What Vision3 film stock would you recommend to shoot as close to the 5247 100T stock please?

[Jacob R. Crosby-English]

Good Evening 🙂

I been studying the Super 8 film stocks and been wondering which film stock should I get, to shoot as close to what the famous Eastman Kodak II 100T 5247 colours deliver please?

 

I can say by far my favourite film stock of Super 8 is Vision3 500T. I got it originally based off this YouTube video:

Also since I’m using my Yashica LD-6 (which I’m going to have modified sometime if I can find someone to help me on that [I did make a post of it on here too]). What settings should I use (on the exposure) to match as close to the 5247 film stocks (if for example) I shot with a bundle of 500T per se please?

I’ve got ring adapters for my camera and lens too (thread is on the way for the two adapters; I found a site I can have custom ring adapters made if this doesn’t work).

 

Sometimes I buy expired Super 8 stock to just compensate for still being able to shoot something in colour.

Which leads me to ask before I go for the night: Do you guys and ladies know where I can buy Super 8 in bulk please? I’m fine buying the 50ft cartridge for what the prices are, I just am interested to see if it is possible to get Super 8 in bulk?

 

Please let me know and I will write this down so I can utilise this for my own Super 8 film I shoot on. It’s going to be fun and interesting shooting on that camera again but this time, with my CinemaScope lens. 😄 OG Widescreen here I come! Whoopee!

 

You all have a lovely evening and Good Night 🙂

Jacob R.

[Joerg Polzfusz]

Hi!

You‘ll have to emulate the 5247 in post. All the modern emulsions have been improved too much to look like the 5247 „out of the box“. And all the V3s have been designed to give exactly the same look. The only difference is the grain, which is more obvious in S8.

When shooting anamorphic, you definitely want the finest grain. Hence it’s V3 50D or E100D.

What do you mean with „bulk“? Do you want to get a rebate when ordering more than one cart? Then try Rochester.
Or do you want to get the film with cartridge as bulkware/meterware? Then try Wittner ( https://www.wittnercinetec.com/epages/WittnerCinetec-Super8-16mm-Film.mobile/en_GB/?ViewObjectID=17088269 ) or Pro8mm.com (they usually only offer it as „special order“).

 

Have fun!

Edited March 10, 2025 by Joerg Polzfusz

[Mark Dunn]

Apart from the 500T those old films can't be processed anymore. Kodachrome and E160 processing finished in about 2010 and as for 7242- here's a quote from the Kodak website.

1984

• Discontinued - EASTMAN EKTACHROME EF films, 7/5241, 7/5242 and EASTMAN EKTACHROME MS film 7/5256. All required Process ME-4. These products had been replaced with products requiring Process VNF-1 / RVNP.
•  

The VNF process was discontinued in 2004.

There are labs that will attempt to get a b/w negative image but it's uncertain and expensive and it's meant for old exposed films- you'd hardly take a chance shooting on them now.

Loading bulk Super-8 into a cartridge yourself sounds pretty difficult, even if you can find reloadable cartridges. I think you would be asking for trouble with jamming and light leaks.

Edited March 10, 2025 by Mark Dunn

[Jacob R. Crosby-English]

I mean I can get the 500T stock and digitally emulate the 5247 look on DaVinci Resolve 🙂

Waking up to these replies felt relieving. It stinks I missed out on those classic Ektachrome and Kodachrome stocks, I mean I could digitally emulate Kodachrome too 😄

I do know I want to see if I can have my Super 8 developed with the push process (that colour process method I bumped into when researching the film Eyes Wide Shut).

I’ve also been looking at some 3-Strip Technicolor plugins since I know the dye transfer process isn’t around to do anymore. I found one for After EFX and I want to grab that one (or just dive into the YouTube tutorials on doing that in DaVinci Resolve).

 

I was watching The Godfather, Part II last night after debunking my assumption of Gordon Willis using Black and Gold gel filters. Boy was I wrong 😛 He used low-key lighting and underexposed the film when it was developed. I still can’t believe they were inspired by the same Rembrandt painting I painted back in college.

I have to ask too, do I turn the exposure knob on my Yashica LD-6 (more to the + or to the - side) to make my Super 8 darker like The Godfather, Part II please? 🙂

I hope you fellas are having a good morning and day too

Thank you both for the replies, I can’t wait to get this on the roll 😄

Jacob R.

[Tyler Purcell]

20 hours ago, Mark Dunn said:

There are labs that will attempt to get a b/w negative image but it's uncertain and expensive and it's meant for old exposed films- you'd hardly take a chance shooting on them now.

FYI; The Film Photography project has been pretty successful at recovering VFN and older A/G Ektachrome. Not something I would use for a project, but still cool to know. 

[Karim D. Ghantous]

From what little I have read, 5247 has much less latitude than 5219. So, maybe that is one part of the 'recipe'. Pushing reduces latitude, so that might be one way to try and get the look you want. Playing with the camera negative as well as the print stock might yield something interesting. I just like to think out loud about these things - they are beyond my skillset.

[Joerg Polzfusz]

I have discovered this article. It’s about the differences between 5247 and the V3s/digital:

https://www.indepthcine.com/videos/kodak-5247

No clue whether it covers all aspects/differences. But it might be a good start. 

[Karim D. Ghantous]

12 hours ago, Joerg Polzfusz said:

I have discovered this article. It’s about the differences between 5247 and the V3s/digital:

https://www.indepthcine.com/videos/kodak-5247

No clue whether it covers all aspects/differences. But it might be a good start. 

That article was almost useless. Hardly 'in depth'! 

[Jacob R. Crosby-English]

I just made my very first mod for my Super 8 camera 😄 I got a 1980s VHS camcorder handle onto the chassis.

And CineLab Boston said they can modify my camera! Let’s get it 😄 (The additional frame rates part isn’t going to happen - I’ll keep looking into it because it would be cool shooting Super 8 at 120fps and then slowing that down (more likely in a video editor which I’m ok with 🙂) I don’t know but I’m stoked I got a green light for most of my mods for the Super 8 camera).

I'm gonna probably have a custom ring adapter made to go with my thread and ring adapter (already on the Yashica LD-6) since the step-down ring (68-67mm) oddly didn’t work which I thought it would. I’m learning, luckily I found a site that can make ring adapters 🙂

 

Can’t wait to see what CineLabs can do in modding my camera 😄 I’m stoked

Jacob R.

[Dave Kovacs]

To get an image that is closer to 5247, underexpose by 1/3 on the aperture. Push process by 1 stop at the lab. That will reduce the dynamic range and alter the color saturation. Pay attention to what is happening with the CHARACTERISTIC CURVE OF 500T VISION3, compare that to the shoulder/toe and mid range of the characteristic curve of 5247. Don't concern yourself with the grain, just focus on the rest of the image. 

 You will also find you get many hours of enjoyment from viewing your own 16mm prints. Take 5 minutes of Super 8 VISION3 footage, digitally record it to a 16mm print stock. Like the guy says in the MEN'S WAREHOUSE Suit commercial..."You're gonna like the way you look"..