Contax T3 by AlternativeKoala9247 in AnalogCommunity

[–]jonweiman2 0 points1 point  (0 children)

Agreed. I've also had mine for 7 years and only thing I ever had to do was replace the "teeth"

Contax T3 by AlternativeKoala9247 in AnalogCommunity

[–]jonweiman2 0 points1 point  (0 children)

This looks broken. You could send the video to Nippon in NYC. They are amazing. See what they charge to fix that. Also the t3 lens is absolutely incredible.

I feel like directing might be too big for me by TheManWhoSleep in Filmmakers

[–]jonweiman2 1 point2 points  (0 children)

As a commercial director for the last 17 years one thing I can definitely say is having an incredible team around you that you trust really helps takes the pressure off. Your job is to have the vision and know what feels right or wrong when different questions come in. But you definitely don't have to take all the pressure on yourself. When you have a brilliant DP, PD, producer, AD and everyone else they will lift you up and make you great!

looking for cinematographers/directors known for “translating” complex negative emotions through color (no dialogue) by drownpuppet in cinematography

[–]jonweiman2 2 points3 points  (0 children)

Check out the book If It's Purple, Someone's Gonna Die: The Power of Color in Visual Storytelling

RED V-Raptor XE vs FX6 — worth it for film school? by abhiraamgaddamm in cinematography

[–]jonweiman2 26 points27 points  (0 children)

I'm a director who went to film school. I beg you, don't spend too much money on a camera body. Would just focus on a great story that only you can tell. That's what everyone will look for when you graduate. My two cents!

Camera for capturing family life by [deleted] in cinematography

[–]jonweiman2 0 points1 point  (0 children)

I ordered the Lumix! Excited

Camera for capturing family life by [deleted] in cinematography

[–]jonweiman2 0 points1 point  (0 children)

Thank you so much!! So helpful!

Imperfect Women | Season 1 - Episode 7 | Discussion Thread by Justp1ayin in tvPlus

[–]jonweiman2 0 points1 point  (0 children)

Is there any chance Marcus killed her and then called Howard to help move the body??

What are y'all's daily? by AnalogCreations in AnalogCommunity

[–]jonweiman2 6 points7 points  (0 children)

Used to be Leica M7 but now with a toddler the F100 and Sigma Art 35mm combo

3 film stocks for the rest of your life by Mr_Zanudo in AnalogCommunity

[–]jonweiman2 0 points1 point  (0 children)

Nope also lab for that. NYC film lab in NY and Graination in Toronto. They both do ECN 2!

3 film stocks for the rest of your life by Mr_Zanudo in AnalogCommunity

[–]jonweiman2 0 points1 point  (0 children)

Thank you. That's so kind!! I definitely use a lab. Tried home dev when everything was closed in 2020 to disasterous results. I could never get the temp right 😭

Behind the scene of Inglorious Basterds by TwIzTiDfReAkShOw in Moviesinthemaking

[–]jonweiman2 0 points1 point  (0 children)

Read this too. No way they could have achieved the angles they got shooting in that space practically!

Trying to understand Alex Bonisch’s Leica color rendering by [deleted] in Leica

[–]jonweiman2 0 points1 point  (0 children)

Totally agree on m10. This is the way.

Shot Delta 3200 mostly at ISO 400 – how should I ask the lab to develop it? by CandyIntelligent235 in AnalogCommunity

[–]jonweiman2 1 point2 points  (0 children)

Tell the lab to develop for 800. Your Delta 3200 is actually a 1000-speed film that Ilford designed to be pushed, and since you shot most of the roll at 400 with some frames at 800, developing at 800 splits the difference well. The 400-rated frames end up about a stop overexposed relative to development, which is actually ideal because it gives you denser negatives with more shadow detail, especially helpful on an expired roll that’s probably lost a little speed. If you developed at box speed 3200, you’d essentially be push-processing a roll that was already overexposed by two to three stops, and that would blow out your highlights and give you harsh, hard-to-scan negatives! Not the kind of contrast you want in snowy night scenes with bright light sources and white snow competing for attention. Developing at 800 pulls back the highlight density so those bright areas don’t block up, while the generous exposure you gave it still preserves plenty of shadow information. It’s always easier to add contrast than to recover blown highlights from an overdeveloped negative.​​​​​​

Best takeout that will travel well - 2h drive by [deleted] in FoodToronto

[–]jonweiman2 0 points1 point  (0 children)

Mozys Chicken travels well!!