Sander Ferdinand Posted October 21, 2015 Share Posted October 21, 2015 (edited) Hello guys, First of all, good to see people still use s16mm! I have been thinking about shooting my own short film on 16mm and wondered if I could use my 35mm photo camera to prepare some shots for it. Will my photo camera (Canon A-1), loaded with 500 ASA, a 50mm lens (prime) on 2.8T yield roughly the same results as a Aaton XTR (s16mm) loaded with Vision3 500T and a 50mm at 2.8T (some zoom lens) in terms of lighting. I understand that the colors/grain/DOF/distortion and such would be different. The goal is to get a rough estimation for my exposures to rule out the possibility of wasting precious film stock on ruined shots (Too dark, too bright). As a beginner, I will be practicing lighting/shadows in certain conditions. When the time comes I will be using a lightmeter as well of course, but having the shots planned a little beforehand allows me to get the look I am going for and giving me confidence in the end result. Thanks, Sander Edited October 21, 2015 by Sander Ferdinand Link to comment Share on other sites More sharing options...
Dirk DeJonghe Posted October 21, 2015 Share Posted October 21, 2015 Sander, in order to get confident in using the exposure meter I suggest you read Ansel Adams 'The Negative'. It is about B&W photography but 100 % applicable to motion picture. Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted October 21, 2015 Premium Member Share Posted October 21, 2015 Yes, shooting the same MP stock in an 8-perf 35mm still camera, processed the same way (ECN2 not C41), would teach you about exposing for Super-16 if you match the f-stop and shutter speed (usually 1/50th to get close to the 1/48th shutter time of a 24 fps camera with a 180 degree shutter angle.) Though without printer lights from a work print, I'm not sure how you'd measure whether you exposed it correctly or not just by looking at a scan of the negative, other than just shoot a grey scale in flat light at the correct ASA / shutter time to match shooting in Super-16, as some sort of base image to judge your other exposures against. Link to comment Share on other sites More sharing options...
Premium Member Jay Young Posted October 21, 2015 Premium Member Share Posted October 21, 2015 I'm curious as how to get ENC2 process from a lab with only 8 feet of film. If one were to buy the new "cinefilm" for 35mm still camera, or even take some 5219 and load it in a still camera, is there a lab that would process such a small amount? Link to comment Share on other sites More sharing options...
Andries Molenaar Posted October 21, 2015 Share Posted October 21, 2015 A long time ago friend used a Rollei 16 camera to expose 16mm 1perf to get the film look in his stills. The Rollei 16 takes 16mm 1perf like many other. It is a nice camera but only has automatic program exposure. Better would be to use a Kiev or Mamiya 16 who have manual adjust aperture and exposuretime. The grain is different though as the camera sideway almost uses three frames. Link to comment Share on other sites More sharing options...
Kenny N Suleimanagich Posted October 21, 2015 Share Posted October 21, 2015 Cinestill 800T yields an image very close to 5219. The knee is slightly steeper, but in terms of grain and latitude it comes pretty close. They also make a 50D. It's just Kodak MP with the anti-halation backing removed. Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted October 21, 2015 Premium Member Share Posted October 21, 2015 Cinestill uses MP stock with the anti-halation backing removed and processes it in C41: http://cinestillfilm.com/pages/about-cinestill-film Which is probably why they rate the 500T at 800 ASA. I'm sure that would still be instructive to shoot. There's a lab called Double Exposure Ltd. in Cleveland, OH I found online, I don't know if they are legit, but they say they do ECN2 processing: https://xxltdlab.wordpress.com Keep one thing in mind: negative film loves exposure, so if you err, err on the side of overexposure, not underexposure. Link to comment Share on other sites More sharing options...
Premium Member Satsuki Murashige Posted October 21, 2015 Premium Member Share Posted October 21, 2015 The thing is that Cinestill film is so forgiving of mis-exposure that I don't think it's a good tool to learn how to expose film properly. For previewing what 7219/5219 will look like, I think it's great. For learning and testing your metering technique, I would start with some color reversal film like Fuji Velvia or Provia. Once you can nail exposures consistently on reversal, switching to color negative should be a piece of cake. Just remember to err on the side of underexposure for reversal, and on the side of overexposure for negative. Link to comment Share on other sites More sharing options...
Chris Burke Posted October 23, 2015 Share Posted October 23, 2015 I have seen comparisons of 5219 and Portra 400 stills side by side. While the 5219 is the winner, the Portra 400 is rather close in comparison. I believe that the emulsion is very close to the Vision 3 MP stock. So, shooting a roll of Portra may be an easier way to get what you are looking for. Link to comment Share on other sites More sharing options...
Recommended Posts
Create an account or sign in to comment
You need to be a member in order to leave a comment
Create an account
Sign up for a new account in our community. It's easy!
Register a new accountSign in
Already have an account? Sign in here.
Sign In Now