Es 2 Film Film-Datenbank
(engl. Originaltitel: It Chapter Two) ist ein Horrorfilm von Andy Muschietti und die Fortsetzung zu Es aus dem Jahr basierend auf dem gleichnamigen Roman von Stephen King. Dieser kam am 5. September in die deutschen und am darauffolgenden Tag in die US-Kinos. Nach 27 Jahren wird die kleine Stadt Derry wieder von einer Mordserie heimgesucht. Dem Bibliothekar Mike Hanlon wird schnell bewusst, was los ist. Er kontaktiert seine ehemaligen Freunde vom Club der Verlierer. Die leben inzwischen alle woanders. Es Kapitel 2 (engl. Originaltitel: It Chapter Two) ist ein Horrorfilm von Andy Muschietti und die Fortsetzung zu Es aus dem Jahr basierend auf dem. ES Kapitel 2 ein Film von Andy Muschietti mit Bill Skarsgård, James McAvoy. Inhaltsangabe: 27 Jahre sind vergangen, seit sich mehrere Kinder in der Kleinstadt. "Stephen Kings Es (2)", der Film im Kino - Inhalt, Bilder, Kritik, Trailer, Kinoprogramm sowie Kinostart-Termine und Bewertung bei TV pauert.se
Es Kapitel 2 (engl. Originaltitel: It Chapter Two) ist ein Horrorfilm von Andy Muschietti und die Fortsetzung zu Es aus dem Jahr basierend auf dem. ES Kapitel 2 ein Film von Andy Muschietti mit Bill Skarsgård, James McAvoy. Inhaltsangabe: 27 Jahre sind vergangen, seit sich mehrere Kinder in der Kleinstadt. "Stephen Kings Es (2)", der Film im Kino - Inhalt, Bilder, Kritik, Trailer, Kinoprogramm sowie Kinostart-Termine und Bewertung bei TV pauert.se
Es 2 Film VideoGiant Lumberjack attack scene - It Chapter 2 - 'Paul Bunyan'
Es 2 Film Ein neuer Plan bringt Pennywise zu FallEs ist nicht nur ein Horrorfilm, sondern ein Horrorerlebnis. Geliebte Jane. September in die deutschen und am darauffolgenden Hostiles christian bale in die US-Kinos. Erwachsenen-Unterhaltung mit gesteigerter Brutalität. Mit Kino-Hits wie der Matti Https://pauert.se/hd-filme-stream-org/friederike-sipp.php Solvik. Länge: Min. Taylor Frey.
Old negs of course may have a bulge or set. Beat them with a kitchen mallet, or lay them to flatten with a book on top.
I have an ES-2, but have not found it easy to get accurate colour from Negs using a D The results are good, but need a lot of work.
Do I really need a D? Grain too. With the ES-2 having a diffused light source, you don't have issues with dust and scratches to anything like the same degree.
I have found the same - ie. I have an ES To use it on my APS-C camera with the 60 f2. This same thing would work for an ES Es-2 is not bad price and extremely useful on the D and D - wished Nikon copy things through and added necessary settings to the Z's..
So did I, works fine since many years. I am actually thinking of doing that, or buying an old legacy slide duplicator product and modifying it with a hack saw, etc.
The quality of manufacture of the ES-1 was poor and necessitated repacking the telescopic tubes to remove wobble and maintain uniform focus across the slide, but once done the device is quite satisfactory.
I used plumber's thread-seal tape for the job: thin enough to build just the right thickness, bonds to itself with no adhesive, and is slippery enough to permit adjustment.
Hopefully, the ES-2 doesn't have this problem. I have found the best light for slides is a clear sky on a bright day. Pan negatives are easy enough to invert but I have not been very successful with colour negatives.
The "Clear Bright Sky" requirement would limit scanning in Chicago to about 30 random days a year. In Seattle, you would grow old waiting.
Seriously, have you measured the color temperature of the sky. I't probably close to K, almost the limit of WB adjustment on many cameras.
Because the setup is rigid, you don't need bright light, you need consistent light with a relatively smooth spectrum. That could explain some of your problems with color negatives.
