Seth Baldwin

Would be really interested to see those results. Do you know what scanner your lab is using? A densitometer would certainly help determine the negatives full potential but if your lab can share info on the scanner they're using or even specific settings, that would probably be fine for a rough estimate.

How many stops below middle gray would appear black and how many stops above middle gray would appear white for vision3 500t stock developed ECN-2 and scanned professionally. As it's film, of course dynamic range is also influenced by your labs work and scanning capabilities. For this reason, I expect rough estimates. But if someone who actually has good experience shooting this stock could let me know what the exposure profile appears to be, i'd really appreciate it. I'm not interested in knowing the dynamic range, I already know it's around 16 stops according to Kodak. I'm interested in

Okay thank you. Also a side question, what is the industry standard software for working with dpx files for DI? Would it be resolve, baselight, or something else? What do most known colorists use, out of interest.

I'm quite new when it comes to grading film scans. How does the process usually work for higher end productions still shooting on film like 35mm. Is there a specific file format they work with to give them the most amount of information to grade or apply a lut to the scans? Do their scanners apply luts digitally in their scanner software, or do they scan as raw as possible to a specific file format then grade in software like resolve.

Tested out processing ECN-2 for the first time. I heard prior to processing that white spots can appear in scanning the film when the remjet layer isn't completely removed, or the film wasn't washed / stabilized well enough causing bacteria to develop on the film. During the prebath, I couldn't see any coloration left coming out of the tank, assuming the remjet was gone. And after processing I also ran a wet micro fiber cloth down the film to hopefully remove any left over remjet. For the wash, I soaked the film in it for about a minute. Can a trained eye tell me what these white spots ap

I developed a roll of 35mm vision3 250d and 500t for still photography recently, and my exposures appear to be blurry in focused areas, and also highlights that were in focus but not light sources have a subtle glow to them, again like it's been blurred. I have shot many rolls of portra 400 with this same lens with very sharp results so I don't think it's the lens. For some lower shutter speed conditions using the 500t roll, blur was expected. But for pretty much all of my 250d shots I was shooting the subject in pretty decent daylight between 1/250 and 1/500 and they still turned out blurry.

What if I go for a shoulder rig setup. But because the viewfinder is in the centre of the camera, it'd have to be something along the lines as those DSLR shoulder rigs that position the operators head in front of the monitor attached to the camera vs the shoulder rigs that place the operators head on the side of the camera (which is the case with shoulder rigs made for cinema cameras). And it'd also have to be some kind of shoulder rig that places the camera slightly lower then the operators shoulder. And due to it's dimensions, a shoulder rig with handles spread wider apart. Any suggestions?

The mamiya gets hella heavy, even with a hand grip, and neck straps kill. Any systems like ready rigs that I can connect to the strap connectors? Its meant to be a studio camera, but I like the flexibility of going handheld more often.

I've been applying the zone system to how I view exposure using my light meter. I shoot still color film like portra 400 and vision3 500t rolled for stills. From what I've observed with how people apply the zone system to digital cameras, is they will keep the most important information nothing darker then 2 stops below middle gray, and nothing brighter then 2 stops above middle gray. Leaving the other 5 zones for highlights and blacks as those zones retain less information due to being too dark or too bright. This had me thinking, what is the stop latitude or zones past middle gray

Very helpful responses everyone, ill go with the grey seamless. Thank you!

medium format**

This is more of a photography relevant question. I'm planning a photoshoot that needs a dark grey backdrop. I'm shooting it on median format film so can't reference during shooting, i could of course use my phone but the dynamic range would be a world of difference. Anyway, would it be more desirable to go with a white seamless backdrop and light the client further away from it so that it can roll off into a dark grey or would it be more desirable to get a true grey seamless and light the client closer? Assuming the backdrop would be wide enough to cater for both frames. The goal of this compa

Hey, does anyone have a FS7 or FS5 profile for their Sekonic meter? Only available one online for Sony is the F65. Cheers.

Hey! Trying to decide on what exposure target to roll with for calibrating and profiling my L858D to DSLR cameras, 35mm and Alexa. What target essentially allows for the most amount of latitude to profile in the profile wizard software. I only bring this question up because of Sekonic's options being of poor quality. Wanted to roll with the "Exposure Profile Target II" but it's like $280 here in Australia for a piece of weak cardboard. The "X-Rite ColorChecker Target" looks more promising quality wise but considering it's not made by Sekonic it makes me question the accuracy of the calibra

A year later and I've finally ordered one, cheers everyone for the feedback!