Stephen Perera

thanks for the comments.....well, Cinelab did Phantom Thread so I think they are good enough for me hahahahahahahah

Just come across this which is really interesting I think....with commentary by director/dp etc Paul Thomas Anderson....loved the film by the way..... https://www.youtube.com/watch?v=7VJl8Tk91MY

....so its looking like I'm going to go with Cinelab in London (daily flights between Gibraltar-London) as soon as I figure out how to get the reels over without fogging them! so now I have options in terms or pricing for 2K scanning... In order of price: Goldeneye 2K - £10/min Spirit 2K - £15/min *HDR Scanity - Arriscan 2K - £25/min *They say this is their newest machine Spirit 4K - £45/min HDR Scanity 4K - Arriscan 4K - £75/min Is there anywhere I can see results of these scanners (Vimeo links?) with 16mm film OR can anyone talk about them and give me their opinion on what to go for..... I'm hoping to hear 'the difference between the Spirit at 2K and Scanty is huge' OR 'there is a negligible difference go for Spirit as cheapest' and such like comments My first choice would have been to send it all to our friends at Cinelab Boston but the unprocessed 500T film would go through too many X-ray machines at airports

thanks for everybody's comments, yes I know ocho y pico's work.....translated that means 'eight and a bit' haha...they really have nailed the quality of Super8mm that's for sure......

Latest news is for the next rolls I'm going to use either: 1. Cinelab in London for processing film and 2k scanning on a Spirit.....have to think about airport xray machines for the 500T Im using.....if they did Phantom Thread I dare say they're good enough for me hahah 2. Or AugustusColor - Roma, Italia via my kodak supplier in Spain who represents them.....they have Telecine with Spirit or Arriscan at 2k.

I have the Sekonic 858 and love it......previous light metre is GOSSEN Mastersix.....you get used to the touch screen and the boot up time and all the rest of it.....no gripes at all with it to be honest.......and there's nothing better than a combo incident and spot meter..... .......sometimes i even take it out for fun, with no cameras (I'm 90% still photographer - Hasselblad V system + film) and test myself on light readings....i.e. i analyse the ambient light and check with the meter if I am right.....hahaha yes, no comments necessary....

argh I really have to find a good lab in Spain cos sending out 500T film through airport X-rays etc etc to UK or US would be a hassle......esp with the paranoia of our modern world

thanks for the positive comments.....yes the client liked the dit i did as a proof of concept and it got the job approved so thats the main thing.....now i have to find the correct lab as clearly everyone is of the same opinion as I am that I didn't get back the quality I could have (regardless of my camera work and lighting) in processing/telecine...... am indeed going to check out Gauge Film lab in the UK.......

Thanks for all your comments and help......

yeah Cinelab in Slough is on my radar.....you dal with them? or should i ask....who do YOU send ur rolls to ?

Hey Mark......for sure need to send the 100ft roll somewhere else get a comparison done......e.g. get the first 10 seconds done on the latest tech Telecine machine like the SPRINT (is that its name?) and 10secs 2k scan and 10 secs 4k can....... London is a good option for me as flights every day from Gibraltar-London and DHL is not expensive to use with a small 100ft case......can you recommend a lab in London or UK in general?????? I got this off Kodak.....but would they do a bespoke test for me like I want????? ​ Kodak Film Lab London The Ken Adam Building, Pinewood Studios Pinewood Road, Iver Heath Buckinghamshire. SL0 0NH ....saying that there MUST be a latest tech lab in Spain.......OR I could send this to BOSTON to our friend!!!!

This is the edit I showed the client: https://youtu.be/tjaD7L3EkR8

thanks a lot for taking to time to watch this......this was a 100ft roll yes......the light leaks cant imagine how it could be me as I never took the lens off to check for hairs and i taped the magazine big time!!!!!! I also cant imagine it being a fault of the changing tent when i took the film out and put it in the box...... YES the client commented that he loved the 'flashes' and stuff......another friend at home whom i showed it too said wow really cool film filters u added hahahah...then i told him it was REAL film ...should I send the roll to another lab with a Sprint instead of the Tobin used to Telecine it and see how it compares.....??? i guess I could also ask to see like 10 secs of 2k and see how it all compares.....the opening scene of the man would be the perfect segment to test......

