Stephen Perera

......and yes I am pathetically biased posting only shot on film productions hahahah....I just want you all to shoot film in Hollywood etc so they keep making the stuff for people like me to buy and use!

Looking forward to your reference test Ludwig!

thanks for great information Ludwig! do you have comments specifically for 16mm 500T??

Glad to hear you're not done with B/W and 1.33 Jarin! WE only have to watch Godland (2022) shot by Maria Von Hausswolff to see the beauty of the 1:33 format (more recent than The Lighthouse) and of course how Ignmar Bergman / Sven Nykvist framed films. It's just such a natural format to hold faces/people in the frame and it invites balance in the frame. It is as if the frame holds everything inside it as opposed to having the visual falloff of the wide screen. A question: the new kodak colour stock. Are you aware of it and going to text it any time soon? perhaps with a view of using it in the future. Interesting trivia about Nosferatu: "The original 1922 film was almost lost. Bram Stoker was the creator, and author, of novel "Dracula" in 1897. His widow took legal action against F.W. Murnau, director of Nosferatu (1922), due to the similarities to Dracula. The judge ordered all copies of the 1922 film to be destroyed, but thankfully some survived, or this film may never have been made."

Looks superb.....a must watch. Hopefully our man @Jarin Blaschke can come in and give us a few gems of how it went filming etc

hahaha but Kodak is not gonna listen to us so hahah

good thing is theres prob no DP out there who doesn't want to shoot film at some point...and that bodes well....every music video I see these days is film...hope this trend lasts.....the most impressive being the 'This is America' which I will repost here to remind ourselves

hahah slogan time that's good. How about 'Shoot film...you know you want to'

Cinelab London have kindly offered to do a side by side for me to choose what I like best when I send over my footage.....hat being said, opinions welcome....

Hey Karim, it would not make sense to be a low iso daylight film. I have heard rumours of it being like the Portra 400 and for it not to be D or T designated, but even that would be like a bit of an anticlimax.....what would be incredible would be Portra 800 equivalent. This is a masterpiece film from Kodak. Imagine having a film to counter the shitgital low light argument! Portra 800 is my go to film for my pro photography jobs. Superb. Beautiful.

From Marcel Rev...

As a photographer in my world the beloved Portra family as motion picture film well that's something to look forward to.....

Hey Uli thanks for the message. I send my stuff to Cinelab London in Slough. I feel loyalty to them. They treat me really well! They have different prices for 2k and 4k. No special effects needless to say haha.

Hi all, finalising my 16mm project soon shot on 500T and have to choose the scanner for the 2K outputs I want. I have always had Arriscans in the past, but this time it's more footage than normal and thus the price is higher. Editing will be on DaVinci Resolve Studio version. I also have the choice between DPX, ProRes or DNA outputs. Ive always had .dpx files in the past. Thoughts??? The Arriscan is more expensive.

Thanks but I never use Nikkor lenses adapted. I've never come across Nikkor 16mm lenses and thus I only use my Cooke lens and M42 mount lenses I have....eg the Pentax Takumar 200mm M42 mount is superb as an adapted lens on the Aaton.....

About time I post a pic of my Aaton again. No electronics just a battery - thanks to @Tyler Purcell for the 3D printed battery adapter for modern V mount battery - no monitor etc and the parfocal, shoot open or stopped down no problem, Cooke Varokinetal 9-50mm T2.5 lens which I shoot everything with.

My Nikon to Aaton mount adapter is quite crap in that it's loose.....Les Bosher told me to do something which I can't remember cos I just use my Cooke zoom lens all the time

Some BTS

Thanks for this......could you explain in simple terms what this would do to help me when I get .dpx files back from Cinelab London to start editing on DaVinci Resolve? I have no idea what this is all about....thank you

I never abhorred the answer merely stated I am not technical in understanding what you described. Thank you for taking the time to answer I appreciate it very much.

thanks for the reply but far too technical for me im afraid.....hahaha....I dont see any flicker when I look through the viewfinder of my Aaton...I don't use a monitor....plus I cant adjust anything on the Aaton either.....it's 25fps at 180 degree shutter and thats it.....it's a modern LED light strip on the ceiling and overhead thats im asking about.....

....so there I was happy as a clam as they say and I was shooting my Aaton with Vision3 500T 16mm film inside in a room that was lit with a couple of overhead LED tube lights.....plus one light that I brought along.....so day two of shooting and the person I'm shooting tells me......when I record video with the mobile the light flickers, no problem with your camera right........so I went blank and carried on......but with that doubt in my mind hahahah.......I know MY light won't show flicker......but the two overheads????? we're in Europe obviously..... Can anyone share wisdom on this with me without any of the deep science......

this has become a really interesting thread indeed. I also really like the look of it. As a stills photographer I can test the film for stills haha....so which would you recommend I try Mark? you mentioned the UN54 looks great? https://www.orwo.shop/collections/photo-films

I thought Mark had done the tests with Cinelab London??