Hi Pablo I’ve always used 1/80th for 24fps (and adjusted accordingly for other fps) for an Arri ST it’s 1/48
Rob > On 28 Jan 2019, at 12:22, Pablo Marin <[email protected]> wrote: > > Hi all, > > I'm about to shoot some 16mm film (color neg 50D) with a Bolex SB and was > wondering if I could borrow some of the good ole frameworker's wisdom to > figure out the compensation on my exposure levels. > > I'm using a Minolta Spotmeter M and according to its manual, the cine > exposure for 24fps has to be measured with a shutter speed setting of 1/60th > and then open 1/3 of a stop. But then, this lightmeter is built to calculate > the readings for a camera with a 180° shutter. > > Since the Bolex has a shutter of 130°, which compensation should I add on top > of the +1/3 suggested by the lightmeter? > > Thanks a lot for your help and sorry for the rather dumb question. > > Best to all and rest in peace, Jonas, > Pablo Marín. > Bs.As. > > > > > On Monday, January 28, 2019 6:35 AM, Kerstin Schroedinger > <[email protected]> wrote: > > > > > > > ***** > > Dear friends, collaborators and colleagues, > > We are very pleased to announce the release of > Film in the Present Tense – Why can't we stop talking about analogue film? > > as part of > Diffraktion #9 > the annual screening highlighting new works by LaborBerlin members and > friends on Saturday, 2nd of February 2019, > 19h30 @ ACUD mach NEU Studio, Veteranenstraße 21 > > > <unknown.jpg> > > Film in the Present Tense – Why can't we stop talking about analogue film? > Edited by L.Greenfield, D. S. Phillips, K.Schroedinger, B.Speidel and P. > Widmann > Designed by Anne Retsch > English > Softcover > 156 pages > ISBN 978-3-943620-81-8 > published by Archive Books > order > <https://www.archivebooks.org/2018/12/20/film-in-the-present-tensewhy-cant-we-stop-talking-about-analogue-film/> > > > “Why can’t we stop talking about analogue film?” is the collective, implicit > question connecting a variety of contributions from participants and guests > of Film in the Present Tense – International Symposium on Current > Developments in Analog Film Culture, held in Berlin from October 20 to 22, > 2017, and organized by LaborBerlin in collaboration with Filminstitut UdK > Berlin. > > The book reflects a contemporary discussion around the use, value and purpose > of analogue film from a multiplicity of perspectives: artists, filmmakers, > scholars, archivists, curators, technicians and manufacturers. Film in the > Present Tense – Why can’t we stop talking about analogue film? intends to > provide a documentation of the collective momentum that characterized the > symposium and it responds to the persistent desire to keep talking about > analogue film. > > With contributions by Nicola Baldini, Erika Balsom, Petra Belc, Christa > Blümlinger, Britt Al-Busultan, Anja Dornieden, Juan David Gonzáles Monroy, > Guy Edmonds, Scott Fitzpatrick, Tiago Ganhão, Sally Golding, Luisa > Greenfield, Philip Hoffman, Emmanuel Lefrant, Olga Moskatova, Aurélie > Percevault, Deborah S. Phillips, Martin Reinhart, Nicolas Rey, Julian Ross, > Katia Rossini, Kerstin Schroedinger, Guy Sherwin, Björn Speidel, Peter > Taylor, Esther Urlus, Stefanie Weberhofer, Philip Widmann, Zero Pixel, Ulrich > Ziemons. > > > > > _______________________________________________ > FrameWorks mailing list > [email protected] <mailto:[email protected]> > https://mailman-mail5.webfaction.com/listinfo/frameworks > <https://mailman-mail5.webfaction.com/listinfo/frameworks> > > > <unknown.jpg>_______________________________________________ > FrameWorks mailing list > [email protected] > https://mailman-mail5.webfaction.com/listinfo/frameworks
_______________________________________________ FrameWorks mailing list [email protected] https://mailman-mail5.webfaction.com/listinfo/frameworks
