measurements I noted on the image are with the light meter set at 500asa - 180degree shutter - 25fps The main reason I am there is to shoot the crystalware on the table as the client has supplied it all. The image you see is the banquet hall of The Convent, the official residence of the Governor of Gibraltar since the 1700's......an amazing place....... any ideas would be great.......I want to light it moody and colourful...I have some ideas but wanted to know what you guys would do I'm going to run the camera on a dolly track alongside the very long table that measures over 7 metres as one filming option.....

what I still thinking debating is whether to go with 250D or 500T stock....my shoot date is Monday July 2nd...would appreciate someone commenting

Indeed Karim I will go moody and put light through the table and crystalware......i am ordering double-wick dinner table candles a la Barry Lyndon haha...the good thing is the windows have shutters I can keep closed

.....so I either go simulate light coming in off the windows and making it brighter or Barry Lyndon mode moody and atmospheric with the candles lit and bouncing light in here and there

light levels notes.....180 degree shutter......25fps.....at 250asa to make things worse there are scaffolds outside that wall where the windows are cos they are fixing the roof so the shutters can only be partially opened hahaha