Stephen Perera

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_/

18 hours ago, Robin Phillips said:

You usually want to set your input profile for film as cineon, but its not necessarily going to be perfect due to a variety of reasons (say you are mixing 2 week old film with 6 month old film, there will be subtle differences). I've also worked with some labs who had instructed me to use arri log c instead of cineon, so you want to talk to your lab/scan house just to be sure. 

As for Aces vs Resolve color management, I think it just depends on your needs, what you're mixing, how heavy a vfx show it is etc. Personally I lean toward ACES when dealing with heavy vfx where Nuke is the main compositing tool due to the linear workspace, but Im not convinced thats vital. It seems to make things easier for the VFX houses and simpler to solve color management problems though should shots come back wonky. 

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.

On 5/6/2023 at 12:20 PM, Dirk DeJonghe said:

Here is a document that I send to customers, this question is asked frequently. Please share freely.

Some people try to tweak Cineon Log with contrast settings, this is wrong.

 

 

CineonLog_DaVinci.pdfUnavailable

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

On 3/22/2023 at 12:01 AM, Freddie Whitman said:

Hi all, I am prepping for a short film I am shooting on Super 16 mm and I am thinking about rating 7219 at 250 ASA and pull processing -1 so as to create a lower contrast, desaturated, "lifeless" look. I am wondering if anybody has any good examples that used this particular approach to create pallid, muted tones. I'm mainly looking for references in case I do not have the time /budget to shoot proper tests.Thanks!

Freddie 

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

great film and worth winner

thanks for the recommend

definitely one to check out thanks for this

...just watched Lawrence Olivier's (1948) Hamlet, shot by Desmond Dickinson.....the filming of it certainly influenced this one I would say. Said film won 4 Oscars - Art Direction-Set decoration - and was nominated for another 3

22 hours ago, John Shell said:

Please tell me you're joking

I am certainly not qualified for this opinion as a scientific fact, based on actually using said cameras...have never even seen one in person....plus the fact I am a 'mere' film photographer, shooting Hasselblad 6 x 6 for my work along with Aaton 16mm projects/work....but as a cinephile with an 'eye' calibrated by 56 years on their earth, about 50 of which a practicing 'artist' of sorts haha and about 45 of which an avid cinema-goer, that IS my opinion yes.....

8 hours ago, Ignacio Aguilar said:

Try to catch my own film "Viejos" AKA "The Elderly" which opened yesterday in Spain in Odeon Cinemas (you have one in Algeciras). I think we did something VERY different from what you describe ?

Voy seguro!!!!! Chapeau Ignacio…..saludos desde el sur de sur hermano……ya te digo que me parece!!! El cine lo tengo súper cerca y es el que voy para ver cine español!!!!

Good one Jon, the Kardashian age hahaha....personally I call it The age of the narcissist.....

I don't think we humans have changed in our core though....its just that, to put it simplistically and as a tech summary, we are all given a platform now to be heard and seen and its natural to take the opportunity...as I am now with these words in this forum.....famous for 15 minutes and all that....its natural, as social creatures to want to be heard and seen....and lets face it....and the bold and the beautiful rule the world (on devices) at the moment.....beauty is always and will always be a currency society will always cash in and invest in and thus those in possession of it will use it for their benefit.....selfie selfie ass ass abs abs breasts breast pout pout

Everyone should read The Picture of Dorian Gray by Oscar Wilde.....so relevant to our society today it's uncanny yet it proves we have all not really changed much.....though we have...but we haven't....the paradox of being human....

I for one am thankful to the Gen Z and Millennials who look to our artesanal pasts and have, in this case, embraced the artistic value of film photography/motion.....every upcoming wants to shoot the medium....I don't think ANYONE in this profession doesn't want to shoot a Panavasion with 70mm rattling through it as the ultimate dream....I don't think anyone dreams of an Alexa or RED in the same way.....

Shoot film? like your Coca Cola, film is 'the real thing'....like Porsche...'there is no substitute'.....when we shoot it 'I'm loving it'.....and we do it cos we 'think different'

(BTW cinemas thriving big time over in in my neck if the woods....)