Stephen Perera

3 hours ago, Scott Pickering said:

Tyler- Are you sure this is a "One OFF" for B&W 65mm? I contacted Fotokem and asked him this very question. This is what was said:

"Hi Scott,

65mm black and white negative processing could be reestablished on a large enough project.  It’s a huge undertaking each time we switch the 65mm negative processor over to black and white.  We have never established 70mm black and white print processing - that was not possible for a number of reasons.

Andrew"

 

So this comment above suggests they will do it, if the amount is enough to merit switching the tanks all over again. I also asked what process they used to copy over the B&W segments to the color print stock, since doing just that usually looks not as good as printing to a B&W print stock. I wondered if maybe the B&W was scanned, manipulated for color print output, and then laser printed onto color stock. Nope. It was optically printed direct from the camera negative to color print stock, making sure the color was as neutral as possible.

"The black and white negative is contact printed onto color print stock.  We worked hard to maintain the neutrality of the image, through color timing and processing control.

Andrew"

Very informative and yes my own personal opinion was if they pay for it then obviously it can be done again hahah.....it's a change of chemicals....Kodak D96 and Fix F5....also for Kodak to cut 70mm film isn't exactly difficult for them either......film is produced in large sheets and then up into formats no? so what's the big deal really....other than hype and marketing value.....maybe im wrong

I'm film evangelist as some in here know haha.....I find people around me are always really interested to hear about films being shot on film or digitally and I ask subjective questions such as whether they feel the actors are playing dress up or have we been transported back to the era (if applicable) and then I explain things......its great....people are very open to artesanal ways of doing things and they value industry/art etc such as shooting on film presents

the time has come...or nearly.....I'm going to travel up to Barcelona and stay a couple of days and watch a 70mm film projection of it methinks.....it will not be shown in Spain in IMAX 70mm format.....it will be shown in digital IMAX

4 minutes ago, Giray Izcan said:

It doesn't have to be linear but a story would be nice.

yes of course.....I didn't much understand The French Dispatch half the time but enjoyed watched it

27 minutes ago, Giray Izcan said:

His recent movies feel like their only concern is to create a world and visuals without a plot or a story. Moonrise Kingdom and the Grand Budapest Hotel were the last great ones - in my opinion of course.

I would agree with this somewhat....perhaps his next one takes the 'criticism' from us fans on board and he hits us with a great story. The Wonderful Story of Henry Sugar is next...shot on 16mm...perhaps this one has a more linear storyline more of us can follow

2 hours ago, Abdul Rahman Jamous said:

watched the trailer, absolutely hate it!

don't get me wrong I enjoyed watching Anderson's movies, Moonrise kingdom an absolute master piece. I didn't watch "The French Dispatch" but I remember that the movie had a very exciting trailer. but watching this trailer felt that I'm watching a stop motion movie, the composition felt very much like the isle of the dog. the character of the film felt like robots. the trailer didn't work for me.

Moonrise Kingdom is also my favourite so far....one must watch a film to talk about it though haha

I also left unfulfilled in terms of the plot and understanding of what I saw but in simple terms it was an existentialist piece and as such open to interpretation

so did you buy it then?

I saw it again in original language and I really enjoyed it. It lost a LOT in translation. Anyone else seen it?

Has it become less about cinematography and more an 'art director' 'production design' masterpiece?

will definitely watch it when possible....it will not release anywhere near me so I have to wait for it to be available

....as Robert says, just loosen the screw on the spindle (see image) and lift it off...you will be left with a much thinner, metal spindle onto which you place your 100ft daylight film easily.
The take-up is with a plastic CORE and NOT on a daylight spool

Although called a daylight loading spool I load it in the dark the same as with 400ft spools....

Thanks Tyler Purcell for the Perfect Loop....so simple....perfect! received today.....

For those that don't know what it does well it simply creates the 'perfect loop' of the film when loading the Aaton magazine, traditionally done by using our fingers...two of them,...but hey I have small hands and slim fingers.......which can result in a loud magazine and inner magazine accidents if not looped correctly.....

so....what do we think after watching it???????

I saw it in the cinema in Spain, in Spanish - could not wait to see it! so will hold off my review until I watch it in the original language.....I loses everything in translation I think...

Its on the cinemas here in Gibraltar in English language as from tomorrow

9 hours ago, Jon O'Brien said:

Epically cool, Stephen. Love that big chunky Sachtler the Aaton is on too.

Hey Jon, yes the Sachtler is a lethal weapon in the wrong hands hahahaha

I bought this model as it was the most manual.....I don't want a video tap and I don't want any electronics.....I want as much of a purist experience as possible...the most similar to shooting a Hasselblad. I LOVE the standard 16mm format and I'm glad I didn't pursue my initial thoughts of converting to super 16mm. I also don't care about PL mount. I can use Arri-B, Nikon F and M42 lenses on it. One can get carried away with what the 'industry' uses only to forget one is nowhere near the pearly gates of said industry but oceans and continents away haha

In lockdown my batteries died...my fault....but Tyler Purcell has rescued it with an 'adapter' (for want of a better word but as such one that belittles the importance of it!) for modern batteries!

here are my two loves

or.....as Emerald Haywood said in NOPE

“Didn’t I tell you this motherf*cker is gonna come up here with a nonelectrical camera, let’s go, boy!”

looks great.....I have the XTR XC....no electronics other than the battery!

I'm by no means qualified to venture a resolution but let's disqualify the obvious.....
1. how are the magazines seals looking? anything pinched on there in the rubber? 
2. are you taping up all the 'seams'....

When this happens on Hasselblad photography camera magazines its a problem of the 'seals'

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."

On 5/21/2023 at 9:12 AM, Simon Wyss said:

Different opinion here, about technique. Had you had a contact print made the highlights and the fine shades of bright could have come out. When scanned the grey base of the negative covers these portions.

Content is beautiful.

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