Stephen Perera

Thanks for all the tips as usual and yes fresh film is the answer this roll ihas had its day....

Vive la difference i say...just look at the beautiful kodak colour palette in Viceroys House film....watching it now and it is so distinctive and unique....I've scanned a lot of film and it's like the KODAK PORTRA 160 NC colour negative film....same colour palette....PORTRA probably bronze from the Vision3 family I guess no?

..and this one....

thanks as usual Tyler...this is my dummy film...been used countless times.....I'm wondering what this tells me.....I can't see 'scratches' as such.....

I have dummy film and I practice loading etc and I am wondering what I need to look out for in a proper scratch test when the time comes..... 1. Scratches or marks on the emulsion side only? (yellow side) 2. What if there are 'rubbing' marks on the other 'dark' side? or should there be NOTHING on either side? In other words what should I look out for?

haha looks great man!!! for sure better build than anything for sale out there!

the issue I have is in the framing for a wide format such as required in this case for in-store TV monitors.....e.g. glassblower...keeping his head in the wide frame so to speak as opposed to allowing space above and below....I'd rather somehow have an indication of the crop.....Im thinking of getting some magic tape and somehow cutting out a mask window...

sounds silly, and Ive asked before but you would frame a shot inside the thick black line of the ground glass image I attached right??? the corner marks further inside are TV safe guides I take it

yes of course the central part of the lens is where the quality is thats a fantastic reminder!!!!!!!!! top tip!!!

somebody suggested to me to use the upper portion (mentally) where the first 'cut' on the thick line is.....I was wondering whether I could do anything 'physically' to mask

I've just been commissioned to shoot a 'short' of a client's crystal blowing business here in Gibraltar (they create beautiful stuff using traditional glass blowing techniques) on 16mm but they want to show it on their large TV's inside the shop apart from social media advertising of course...obviously we're talking widescreen TVs here, the usual 16:9 format.....I don't think I will be able to talk them into 4:3 format to be honest..... I don't have the money or inclination due to the cost to convert my standard Aaton 16mm to super16mm (changing the gate and ground glass and all the rest of it) as you all know as I've been boring everyone about my camera of late..... .....so.....aside from framing using the upper portion of the ground glass frame lines (as someone suggested on another thread I created) is there anything else I could do???? e.g. to physically mask....somehow.....my viewfinder accurately???? Its framing the shots as I shoot that I am concerned about not masking the final piece in the editor software.....I'm really really into framing off the camera not in post any and every tip more than welcome.....will start filming in January so I have time to come up with a plan....

Liking the camera pics....I have the Coca Cola LITE versión Of the Aaton Tyler has but you have to like that Cooke Varokinetal 9-50mm lens on it

thanks yet again my friend Tyler

oh yeah thats a sexy looking piece Samuel hahaha this is going to turn into a 'camera porn' thread now I think they call it that no? haha

...just to lighten the mood....this looks nicer than any digital camera at least no??? hahaha

well at least you saw it so u can talk about it haha

this is exactly it for me David, I'm 51 years young...it's the emotional connection one has to what a film looks like.....who can forget the look of French Connection...The Godfather.....Apocalypse Now....Blade Runner......Alien......long list.....

ahhhh of course...got it....thankssssss

thanks for taking the time...I don't understand what you mean by the following....filmed separately??? i only have the one camera with the film on it...perhaps take digital at the some time to catalogue stuff ?

...so you shoot your film send it to the lab and you get your 2 reels of 400ft back scanned (Telecine HD or 2k etc) into this one video file (with no sound obviously)..... .....how would you use a clapperboard to help your workflow on an MOS timeline? The only thing I can think of is for faster scene identification...i.e. you visually see from the appearance of one clapperboard to the other that you shot xxxx scene in that time so you can produce your cuts based on your script any advice on the 16mm to scanned film edit workflow welcome!

The Walking Dead is 16mm... .....anyway personally nothing in digital I have seen has the colour palette of film.....Kodak Vision3 emulsions in my eyes as a cinema goer has the same palette I have seen using Kodak Portra 160 in photography......the skin tones...the greens...the reds.... For fun I always try and predict what is shot on film or not and then I check it on IMDB.....I'm right most in 90% of cases..... I am petty good at identifying whats shot on Arri Alexa these days as it all looks the same more or less hahhaah...ironic I like this page: https://reelfilm.kodak.com/shot_on_film

I would mention the use of split diopter too.... http://nofilmschool.com/2013/10/deep-focus-use-of-split-diopters-in-film how come you don't mention split diopter??? that's been used quite a bit in films

What kind of power can we expect/hope for/wait for in affordable, portable battery-powered light range..... e.g. I have the Multiblitz V6 LEDlight (I have all p-bayonet accessories from my studio lights for traditional flash photography) powered by their own battery which gives me 1700LUX at 2m at f5.6 at 250asa.....but its invisible out in daylight trying to fill in backlight from the sun haha Thoughts? I know the Aputure 120d is coming soon but that's twice the power if that of the aforementioned?

the 'eye' can never be learned...you either have it or not....saying that there are different levels to 'the eye'...depends on who you are addressing with your work.....the 'eye' for a youtube reel to get local companies to give you video ad work is not the same as 'the eye' to get yourself onto the set of a feature film.....technique can be learned, the eye can't....you can mimic...but that only gets you so far

absolutely even more important I would say....its costing me, out of my pocket: 2 x 400ft rolls of Eastman Doble-X incl. shipping Development of the 2 rolls Telecine HD of the 2 rolls Total: £564 (also affected by the bad £/€ rate. All from Spain)