Premium Member Charles MacDonald Posted June 15, 2006 Premium Member Share Posted June 15, 2006 It's also a little tricky if you shoot a movie on both Fuji 250T and 250D stocks because it's hard to hear the difference between "T" and "D", so I try and call out the stock numbers in that case, and I double-check to make sure the right mag is on the camera. I know that I always write the speed beside the number - ie "7245 50D" and I would guess that might disambiguate a lot of problems. I also like to use a lower case d (d) just to be cleat.. Link to comment Share on other sites More sharing options...
Erdwolf_TVL Posted June 16, 2006 Author Share Posted June 16, 2006 Looks like I'll have to start refering to stocks by their numbers, rather than their "friendly names" :) Question : Why should sample strips be kept in darkness? To my understanding, within a few seconds of ambient light, the film is saturated and no further chemical reaction takes place. Does pieces of unprocessed stock change colour over time? And what times are we talking about? Link to comment Share on other sites More sharing options...
Premium Member Charles MacDonald Posted June 16, 2006 Premium Member Share Posted June 16, 2006 Looks like I'll have to start refering to stocks by their numbers, rather than their "friendly names" :) Question : Why should sample strips be kept in darkness? To my understanding, within a few seconds of ambient light, the film is saturated and no further chemical reaction takes place. Does pieces of unprocessed stock change colour over time? And what times are we talking about? five minutes to several days! Try this. Take a short lenth of scrap film unprocessed film. The end of a roll, even the trim from squaring off the end of a roll. Stick Half of it in sunlight for 5 minutes, with the other half covered by a book. Take it back inside and look under a good light, you WILL see the shadow! Link to comment Share on other sites More sharing options...
K Borowski Posted June 16, 2006 Share Posted June 16, 2006 In the late 70s they also introduced a 400D C-41 still negative and a 400T ME-4 16mm reversal. I don't remember if there was a comprable E-4 or E-6 slide film.All of which Kodak didn't offer. I assumed that was their strategy for cracking the american market. ---LV I've already been in error twice in this one thread :ph34r: BUT. . . I believe it was a 500T stock that Fuji had for VNF-1, making it a whoping third of a stop faster than 7251. Anyway, I heard this from a cameraman I was talking to who was reminiscing about the days when he first started shooting TV, when he saw my Bolex. That's what they were shooting before they switched over to ENG. Regards, ~Karl Borowski Link to comment Share on other sites More sharing options...
Premium Member Adam Frisch FSF Posted June 16, 2006 Premium Member Share Posted June 16, 2006 I believe the film First Blood, shot by Andrew Laszlo, ASC, was one of the first to use Fuji's new high speed 250T stock on certain scenes. Link to comment Share on other sites More sharing options...
Ignacio Aguilar Posted June 16, 2006 Share Posted June 16, 2006 And of course, there were the articles on how "Close Encounters" shot the 65mm material on 5254 but the 35mm anamorphic material on the new Series 600 5247. And the funny thing about "Close Encounters" is how much Spielberg hated 5247. He even made a claim about being tempted to shoot the whole film in 65mm just to keep using 5254, which was already unavailable for 35mm. The first film that I recall using the original 5247 stock is "The Towering Inferno", which was shot during the summer of 1974. The labs weren't ready yet to process huge amounts of the new stock but Bill Abbott, ASC used it to shoot the miniatures and the composites due to its finer grain as opposed to 5254. Link to comment Share on other sites More sharing options...
Leo Anthony Vale Posted June 16, 2006 Share Posted June 16, 2006 I've already been in error twice in this one thread :ph34r: BUT. . . I believe it was a 500T stock that Fuji had for VNF-1, making it a whoping third of a stop faster than 7251. Anyway, I heard this from a cameraman I was talking to who was reminiscing about the days when he first started shooting TV, when he saw my Bolex. That's what they were shooting before they switched over to ENG. ---The VNF stock would be a replacement for the ME-4 stock. 7250 and 7251 were VNF stocks, but Kodak had no comprable ME-4 stocks. Kodaks ME-4s were the EFs 7242 125T and 7241 160D and Ektachrome M 7256(?) 64D. So the 400T and a 100T came out prior to the introduction of the VNF process. I had read an article in Filmmakers newsletter claiming the ME-4 400T processed in VNF normally would get a stop and a half push. So I shoot some night highway and truck stop footage. But the lab refused to process it in VNF, so it went through a 2 stop ME-4 push. Quite grainy, color and density were okay. But a two stop push was expensive and a Beaulieu's finder is too dim for accurate low light focusing. ---LV Link to comment Share on other sites More sharing options...
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