But then, good negative color isn't guaranteed with a dedicated film scanner either. I've successfully copied about 2, slides with the Polaroid Slide Duplicator on the Oly 60mm macro.
I threw away the crappy plastic lens that came with it, added a mm adaptor and used a small Ledgo LED panel for backlighting, that's all.
On further reading, it seems the ES-2 may handle only 35mm film. This is not made clear. If so, it's not what I'm after.
The ES-2 handless film strips up to 6 as well as slides. For larger formats, you can use a copy stand with a light table, a focusing rail with a film holder e.
The trick is to first white balance on the orange border. However, white balancing on the border then simply reversing the tone curve doesn't work well but the plugin sees to have some other smarts to get it pretty right.
I do have this adapter and find it very handy for digitizing. The workflow is fast and convenient except for inverting negatives appropriate threads discussing the issue can be found on a new DPReview's dedicated film forum.
It is a pity Nikon does not include an appropriate picture profile in every of their DSLRs and now mirrorless cameras.
That would be a certain plus of any Nikon camera and a competitive advantage. With an awakening interest in film photography that could bring some additional support for total sales.
D and D do have a special mode but you get only jpegs and this is understandable since picture controls can be copied and used to process images from any camera.
But anyway if you own a Nikon camera and you are a film photography fan or have an analog archive it is worth spending some extra dollars around USD for the adapter depending on the country you live in and USD for a suitable used macro lens.
I scanned thousands of my more interesting 24x36 films and slides on a Coolscan IV years ago drove me crazy but the results were good.
Then I scanned hundreds more of my 6x6 films and slides on an Epson flatbed left me feeling I was not getting the best possible result. It's much quicker than the Coolscan.
The results vary from very good with Professional Fuji NPH colour negative film to abysmal typically with older amateur colour negative film like Kodak Gold.
If it's not coming out right then there's not a I can do. What is it about video reviews, most are a complete waste of space.
I spent many hours perfecting the craft and science of color conversion with the ES If I could relate that in 8 minutes, it would be a miracle.
There's a huge amount to know about getting good results when digitizing film, whether the kit is simple or not. If I had made videos like a lot of these 'bloggers' I wouldn't have lasted 20 weeks!
A lot of waffle and ego boosting seems to be the modern way, I'm sorry but, in my opinion, these guys just haven' a clue about good and effective video production.
Using the adapter with a Nikon Aps-c and the Micro mm, would the frame be filled, or there be a lot of blank margins left, or, worse, would it only get part of the negative frame?
D in my case, so, if margins left, final frame would be less than 16MP, but if it would crop image, no use for me.
With the mm you cannot focus the lens on the film tried it. Even if you could you would only get the central part of the image with APS-C it would be even worse.
The ES-2 is basically a sliding tube with the film holder on one end and the lens mount on the other which perfectly fills a 24x36 full frame with a 60mm lens at minimum focussing distance Do we really need a lot of MPs for film duplication?
Do we really need to see grain, scratches, mould and soft focus in 50MP? The grain is part of the beauty of the image.
Why not? Photo technicians use them all the time, the lint-free variety. They're a lot more comfortable than latex or nitrile gloves.
That was the 70's, when digital was not a choice. People have started to feel anxious about preserving their film legacy, and digital cameras have evolved to be up to the job with a substantial margin.
You will need to invert the curve of the negative scan. That is, drag the white point to black and the black point to white.
As Steven Lungley says you don't need specific software. Just invert in LR apply a curve as required and save the process as an import preset.
Thank all. Anyway, good Nikon keeps producing photo dedicated stuff. I have about 5, negative frames, mainly family stuff covering 3 decades, I need to preserve some of that for future generations.
Not certain. There is about 1cm of adjustment possible in the distance between the film and the lens which is set for a 60mm at magnification.
The focussing distance at for a 30mm will probably be much closer. However as you're not doing but something less then the focussing distance will be further away.
It might fit into the adjustment possibilities of the ES Or not.. It wasn't a difficult decision. A fraction of the time, and a 47MP file versus 16MP.
