[Frameworks] Exposure compensation

[Rob Gawthrop]

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 <pamarin82 at yahoo.com> 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 <krstn at zeromail.org> 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.
> 
> 
> 
> 
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