Uli Meyer

Thank you both, that is very reassuring.

Apologies if this has been discussed here before. I searched but couldn't find anything. Is it safe to mount Quasar Crossfade tubes in a Kino Flo fixture using the metal clamps? I know that one can customize the Kino Flo shell using the Q-block-T12 mounting clips but it is a lot easier to simply use the existing clamps. I just don't know how fragile the tubes are. The second question is what dimmer one can use with the Quasar Crossfade LEDs?

Hey Jordan, Sorry, long gone.

Thanks David! Good to know for a future project set in the fog. I'll be using a fog machine but that Tiffen Smoque sounds like a good one to have in the bag.

Foggy day on Hampstead Heath today. Took the 235 and a Zeiss CP.3 85mm. Apart from a longer focal length, are there any other things to consider when shooting in fog? Any filters that enhance the fog atmosphere?

DPX files. At Kodak here in London you can ask for a "best light" scan, which is graded. I usually get a 'technical grade' or you can ask for a log scan which is flat. The dpx files are massive. You do your edit with a 2k Quicktime and export an AAF to conform the dpx files for grading.

There's one for sale here: https://www.ebay.co.uk/itm/ARRI-ARRIFLEX-235-35MM-MOTION-PICTURE-CAMERA-2-PERF-TECHNISCOPE-KIT-CASE-SCARCE/193819167319?_trksid=p2485497.m4902.l9144 Very "ambitious" price tag as has been pointed out before.

Happy holidays! My wife loves Christmas decorations and nothing is safe. I wish all of you a better 2021!

Where's the grain? ?

This looks great Tyler! Well done.

I just received a BAFTA screener and low and behold, there was the grain. Just to double check, I switched on Netflix. It looks like the grain-less version has been replaced with the grainy one. Is it possible that they started streaming a version before any grain was added? I've only been looking at versions of it on my 52inch TV. Looks less plastic now but there is something about the pin sharp detail that feels digital. I'm saying that without putting a judgement on it or commenting on the film as a whole.

Herman from the Cameramarket has two for sale: https://cameramarket.eu/equipment.php?type=dicam_35mm

Documenting the development of my son born in the year of Covid 19.

Link please! ?

This looks like you had a ton of fun. Well done you and your crew, can't wait to see the final film. Good to read about the experience, I hope you can shoot the missing bits soon. Keep us posted.

I kind of like that one too. Has got something ‘Hammer Film’ about it. ?

Thanks Patrick and congratulations! I really enjoy the process despite the limitations to documenting on film. Available light, no sound and the sheer weight of the cameras are some. I love the look though. My wife has her digital camera handy for all the stuff that's too difficult to catch on film.

Sharing more home movie footage. This time my boy's first steps, shot during the last London lockdown in November on one 400ft roll of Vision 3 500T 5219. I had to add a bit of lighting to the existing daylight for some of the interior shots. Nothing fancy since there just isn't any time with a baby running around. Just positioned a Kino Flo pointing in the same direction the natural light comes through the window. It's pretty obvious in some shots but more successful in others. Most of the time exposure was at f2.8 (exterior shots at f.8 and f11). I used a Zeiss CP.3 25mm and a Zeiss LWZ.2 15.5-45mm. Camera: Arricam LT 3perf. All a one man operation and great fun to do.

The version I saw had no visible grain, just like the photo I've posted.

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Who said Fincher's films? I was referring to Mank only. And what can I say, plastic is the word that I use to describe it. If you do not see it that way, good for you. Another word that comes close is 'creamy', maybe that doesn't offend as much? It didn't do it for me but I'm glad to hear it worked for others.

The number on the camera body of the 416 I sold a couple of years ago was 3037. That doesn't necessarily mean that they made thousands of them but I know several rental houses who had four or five of them. And I don't know many rental houses ?

Since my wife made that observation, I can tell you that you lost your bet. She was walking past while I was watching and briefly stopped. She asked me why the images looked so weird and not like a black and white movie (her words). When I told her it was David Fincher's latest film, she shrugged because she doesn't know who David Fincher is. An honest observation by someone who couldn't care less. I love movies but am not a "cinephile". I've seen some of Fincher's films, liked some of them and that's it, really. I didn't know that Fincher was prone to doing endless takes, I only found out while reading about it when I googled 'Mank'. There are many reasons why some directors do this but I suspect it never ends in picking take 123 because it was finally the performance and composition they were looking for. Maybe it makes them feel safe, especially if it is a passion project. Anyway, the OP's question was about what people thought about the look of it. While it is wonderfully lit, it does have a plastic feel to it. To my eyes anyway.

And yet, he asked Gary Oldman to do 100 takes in the reception room scene, apparently. What’s the point of that if you manipulate everything in post anyway? Not that there is any point in doing 100 takes of anything in the first place.

'El Apostole' by Quirino Cristiani, first animated feature film from 1917.