Aleksandar Bracinac

Jayson, Vegas is very powerfull finishing software. It has very powerfull color correction tools. Don't worry because it's cheep. Aleksandar Artvark Film & TV

Must agree with Stephen about the colour rendition of both stocks and also I can say that both stocks are very very good. I've shoot last two jobs with Eterna 500 8573 and the stock is really low-con, with very fine grain. Next job I will shoot on 7201/7212. Just choose best from the market for specific job. Alex

Realviz Storyviz? Alex

I think that film will be replaced by digital in next 6-10 years. Yes, I am the fan of the film, but once when digital motion picture cameras alow high-speed 6mpix (3k) shooting in 10+ bits of color depth on enough compact storage, film will lost this run forever. Alex

In Opera Browser everything is OK. Did you try? Alex

I've found that the Nikon DSLR's are much better solution because the metering inside them is much better calibrated than metering in Canon cameras. Check out this link from dpreview Cheers, Aleksandar Bračinac

Laurent, are you serious? :D The pictures are split-screen between the original film and corrected in Tk :) Cheers, Alex

If you are using Windows dual desktop and if you edit your footage in Vegas, you can choose which one of the two monitors will be your full screen preview and this setup works very well, but you may use second display better to put the rest of editing tools on it, and keep video preview in it's original size. It will speed up your editing. Cheers, Alex

I will send a piece of the same negative in other lab and I will see what will happen. I think that is the best way to start now. I have another shooting in few weeks and I don't want to play with colors again. Thanks a lot! Aleksandar

Hi Stephen, I've put Kodak test film into the telecine and the colors look very good.

To be more precise, not only mine projects has red in shadows. All Fuji stock they have processed has the same problem :blink:

Hello people, I've shoot last weekend some commercial on Eterna 500. I have very strange red color in shadows. Guys in lab told me that even chemistry in machine is redish and that thay have the red color every time when they put Fuji in machine. Every time I must use primary CC in Tk to fix that and that cost me a bit of grain and less space to work with colors on daVinci. When we put into the Tk any of Kodak's negative and test 35mm received from Kodak the balance is ok, but with Eterna - NO. In samples I did simulate the red color we had in Tk. Anyone can help with that? Maybe Tk showing bad colors with Fuji because Kodak has brought and serviced that machine for our lab? :D Thank you, Aleksandar Bracinac

Can anyone explan to me what is the technical difference between 2Kplus & Renaissance 8:8:8 except the resolution? Thank you. Aleksandar Bracinac

Joshua, Can you tell me which stock(s) you have used fot those stills? Aleksandar

Oket... now is the final version on the same address. I expected more comments. At least someone to say "it's bad..." Best wishes.

35mm Fuji Eterna Arriflex 35-III Zeiss Superspeeds MkIII Ralex 40sec, 2.5mb, Windows Media I will appreciate any comments Thank you. Aleksandar Bracinac director/DP

Before I start my frist job as DP on film I did lot of testing with my Nikon D70 and the Nikon F75 with the Fuji Superia film. Superia is high-contrast negative film for amateurs and D70 has very "flat" picture. After the first test, I've asked Mr.Geoff Boyle from CML about metering with DSLR and he reply to me with very positive opinion that I can set my DSLR to ISO 320 for 500ASA film and will be good. 1/3 of a stop to compensate difference between F-stop and T-stop which is usual 1/3 and 1/3 to overexpose film a bit. All of that I did because of my first DP job wich you can see few post above. I even set up my DSLR to ISO 500 and use exactly the same values for F-stop and T-stop. The most important thing is that you should have a good prime lens on your DSLR with simple construction (less elements inside). If you use some cheep zooms etc. the difference in metering can be more than 1 stop. I've tested Nikkor 35mm f1:2, 50mm 1:1.8 and 50mm 1:1.4. I've found that 50mm 1:1.8 gives best results. Here is my first test D70 vs Superia 200 (Couldn't find better negative in that moment)

Thank you John, but I think that I have to work more and more to make my showreel superb ;-) Stocks: Kodak 5218/7218 and 7205. Next week I'm shooting with Fuji Eterna 500T (8753) and I think I will stay with Fuji for some time. I like what I've seen. Cameras: 435ES, SR2, and for the first time next week I will try Arri 35-III, Normal 35. Lights: Arri HMI and tungsten lights, some fluos, skypanels etc. No specific package.

I'm using this as replacement. I have no additional light meter. Here is example

Click... ;-)

Andrew... You can't imagine how fast and easy you can work with DSLR. Try and you'll see. Don't tell me that you need calc for shutter angle, speed etc? :) Simple math. Changing ISO is a press on the button. Stephen... With DSLR it's so easy to see how much you highlights are hot. With levels, or one more shot with changing f-stop and you can see where they are. Also you can use DSLR spot metering (I'm talking about Nikon D70) wich works as professional spot meters with very narrow angle of metering. I've used spot meter in my Nikon to see the value of highlights. Last time when I did shooting with 7205 I did comparision on some very contrast scene. I've been so happy when I saw details in shadows and highligts.

I'm using Nikon D70 with Nikkor 50mm 1.8 lens as my ONE AND ONLY light metering system and works very well. I have never worked with incident or spot light meters.

Thank you guys! I've been ask about the SuperSpeeds MK III because I have this set available 24/7 with ARRI 35-III with very good price. I can also use Cooke S4's but I have very small budget and trying to fit in everything we need. If Cookes gives noticable difference I will use them.

I have to shoot some commercial soon and I have a choice to use Super Speed MK III lenses together with ARRI 35-III camera. Is there a visible difference in sharpness or abberation between SuperSpeeds MKIII, UltraPrimes and Cooke lenses for standard definition transfer? I will shoot with ETERNA 500 at night with T-stop from 2 to 4. Thank you!

Here you can see the 7205 rated at 250 ASA. I did metering with my Nikon D70 and 50mm/1.8 Nikkor Lens.Most of the shoots done with available lights. Some of them with aditional HMI. Transfer was not so good because of bad telecine. Anyway... take a look. www.artvark.co.yu/client_area/nana/nanometar_54secs.zip mpeg1 file