The scanner does only 6x6 and 6x7 now. Except no film can deliver 47 MP. Only the very best films can deliver dpi approx 24 MP on 35mm.
That Is only true if all you want is the record shot of the person, place or thing on the film. In other words it opens up a way for you to use elements like the wear and tear on the acetate, halation, the grain, emulsion up vs emulsion down etc.
If that sounds too crazy just think of it being able to pull additional metadata from the film. There's a reason why 16mm scans for movies benefit on 4k TVs despite everyone saying that 35mm is the 'perfect' scan.
Same thing with 35mm movies being displayed on a 8k tv The slides are perfectly framed with this combo, the autofocus works great and the results are beautiful.
Chris analog shots look way better than what we see nowadays in those dpreview episodes, but maybe he had more time to shoot in the past Let's remember that this is a sample of photos over Three years and countless rolls of film.
Sample galleries for the show are usually 40 or so photos kept from just one or two sessions of shooting. So in that regard I think I do ok.
I do truly appreciate your compliment about the old work though. These images smoke a digital BW Leica. Something to be aware of in any dust lurking on the INSIDE of the opaque light diffuser is so close to a slide or negative that it usually gets recorded on the digital photo.
If you mounted slides in GE-PE glass or glassless mounts they are usually too thick to fit in the Nikon slide holder. A solution is to dispense with the slide holder and use a second empty slide mount above the original slide mount to obtain appropriate spacing.
Even though I understand optimal results are probably to be had from RAW I still badly want the digitizer-mode for my Z6.
Raw is the way to go unless unless you have hundreds of old slides to scan. Or if you are a jpeg shooter. It is possible to make a quick and dirty conversion from raw or take the time to do a good one.
Even shots from the same roll will need slightly different adjustments. I do indeed have tens of thousands of negatives.
I have never been a fan of the RAW workflow. I save the raw files as a back up, always. Much prefer a jpeg workflow which means getting everything right in camera.
Still far easier with jpeg than slide film for example. I'll never go back to scanners. I've had it with end-lesslessly unreliable hardware and their associated buggy underdeveloped software and drivers.
You may not love Adobe but I guarantee they put more effort into their products than any of those scanner software developers.
A good macro lens and digital camera are easily a match for the resolution and DR of any film I've ever used and I've got a raw file I can process to taste rather than a pre-cooked tiff.
It takes a little while to sort out a system but once you've got it dialed in it's much faster as well. Need to check your light source as colour balance is off on all the colour ones.
The scans do not look that great compare to a dedicated 35mm scanner like a Minolta running either Vuescan or Silverfast.
This is just the way the D automatically deals with the colour. It's unfortunately not something one can change or calibrate using the built in digitizer.
We wanted to show the results good or bad and some of the negs did represent okay, and some went quite cyan.
Also they are 20 year old negs and as I understand colour neg can start to slide after 7 years or so. I tried natural daylight and led and the result was the same.
Couldn't tell you what strategy Nikon is employing to naturalize the colour results. Use a preset color temperature for copying slides and negatives, determined from an empty holder and the light source you are using.
AWB is unduly influenced by the predominant color in the slide, or orange mask in a color negative. Hmmm I wonder if my never used Minolta will still work.
I have one in storage that well.. As for scanning with a camera - did lots of that before. Even if it was a good one, it most likely still has deficancys in deep red or deep blue.
For best results, sunlight is the only option Chris Niccolls: this seems to be getting results much closer to lab scans right out of the box.
There is some initial set up, but many have been really happy with the quality and speed of Negative Lab pro, I'm pretty sure Nate has been improving the compatibility with flatbed scanners as well.
Really disappointed with the video. I had still have many old slides and wanted to digitize them. The adopter made life very easy.
I set up my D on a tripod and used an external flash set on manual. Focus was manual, and did not change. Off I went. Everything was in focus.
And in RAW. My only problem was removing and putting back the slides from the slide carousel. Dpreview made the process sould much harder than it really is.
Boredom will be the enemy of the process. The older ES-1 slide holder is much easier to use for slides only than the ES It's still available and half the price.
Lots of impressive images in this gallery, which I don't feel quite the same for his current galleries on digital at least here in DPR.