Hi all, a continuance of the thread but this time with the Telecine they sent me. I want to know how bad/standard/great the Telecine is...... I have saved as a smaller file but visually the same perceivable quality as the file they sent me.....I have also colour corrected the hue......this is a test roll I shot on location with a 100ft roll of Vision3 500T. Camera is an Aaton XTR XC (no electronics at all) and Cooke Varokinetal 9-50mm lens...shot in standard 16mm My comments I cant believe for a second the footage was that dirty in camera......there's an abnormal amount of 'debri' and flashes in the roll......BUT of course I stand to be corrected and would appreciate anything and everything you can think of....... Link1 (original Telecine) Password 'crystal' https://vimeo.com/261796993 I run the footage in Photoshop and cleaned up all the debris etc then saved it as a .dpx file for DaVinci Resolve. The good news is the client loved the retro vibe and I have green light to shoot the project on 16mm as I planned....he said 'the look reminds me of Taxi Driver when De Niro was driving around at night and the camera was on him'......cool with that!

right, i have more information......they do the telecine etc on a Tobin for 16mm and 8mm with a 1920 x1080 resolution.....file becomes 10 bit 4:2:2 ProRes

the biggest turn off for me was the make up being very very very visible make up....shame Storaro is now so enamoured with Sony digital.....its far too pixel perfect

I really enjoyed the film....regardless of the controversy surrounding Woody Allen these days, taken at face value I think he's a genius storyteller and I watch everything he does......add to that Vittorio Storaro and it becomes a must watch for me...... Film rating from me all things considered a very high: 8/10 .....but, looking with a technical eye 2 things of note: 1.did anyone else think the make-up was too apparent on the actors in parts...it was almost as if that mystical veil of secret sauce that makes a film look cinematic was lost in the photorealism of the digital medium used..... ......this should have been shot on Vision3 in my opinion......the capture was too realistic at times... 2. Storaro's penchant these days for CSI Miami saturation look as also seen in Cafe Society is artistic as opposed to realistic - opinions???

thanks for the continued support with comments appreciate it......cant wait to see this footage!

ah good point...well.....nothing more to it than wait and see what i get!!!!

Thanks Perry........ ......thankfully nobody's saying 'NOBODY uses Telecine these days its only for editing before rescanning the film'.....so there's hope! I really hope the Telecine is good enough quality (my budget!) for the max size it will be viewed at......I just hope it doesn't look like VHS tape when displayed on the TV!!!!!!! if I can get by on Telecine HD then its down to me to frame things properly and shoot it all properly which is a challenge I accept! I'm going to run the footage through DaVinci Resolve before outputting an edit for the client to watch.....I need the green light from them to carry on filming.....they want to see 'my vision' for the piece....I sold them on using film due to the nature of their product.....the thing is when I film their production stops so it has to be purposeful!!!!

Thanks for taking the time to answer Robert....so you're saying there's no reason why the Telecine HD footage (not 2k scan or 4k scan) can't be used for the final piece as is????

....my first EVER footage shot on 16mm is coming back me via certified post tomorrow or the day after.... ...the footage has been Telecine'd to HD size and exported as ProRes 422 on a pen drive.....its coming to me clean of timecode marks etc so I can use in the final edit...... My question is......does anyone use Telecine for final piece edit? Obv its to save money on 2k/4k scans that I ask.... .......the final piece will be on social media and at its largest viewed size on a 43" TV at the factory for tourists to watch when the master blowers are not there making glass at the time OBVIOUSLY all I have to do is watch the footage on the mentioned TV and make a decision but I wanted to know if people in my budget situation use Telecine in final edits Tech details Film: Kodak Vision3 500T Camera: Aaton XTR XC Lens: Cooke Varokinetal 9-50mm Format: Standard 16mm Client: Gibraltar Crystal Footage: master glass blowers making pieces at the glassblowing factory to edit into a piece for marketing purposes and for walk-in visitors to watch

thanks for the replies so far The lab told me, and I translate.....its a watermark that in this case they are not going to add......Im getting it back as ProRes 422 HD

thanks for this! Yes the lab are going to send it back ProRes so i can use in final edit if i want...... I am editing myself in DaVinci Resolve.....can anyone describe this EDL process in DaVinci vis a vis going back to scanning????

Hi all.....could somebody take some time and describe the step by step process, options and language used for when film goes back into a light sealed can/box after shooting it and is sent to a lab...... honestly.....make it 'digitising film for dummies'....don't blind me with science, hit me with analogies and commons sense explanations...... In my case.....I shot a small roll and sent it to my lab in Spain retrolab.eu who are going to 'telecine' my roll 'without codes' so i can use the footage in the final editing if i want - explain what that means and the implications..... ......but is Telecine widely seen as low cost 'proofing' for editing purposes before the film to goes back to be scanned in segments wanted at 2k/4k e.g. please Mr Lab scan this segment from minute 1':23" to 2':00" at 2k......and then from minute bla bla bla..would that be an instruction? ...and finally, seeing as same Kodak 16mm film stock goes into Matthew Libatique's cameras as in ours what differentiates the perceivable 'quality look' of his films compared to the 16mm footage we see on YouTube that looks like badly filmed VHS tape footage..... Is it the 1. camera/lens combo 2. lighting 3. post grading etc 4. scanning resolutions 5. all the above To put this into context i shot a 100ft roll as a start to a paid project in standard 16mm format with Kodak Vision3 500T on Aaton XTR XC with Cooke Varikinetal 9-50mm lens