Stephen Perera

As part of my usual, annoying to some hopefully not, film evangelism.....here's some information about Cannes this year....taken from the Kodak website. "Kodak Motion Picture and Entertainment is celebrating thirty productions shot on film at the 2023 Cannes Film Festival. Four on-film titles, Asteroid City, Fallen Leaves, La Chimera and The Old Oak, will compete for the Palme d’Or, with an additional three titles featured in Un Certain Regard and ten titles across Directors’ Fortnight and Critics’ Week captured on film. 2023 also marks the centennial of 16mm film, and as proof of the format’s continued relevance and popularity, eighteen of the on-film titles at the festival chose 16mm as their capture medium. Out-of-competition productions Maïwen’s Jean du Barry, Sam Levinson’s The Idol, Martin Scorsese’s Killers of the Flowers Moon and Steve McQueen’s The Occupied City were each captured on KODAK 35mm film. "Congratulations to all of the motion picture artists whose work has been selected for Cannes 2023," said Vanessa Bendetti, Global Managing Director of Kodak Motion Picture and Entertainment. "To have so many shot-on-film productions screening and competing at the festival this year is undeniable testimony to the intrinsic value of the film medium and those who create with it. It is Kodak’s distinct honor to partner with these filmmakers to help bring their artistic visions to the screen."

I find Double X to be of tighter latitude and requires good metering. Overexposure is to be reigned in especially.....it's kind of like shooting with slide film that you're watching blow outs on highlights as opposed to exposing for the shadows and forgetting of the highlights.....depends what you want of course........exterior shooting is more critical when it's high contrast.....that's just my opinion.....I think actual cinematographers give it 1.5 stops either way of latitude and I would agree..... I love Double X for interiors though.....the interior stuff I had natural light come in off the window - shot at specific times to get what I wanted.....plus an Arri 300w tungsten clamped to a shelf to fill in some bits......that's it.....

thank you for the nice comments......interesting about the contact print.....I have zero experience of that.....shoot it, process, scan it is all I know

I entered a local Ministry of Culture visual arts competition a week ago…..and I won the ‘video’ category with this piece (originally just intended as a family heirloom). I re-edited the footage processed for me by Cinelab London in DaVinci Resolve. Not many entries from our 33,000 population, so not exactly a Cannes winning equivalent haha but the prize money will be used to shoot something else on my beloved 16mm film. Watch in 2K if you can. The grain is a bit sludgy no thanks to YouTube…..and no I will not be adding ‘award winning cinematographer’ to my legend hahahaha wtf as if

Buena suerte Diego que vaya todo bien

Everything looked great to me….great grain and great exposure all round…..the story is up to personal taste thereafter…

Still to see this film but I will……always good to create a thread of all the big films

Vintage Sony VCR-4 Telecine Adapter and HVT-2100 Titler - in original boxes after minimal use (single project from new) for sale: any interest amongst community members message me.....they are not mine, they were my uncle's and would sell on their behalf if anyone is interested. https://van-eck.net/en/product/sony_vcr-4_telecine_adaptor_/

No VFX at all in my stuff it’s all one man band. I will stick to the default colour settings in DaVinci Resolve I think as ACES is a bridge too far for anything I will do that’s for sure and will probably frustrate me as much as ColorSync did back in the day when designing for print and dealing with colour photography scans on Apple Macs via Photoshop or whatever it was back in the 80s and 90s. I wasn’t even aware you had to put in an input profile for film scans…..I always get .dpx files that magically appears intact as one video file after importing.

very kind of you to share this….much appreciated!

very very interesting thank you.....my father was a projectionist of 16mm films for a little film club locally that used the theatre where he worked that also had book library and a record library.....so I remember him using the splicer and the glue and I was with him in the booth often......

thanks Mark appreciate the explanation

Ive just realised I don't know what this is used for please explain!!! other than it looks good!!

Aatons are superb...great form factor, easy to load

Interested to hear about colour management 'tips' importing Kodak Vision3 footage into DaVinci Resolve and using, or not, ACES or DaVinci default colour management Thank you

excellent to watch thank you!

How does using expired motion picture film compare with photographic film?.....I use expired Kodak Portra (as an example) from 2012 without any problems....I don't even add another stop as I shoot as normal....

I remember once I had 16mm film go off the spool inside the magazine loading side and rattle around about before I stopped the camera.....I placed the magazine inside a loading tent and first of all 'cut' the film that was loose with my fingers......I rolled all this loose film back up onto the spool and inside a light proof box.....then I loaded the rest of the film back on another spool and loaded it again...in the end I sent the lab the 400ft roll in two parts telling them what had happened.....all turned out fine.....footage was fine..... I can relate to this more with loading photographic 6 x 6 film onto Paterson spools that somehow, even after doing it 4 million times you somehow daydream and it doesn't want to load and the temp inside starts getting noticeably warmer and mure humid haha......this happens more with expired film that's been wound up tight for a long time..... I have found film to be tough and not that easy to scratch or mess up with dry fingers and normal fingernails haha I would imagine film with remote to be even tougher than photographic film that does not have any......at the end of the day I have a lot of experience handling photographic film in the dark so that helps when handling motion picture film I guess

looks great! thanks for posting

Looks great!

hahaha its cos I don't want to watch any trailers etc that I didn't notice hahaha

My preference is never to shoot 16mm film different to 'box speed' if I have enough light for it that I don't have to 'push' Shooting 500T at 1 stop overexposed you might as well shoot 200T, notwithstanding proper metering and lighting of course....if you want muted and lifeless shoot on a dull overcast day outside.....if inside then kill all the sharp edges of shadows with loads of diffusion...use baking/oven paper over your light/s held with a clothes pegs for a cheap solution......the limitations make for more imagination for sure! Needless to say listen to David Mullen ASC over anything that comes from me haha my experience is film photography mostly but really it's the same thing....Portra 800 and 500T have the same vibe and the former is the film I use for all my professional work these days.

Saw it too....made me smile to see the kid shooting perfectly lit, in focus, Super 8mm shorts esp. in really low light. I was 'sighing' at first thinking how 'schmaltzy' but then it took a sharp turn into 'failed marriage' territory and all the collateral damage it causes plus loads of other nuances that maybe only a divorcee...like myself with two boys (now 19 and 21) could well relate.....bravo for an excellent film though. Very much enjoyed it and it was shot beautifully of course with that texture we love from celluloid. I don't think it deserved any Oscars, despite its 7 nominations...

removed as useless haha

Well let's start talking about it why not....Aspect ratio 1.43 : 1(Film IMAX - some scenes) 1.78 : 1(4K Blu-ray - some scenes) 1.90 : 1(Digital IMAX - some scenes) 2.20 : 1(70mm and Digital) 2.39 : 1(35mm) Camera IMAX MKIII, Panavision Sphero 65 and Hasselblad Lenses IMAX MKIV, Panavision Sphero 65 and Hasselblad Lenses IMAX MSM 9802, Panavision Sphero 65 and Hasselblad Lenses Panavision Panaflex System 65 Studio, Panavision System 65 Lenses Negative Format 65 mm(also horizontal, Kodak) Cinematographic Process IMAX Panavision Super 70 Printed Film Format 35 mm 70 mm(also horizontal, also IMAX DMR blow-up) D-Cinema