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Stephen Perera

Vision3 500T shot in 16mm format results....

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Hi all...please indulge me....I've bored you all long enough with this.....I've pulled some screenshots off the DaVinci Resolve timeline to show you how it's coming along.....

 

Note: I'm extremely happy with the scans done by Cinelab London on their Arriscan - the rolls were scanned at 2K (full 16mm standard gate) - and they completely blow away what I had done elsewhere on my first roll, the processing of which was actually messed up by the other lab as well as you all told me in here...

 

This first screenshot shows what i think is the great latitude of the 500T 16mm stock.....there's detail in the furnace and detail in the exterior and detail all over the scene.....

 

The lighting is deliberately colourful and as surreal as possible, it doesn't matter we in this forum can tell I've used gels and lights here and there - the purpose of the piece is to be visually interesting and entertaining to the visitors of the factory watching this on TV screens when the guys are not glassmaking.....

 

In this scene I used a small Multiblitz light with a gel coming off camera right simulating the burning furnace and an Arri 650 plus tungsten with a CTO gel simulating warm light coming in from a window behind the oven...I may, or may not, grade the plus daylight coming in the same yellow colour......

 

Obviously they do NOT work under these conditions....they have bright daylight bulbs overhead illuminating it all very brightly so they can see what they're doing!!! visually very boring and flavourless

 

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...this second image I feel shows what a nice lens the Cooke Varokinetal 9-50mm is.....the window top middle is a bit distracting but hey this is real scene shot as is.....here the master glassmaker is examining the piece for defects etc by rolling it around in his hands......dunno why but has a split diopter vibe.....the glass is sending out some pretty cool reflections and there's nice, real, subtle flares going on.....

 

Here i shone light into the piece to make it pop camera right

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This shows how great the 500T stock is again in my opinion….I spot metered in there at f64…..I thought this would need to be overexposed using the zone system logic so i shot this at f22 and thankfully the exposure was great……

the heat coming off the ope furnace was intense so i had to shoot this fast or melt the camera!

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This close-up I shot using the light of the open doors in the background to silhouette and define the shape of the glass. I shone a light as a spot from directly underneath pointing straight up to going out the detail of the glass…..

I metered the incident light on what was falling onto the area i was filming knowing (hoping haha) the film would handle the range of contrast

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That last one looks good enough to eat. Like those little glass sweets they make on Murano.
Edited by Mark Dunn

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Here I metered the orange of the blowpipe furnace to insure I got detail in there and let all the values fall in their place thereafter…….I wanted nice bokeh on the near pipes…..its quite amazing how wall the highlights outside hold up on this 500T stock…..also the fact we have good detail in the shadows…..

I graded this warm….

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Edited by Stephen Perera

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…..again, shows the surreal lighting i used, always with the furnace as the central visual theme and shows the stock handling the contrast really well I think…..

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…a bit of split screen old school action here…..I shone light through where he was going to hold up the piece and the catch lights etc look really attractive….here he was shaping the glass into an elephant……

 

​the difficulty of this project as a whole was not being able to practice anything and metering on the go and even metering in my head based on what I knew was the ambient light and whether i needed to go up or down exposure....glass cant be frozen and they cant wait for me to spot meter and check and this and that

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here again I’m shining a light underneath to bring out the colours of the piece and metering the ambient….here he is cutting the glass literally and Im hoping it doesn’t fall on my light as we planned for it to miss as it falls!!!!!

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….here he is creating a really big ‘art’ piece…..the problem here was tracking him with the camera as he went up and down as its a heavy piece….the flicker of the film running past the gate made me shoot at higher aperture to make sure i got it in focus……

……again I placed a light source camera right with a CTO gel + and Arri 650 plus placed throwing in what I called a warm mediterranean late evening sun from a fake window creating nice long shadows…..

I just wanted to romanticise it all visually and make it look as colourful as possible

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…and here’s a low light scene with the smoke coming off the heat towel thing he uses….extreme contrast with some cool flares coming off the Cooke lens…..this one was off the first roll that they messed up processing so had to take out loads of artefacts and dirt they induced

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here they are blow torching a vase and the look of the light was amazing so went in close on this one…..the vase spins as he applies the heat…..it really is fascinating to watch!

