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Stephen Perera

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Everything posted by Stephen Perera

  1. happy to send you some .DPX files to anyone that's interested to see Kodak Vision3 500T scanned at 2K by them
  2. Cinelab London did Phantom Thread recently and doing Star Wars Episode IX by JJ Abrams....good enough for them good enough for me hahahahahah.... Contact Sonji Clarke...shes great! sonji.clarke@cinelab.london My experience with them: Booked the film footage to be done.....told them exactly when they were getting it.......prepaid it when they got it.....that day later the film was processed...a day later in the afternoon my footage had been scanned by their Arriscan and uploaded for me to grab vis ftp upload Quality fantastic - 2k full gate 16mm standard
  3. hey Mark so the issue is wobble as opposed to optical problems...thanks to Brian too...yeah long lens
  4. Hi all.....want to use my Hasselblad lenses on my Aaton for a long shot i want to do.....i have a Hasselblad to Nikon adapter and from there an )aaton manufactured) Nikon to Aaton mount adapter to mount on the AAton XTR 16mm camera,,,,any issues? basically if i look through and it focuses well should be alright no?
  5. I did a search before posting and nothing came up!
  6. ....I'm not one to watch a series of late yet I started watching this one and I am completely enamoured with the lead actress and in particular the great cinematography......and lo and behold our very own David Mullen is cinematographer on episodes....... The lighting is particularly delicate and beautiful.....it reminds me of the wonderful lighting in series by the BBC 'Call the Midwife' where contrast is avoided and skin is beautifully lit.....giving us the palette of the period in my opinion...the pilot episode was beautifully lit and shot Would welcome Mr Mullen talking about this a bit on this thread.....I LOVED the Love Witch and now I am enjoying this.....
  7. I saw the film this Saturday on a very large screen in Malaga...they have it as their UHD screen.....the film filled the entire screen.....it was impressive and really enjoyed it.....much more than as a kid back in the early 70s when I didn't know what the hell I was watching.....
  8. You have to specify you want a 'full gate' scan......make it clear you do not want the sprocket holes etc......BEFORE the lab does it......simple communication thing I had stuff done at Cinelab London recently of my REGULAR 16mm film scanned to the width of the frame format thus 2048 x 1556
  9. Cinelab London!!!!!!!!!!!!
  10. One should always pronounce a brand name in the way the country of origin pronounces it.....simple..... Arri: "A-ree' as in Harry but without the H Aaton: Ah-ton - as in atom By the way my American friends....whats with ERBS for herbs? and whats with AlumiNUM for aluminium? hahahahaha etc etc etc
  11. yeah i didn't get that as a criticism either but rather an observation on Karim's part regarding the dynamic range of the RED cameras......I think the still showing the inside of the factory with the glassmaker that you see the door and the outside shows incredible dynamic range from the 500T.....to get detail in that furnace, detail in the shadows all over the shot and detail in the highlights outside is fantastic ........speaking of which whats your perception of the highlight roll-off like on the REDs in question...
  12. haha explain that one Mark I dont get it!
  13. Thanks for the feedback everyone.....no these are screen shots.....not DPX frames.....let me give you a food analogy......film for me is about closing your eyes and tasting something and loving the flavour and what it does to your senses......digital is about a fantastic list of genetically modified ingredients said to improve your health and provide all the benefits in theory but tastes like CRAP......to me
  14. Hi Webster......look for HEVC as thats another name for H265...thats how it appears on DaVinci resolve for example.....would love to hear your recommendation at the end of ur research as Ive been doing Codec combo tests and so far its either going to be ProRes or HEVC export for me.....my film has been scanned at 2K as you know......'full gate' standard 16mm
  15. Well, a lot of talk about it on other levels...but let's talk the filming etc? Director: Hiro Murai Cinematography: Larkin Seiple Format: 35mm film Great long takes cut when the camera sweeps etc etc, great texture and look to it....prob 250T or 500T I would say cos it has that look about it
  16. these are freeze frames from DaVinci Resolve from my screen so not even the .dpx stills - I'm very very happy with the scans they did on the Arriscan......the 500T proved to be very very very versatile and has a great look....in my opinion.....the first shot i posted shows a very large dynamic range.....we have the outside with the full on sun and then the furnace inside and detail all over the place.....how CRAP would this look on digital
  17. Cinelab London did a great job I'm really happy....and really fast.....turned it around in 2 days.....they got it....processed that same evening and scanned the next day and had the ftp upload for me available in the evening.....cant ask for more....
  18. ....and here's the camera....an Aaton XTR XC - no electronics whatsoever......basically i count the seconds I roll when using 100ft film or watch the counter thing on the side on 400ft film hahaha no timecode etc Here she is with the Cooke Varokinetal 9-50mm standard lens...a Tilta follow focus and the eyepiece extender that was owned by cameraman Nigel Meakin who shot the Michael Palin stuff and this is what he told me about it....I quote: "Hi Stephen, Good to hear from you and great to know that your Aaton and my old eyepiece are still being used. I left the BBC in 1999 after 35 years there and then went freelance for the next 13 years. The address on the label dates back at least 16 years! That viewfinder went with me on all the Palin travel series so it has been to both the North and South poles, across the Sahara, over the Himalayas and round the Pacific rim! No wonder it looks a bit knackered! Best wishes. Nigel.
  19. …anyway…..I hope this shows what the Vision3 500T film did in standard 16mm format at the Gibraltar Crystal factory and I hope it encourages other newbies like me to go for it and shoot film cos it has the special look we all know and love…..for such a traditional and ancient craft film was always going to be the right option! If anyone is interested will of course post the final piece as a link for you to watch when its done…..there’s no fancy camera work just the camera as a static observer….i wanted to mimic what the visitor experience is like when they stand there watching the master glass makers…..I didn’t think the usual dolly moves and all that stuff was needed……
  20. here i deliberately shot at f22 to expose for the furnace as i said earlier throwing it all into darkness with only some edge lighting appearing on the man shovelling glass stones into the furnace ready for the next days production
  21. here we have a wide shot showing the master glass blower shaping the big flat piece of the earlier shot I attached……
  22. here they are blow torching a vase and the look of the light was amazing so went in close on this one…..the vase spins as he applies the heat…..it really is fascinating to watch!
  23. …and here’s a low light scene with the smoke coming off the heat towel thing he uses….extreme contrast with some cool flares coming off the Cooke lens…..this one was off the first roll that they messed up processing so had to take out loads of artefacts and dirt they induced
  24. ….here he is creating a really big ‘art’ piece…..the problem here was tracking him with the camera as he went up and down as its a heavy piece….the flicker of the film running past the gate made me shoot at higher aperture to make sure i got it in focus…… ……again I placed a light source camera right with a CTO gel + and Arri 650 plus placed throwing in what I called a warm mediterranean late evening sun from a fake window creating nice long shadows….. I just wanted to romanticise it all visually and make it look as colourful as possible
  25. here again I’m shining a light underneath to bring out the colours of the piece and metering the ambient….here he is cutting the glass literally and Im hoping it doesn’t fall on my light as we planned for it to miss as it falls!!!!!
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