I appreciate your compliment! It's an interesting take though I don't necessarily agree. I suppose back then I was just shooting for myself and for fun.
Maybe that shows through. Also, only the best shots survived probably and when you shoot an episode of dpreview you show alot of shots that where done in 1 or 2 days max.
Nobody can do amazing shots in one day, especially when your main focus is to shoot the video. Thank you for understanding exactly the situation as it truly is.
I really appreciate it. Anyone using this and shooting multiple exposures and focus stacking for not perfectly flat film?
Or is that overkill? As a practical matter, if the center is in perfect focus grain sharp , the corners don't matter much. Just as well.
At magnification, the focusing helix has little or no effect. To change the focus, you have to change the distance between the lens and the film holder.
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Tags: video , analog , dprtv , film , film-scanner , nikon , video-review. View Comments Comments All Mike What is the highest resolution with the ES-2 scanning?
Tom-Thomas I just don't understand why so many people insist on using the misnomer. Leonp I guess sales of these adapters will be great now we all have lots of time indoors.
Newbie4Life Another great video! Gerry Siegel Suggested set up using the ES-1 to copy small images like stereo slides.
Barend If I'm finished digitizing my negatives I have to go to a repair center for a shutter replacement. Zdman A hidden cost but fortunately many cameras these days have a fully electronic shutter that bypasses the problem.
Oh well, nice product nonetheless. El Jeffe Why did it take so long for someone to make this? Gerry Siegel You can buy the extension tubes from this easy mail order source.
Oh, and my favourite, Fuji Neopan Ed Ingold Theoretically, a FF camera needs magnification to copy 35 mm film. Tom K. What are these "prints" you speak of?
HowaboutRAW mastix: To do it right, including a very good software interface, would cost Nikon a fortune in development monies. Ed Ingold Nikon had all the technology needed to make superb film scanners.
Gerry Siegel One can always offer an alternative that already exists, and those that seek to flatbed scan have choices If one has actually tried this device and I have and gotten good and fast results, then it is worthy choice.
Ed Ingold Actually, there is an automatic color negative converter in Photoshop. John Swenson Exactly.
Gerry Siegel Shooting slides I find that F 8 and autofocus is spot on. Black White and colors look real good. Where are Spiratone and Vivitar when you need them!
There are no optics in it-it is just a tube. BobT Woops! Ed Ingold The ES-2 handless film strips up to 6 as well as slides. Works well.
Roman Verton I do have this adapter and find it very handy for digitizing. Thanks for sharing. Franglais91 I scanned thousands of my more interesting 24x36 films and slides on a Coolscan IV years ago drove me crazy but the results were good.
Is that correct? Ed Ingold Yes. The gate won't close if they're thicker. G Pik 8 minutes to explain such a simple task?
Ed Ingold I spent many hours perfecting the craft and science of color conversion with the ES G Pik My comment is about waffling about a very simple piece of kit!
Chris I dunno, as someone who never ever heard about this stuff, the video was quite interesting.
BobT Agreed! Some just like to perform. Franglais91 With the mm you cannot focus the lens on the film tried it.
The slide holder is capable of holding two mounted slides side by side while the film holder is designed to hold strips of up to six frames of film.
Both the film holders are made from plastic and while the slide holder feels quite robust, the strip film holder feels a little more delicate.
I found that some mounted slides push easily into the holder, but some that were mounted in high-quality Gepe mounts demanded more pressure.
Removing these slides also required a pair of thin-nose pliers to get a good enough grip to be able to extract them.
You can feel when the holders are in the right position as they are slid into the ES As recommended by Nikon, I used natural light to illuminate the slides and negatives that I digitised, pointing the diffuser towards the sky.
I only needed to adjust the exposure a little one way or the other using the exposure compensation dial on the camera when the images were especially dark or bright.
The D also generally handled the white balance well in its Natural Light Auto white balance setting, but naturally, colour negatives required some post-capture work to compensate for their brown base colour.
I used ISO for all the digitising I did as this ensures high-quality results, however, film grain and texture is evident in all my images.