Stephen Perera

so cool haha I have this old Ilford darkroom book thats really great

I want for the affordable SACHTLER Ace matte box...does the job and cool styling

really enjoyed the Trailer Duncan haha bet u had fun shooting it

Buster Keaton....a master....watch his complete films on youtube.....masterful.....

good luck with the Aaton....love them!

enjoyed the footage

...thanks for the feedback Mr Mullen....I'm mixing 16mm 50D, 250D and 500T personally...... ....it's interesting how everyone goes on about how democratising digital is well I think film is just as democratising in another way cos we buy exactly the same film as big budget Hollywood does from Kodak - they don't run 'special' film stocks for them.....AND we can use the same labs.....I send my film to Cinelab London....e.g. they did Mission Impossible - Fallout AND my 16mm footage at around the same time last year using the same machines.......

Shoot done and it was EXCELLENT FUN......brought in my ole timer 'maestro' and another old school photographer friend to enjoy playing about with the set up and lighting....we had our light metres out and compared notes as one does.....discussing the implications of being half to one stop one way or the other with the film stock (and we've never even used 250D before!)......you don't know the fun you're missing you 'false colour' and 'scopes' lovers Day one the sun came in off the huge windows and looked fantastic on the glassware.......so went for that look and then day 2 cloudy....so went for a candlelit vibe.....nowhere near as cool as Kubrick did it needless to say but we liked what we saw!!!! we lit to get base exposure up to lens aperture T2.2 and then let the small candle flames do their thing all the stops over....... 100ft rolls? they work great on Aatons......when done I stick them back in the black case as is WITH the white take-up core on them......the film is nice and tightly wound and I've found it travels well with no issues as I do it.....the edges of the film are not scanned so no need to be so paranoid with the few mm play inside the box.....I've handled and processed film for 35 years in still photography and its hardy stuff...... BTW - Film will be done on an Arriscan at Cinelab London at 2K full gate

excellent post love it...so you're working on 'Sorry We Missed You'....love his work...what an honour.... Would be cool of you explain exactly what you do and on what etc for us the masses

Shooting next week with Kodak Vision3 250D standard 16mm format inside a beautiful, historic banquet hall (see attached image).................at last! I was scheduled to shoot last spring 2018 but.....em......they took the roof off the place to repair it. This place was originally built in 1531 by the way!!!!! The client is Gibraltar Crystal and I'm filming what they produce laid out beautifully on the table with some coverage placement shots of the room to cut in on the edit for interest. This is all part of a glassblowing film thing Im doing to display within their factory on a TV screen. Now.....I want to go more Barry Lyndon and have the candles burning and darken the room down shafting diffused light down the table perhaps to create loads of interest and do a dolly track move alongside it....all obvious stuff.....it is what it is...... So....my question is......what latitude have you all found with Vision3 250D stock. I've used 500T and it sees into the dark beautifully in my experience rating it at 500 asa.....I love the grain so no comments on that.....but I have no more 500T and have 2 x 100ft rolls of 250D to get this done. Will do light readings with ambient and spot meter to see what the candles are giving out but likely I'll take ambient down to f2 or thereabouts (i can close shutters and make the room dark)...... Shooting with a beautiful Cooke 9-50mm Varokinetal T2.5 standard 16mm lens on aaron XTR XC (the no electronics one...doesnt even say how much film has run through other than the mechanical 'indicator' on the magazine which for 100ft rolls means i have to think in my head how many secs I've done hahaha)

Cuarón on the Hollywood Reporter thing on YouTub talks about the waves shot after Spike Lee asks how he did that shot..... ...he tells Spike lee it was one shot......

Cuarón's interview about choosing the Alexa 65 to shoot in black and white and his wanting it to be 'a vision of the present looking at the past' and not choosing to use film cos didn't want to give it a 'nostalgic look' even though he loves film......thats interesting......but doesn't make sense to me........this also brings to mind Storaro and his Sony camera thing......Wonder Wheel on digital - the make up on Justin Timberlake wow u could see it caked on ........do you think the big companies 'sponsor' the 'big guns like this to shoot on certain cameras over others? does this happen with cinematographers on that level as it would with say sportspeople to use their brands? yes i know im too much of a FILM advocate im boring myself with it now hahahah

....it's interesting to hear what people out there think about subtitles

Just come across this and its great viewing....particularly a chair rig they mounted to move a cameraman backwards up stairs (no steadicam yet) at minute 9:19

I'm bilingual in English / Spanish and even though there was a dialect spoken at times I could enjoy the film without having to read the subtitles......do you think (not spanish speakers) flicking your eyes up and down from text to image detracts from the experience or not?

I also think excellent director debut by Jonah Hill, he obviously learned from Scorcese, Tarantino, Coens, etc so hardly surprising......loved the aspect ratio too.....the best for watching a film on an iPad Pro for example hahaha how ironic

The zone system - tons of material out there......personally I like Mark Vargo ASC videos to explain the basics of metering plus other stuff in general: Using a light meter is exactly the same for 'stills' as for 'moving images'....light is light (personally, i think in f-stops not foot candles or lux - I can't relate to those vis a vis a lens on a camera) Obviously things move in 'motion picture' thus u have to account for how the light changes when someone walks from point A to point B for example....do you want ur character to walk from the shadows to the light in which case you need to know what you are setting up your camera for......its common sense and I dont want to insult your intelligence. I'm not a cinematographer like a lot of people here but i have been photographing on film for 30 years using light meters and recently 16mm Kodak Vision3 on an Aaton 16mm movie camera with a beautiful Cooke zoom lens and metering for me was the same in terms of how my mind worked. For you, at this stage, it really is as simple as getting ur digital camera (I assume thats where you're at) and metering light and seeing your results. In time u will use the meter to get what you want. All this 'false colour' and 'vector scopes' on monitors etc don't talk to me like a light metre does. well done for getting a light meter

the big one is mastering spot metering...ambient readings are straightforward....ish.....with spot metering I use the zone system and that will blow your mind at this stage.....this comes from still photography Ansel Adams etc system.....loads of material out there for all this......Im sure you have already been at it

loads on youtube...how about this.....

no big deal.....run the daylight on one side and put the core on the take up side then stick in a black bag......just ask the lab for black bags......Cinelab London sent me cores and bags for projects......

David, Love Witch, for example, for me you nailed the the technicolor thing....the saturation and contrast, brightly lit faces and scenes...the Vistavision vibe.....Im sure younger audiences related to it in different ways to older audiences....the former through Instagram filters looks for example and the older like myself the old Technicolor films.....Love Witch for me was certainly a 'visual tone poem' as you say. Funnily enough I watched the first series of The Marvellous Mrs Maisel before I realised you were on it but for me that has what I call the Arri Alexa palette and look...... Have you seen Season 1 of the British series 'Call The Midwife' shot on Arriflex D-21, Cooke S4 and Angenieux Optimo Lenses (IMBD info) that's a lesson on how to diffuse sunlight if ever I saw one hahah and a huge 'tone poem' as you put it.....

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