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here i deliberately shot at f22 to expose for the furnace as i said earlier throwing it all into darkness with only some edge lighting appearing on the man shovelling glass stones into the furnace ready for the next days production

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…anyway…..I hope this shows what the Vision3 500T film did in standard 16mm format at the Gibraltar Crystal factory and I hope it encourages other newbies like me to go for it and shoot film cos it has the special look we all know and love…..for such a traditional and ancient craft film was always going to be the right option!

If anyone is interested will of course post the final piece as a link for you to watch when its done…..there’s no fancy camera work just the camera as a static observer….i wanted to mimic what the visitor experience is like when they stand there watching the master glass makers…..I didn’t think the usual dolly moves and all that stuff was needed……

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....and here's the camera....an Aaton XTR XC - no electronics whatsoever......basically i count the seconds I roll when using 100ft film or watch the counter thing on the side on 400ft film hahaha no timecode etc

Here she is with the Cooke Varokinetal 9-50mm standard lens...a Tilta follow focus and the eyepiece extender that was owned by cameraman Nigel Meakin who shot the Michael Palin stuff and this is what he told me about it....I quote:

 

"Hi Stephen,

Good to hear from you and great to know that your Aaton and my old eyepiece are still being used.
I left the BBC in 1999 after 35 years there and then went freelance for the next 13 years.
The address on the label dates back at least 16 years!

That viewfinder went with me on all the Palin travel series so it has been to both the North and South poles, across the Sahara, over the Himalayas and round the Pacific rim!
No wonder it looks a bit knackered!

Best wishes.
Nigel.

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Edited by Stephen Perera

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Cinelab London did a great job I'm really happy....and really fast.....turned it around in 2 days.....they got it....processed that same evening and scanned the next day and had the ftp upload for me available in the evening.....cant ask for more....

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Awesome thread. I have seen 16mm look a bit better, even when pushed, but that was outdoors footage with less contrasty light. I love it when people post actual scans from film frames. I don't think that Kodak has full sized, downloadable samples, do they? They should! Mind you, there are lots of scanners around.

 

Even Super 8 looks amazing with modern, faster stocks. I think that 7219 is better than the old 64T Ektachrome, from what I have seen of each.

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these are freeze frames from DaVinci Resolve from my screen so not even the .dpx stills - I'm very very happy with the scans they did on the Arriscan......the 500T proved to be very very very versatile and has a great look....in my opinion.....the first shot i posted shows a very large dynamic range.....we have the outside with the full on sun and then the furnace inside and detail all over the place.....how CRAP would this look on digital

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Wow those are some fantastic frames! Love it. Makes you really appreciate the aesthetic film has. It's just something above and beyond what digital can do. Also love your lighting break downs. Inspiring me to get more creative next time I shoot. Looking forward to the re-edited footage with the fresh new scans!

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these are freeze frames from DaVinci Resolve from my screen so not even the .dpx stills - I'm very very happy with the scans they did on the Arriscan......the 500T proved to be very very very versatile and has a great look....in my opinion.....the first shot i posted shows a very large dynamic range.....we have the outside with the full on sun and then the furnace inside and detail all over the place.....how CRAP would this look on digital

Oh, so they aren't even DPX stills. Ok.

 

As much as I prefer film, it's evident that the RED Dragon matches and possibly surpasses film's DR. Monstro goes beyond that.

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Thanks for the feedback everyone.....no these are screen shots.....not DPX frames.....let me give you a food analogy......film for me is about closing your eyes and tasting something and loving the flavour and what it does to your senses......digital is about a fantastic list of genetically modified ingredients said to improve your health and provide all the benefits in theory but tastes like CRAP......to me

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Oh, so they aren't even DPX stills. Ok.

 

As much as I prefer film, it's evident that the RED Dragon matches and possibly surpasses film's DR. Monstro goes beyond that.

There's the joke about the farmer asked for directions who answers "well, I wouldn't start from here". You're that farmer.

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