Kip Kubin

ORWO N74 400 D / 320T AATON XTR/COOKE 9-50 http://vimeo.com/42855181

For anyone interested... Here a quick clip of some ORWO N74 I shot while documenting a bands photo shoot...had to grab clips in between filming for the label. https://vimeo.com/42855181 Process Normal Telecine and Process - Cinelab 2:35x1 Matte - Bit of vignette at 9mm so I slapped on a matte...didn't really have to go widescreen...with 5 guys it seemed to work.

Thanks Robert N74 is such s good choice for the conditions I was shooting under. I was shooting behind the scenes for a music video. The video was shot in s dark bar lit for 800 Asa for an Epic/Scarlet shoot and it was lit tungsten... So Kodak 200 speed was not really an option I was lucky in that my subjects really worked with the grain and texture... My subjects were Willie Nelson, Merle Haggard, John Andrson and John Rich I didn't think I was allowed to talk about the shoot but Willie has a news story about the shoot on his website When/if allowed ill post some clips

Just got my first rolls of N74 ORWO back from cinelab. Can't post due to celeb content but I can say I'm real happy with the results and don't think you'll have to push the stock for your night scenes I accidentally rated it at 250 for tungsten... It's actually 320 . I was shootIng a Cooke 9-50 t2.5 at about a 3....meter was rating @2.8... Fairly low light interior with strong backlight on the subjects, key was a 650 bounce I was tempted to push but glad I didn't ...lots of shadow detail with great highlights I bet if you had some fast primes and lit 56k you'd have great results for your night time scenes It is grainy but with a bit of grain management software you could subtract a bit if you found it too distracting

No problems here....actually really easy...much better communication than Fuji. I do suspect it has to do with overseas shipping...and them being a small operation....they may not have the time to calculate...my guess is 10-15 USD Priority First Class Overseas. Like Robert says just get on line and calculate....you may just want them to use USPS overseas shipping...100' rolls are small enough for an envelope. All I can say is my ordering and shipping with ORWO was great...Robert has some of my footage now and hope to get a look at my N74 shoots soon.

You should have ND's at hand. + POLARIZER for managing/shaping reflective glare on skin tones and grass/brick/windows etc Depending on the color of the houses and what you want to emphasize you may want use color filters as well. Today, as an example my meter @250 is showing T22.. Do you have a meter? That would be the easiest answer...what stop do you want for the film you have. Id normally start with 2 stops and a Polarizer for the setup ..but I'd have the other ND's there depending on the story.

Robert does processing as neg apply to n74? Also, do you guys spool rolls on to spools for projection? Thanks Kip

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On balance... Buy an old film camera....buy a digital one as well. We live in a world where both are extremely affordable. PS...I've been testing ORWO black and white stock.... you may like it....as a 400 speed alt to Kodak http://www.orwona.com/about-us/

I started with a Bolex EL...the thing that made me switch cameras was the viewfinder/noise/mag loading Viewfinder The Bolex tends to force you to shoot wit the camera up to and even with your eye...makes sense... until you want a low angle dolly shot.... then it's an issue. On the other hand... the Bolex with a 100ft load can squeeze into many tight places other cameras can not.... HH is easy with that camera but heavy over the course of a day as it's generally not on your shoulder. Mags Only one 400' mag came with my Bolex... so, I had to stop and load...slightly hard to do in the field....easier using daylight spools though...again, depends on how you shoot. Like the others said...what, and how you generally shoot will dictate the camera you buy... you may need to put more into a camera of these two don't meet your needs......make someone an offer on one that will work best for you. Lots if sellers would rather see their old cameras being put to good (or any) use rather than just sitting around on a shelf.

emailed you Alain.

1st Where did you get your stock and how old was it? I had a issue like yours...the result of my investigation was that the film co that I bought the film from didn't get the the manufacturer. So the age and condition was in question...even though it was never opened....appeared fresh and new. Let me ask,,,did the strobe change over the corse of roll?...mine diminished towards the center of the roll...less strobe effect.

Robert, do you process the 400 speed ORWO N74? Just shot a 400' roll last week and am looking to try out a new lab along with this new-to-me stock Thanks Kip

Grab a Gossen Luna-Pro off ebay Got this tip from Roger Deakin's forum. Great Cine meter..however, it will be used...so check it's accuracy...local cam shop or friend with a Sekonic. But mine is spot on and is way faster and easier to use than a newer digital model.... you can adjust for filters and quickly calculate over and under for any speed of filming @ 180 shutter. I tried to use my DSLR for a film light meter...the readings were really off compared to my Gossen and the internal meter in my Aaton.... so I just trusted the meter and the results were and have been perfect.

I'm planning to crop to 4:3 for delivery...I think it covers from 15mm on.

Other than keeping an eye on ebay is there a source for rear lens caps with Aaton mounts?

Does anyone know if there has been any grain management done to any of these tests? The Super 16 500T looks so low grain, even on youtube. Opinions welsome

People like me have been waiting for prices to come down. They have. I do think there is a market for those who want to shoot 16mm. You will have an easier time selling if you have a history on this board. I missed out on Tim's Aaton a while back but was able to find a local seller where I knew the camera's history and bought that one. The main issue I had was condition of the camera and service history... that's why I only looked at cameras where the owner had a history and reputation that I was comfortable with. PM me if you've got any Aaton rear lens caps/accessories or extra primes you want to get rid of with Aaton mounts

CAmera was an Aaton XTR Aaton mount Cooke had Arri Std to Aaton adapter Yes the wildcard is I don't know the film's history. So my first step will be to buy a fresh roll and have it processed to see if the problem is still there. Having not shot much I was just curious if this issue was something obvious that others had seen before Kip

Here's a clip...if you look at the jacket you can see the color shift from time to time...bit of green...bit of magenta then back to normal. http://vimeo.com/33375597 My question is can old or improperly stored film cause this? or Have you seen or come across this before? Fuji 250T - NOT A RECAN Stored in a soda fridge. Age ??? maybe 3-4 years...not from Fuji Do not know if it was on location andor got too hot before t was stored. A hint...the effect seems to decrease as the film gets to the center of the core....the first set of clips are from the first few shots... the second bit, after the break is at the tail end of the roll I'm trying to determine if I have a camera issue...before I send off my camera. Thanks

Thanks Douglas I may post the question in the film stocks section of the forum as well. Maybe someone else has had the same issue with 35 etc. The film was bought from a film company I work with from time to time...that being said I "think" it was properly stored...but could be as old as 3-4 years old. Kip

http://vimeo.com/33375597 The above link is from a camera test I just got back....the first two clips have the issue....the second seem not to. Aaton XTR Cooke 9-50 w Arristd to Aaton adapter Fuji 250t (no CC filter) Pola When I started filming my lens was not totally mounted correctly...I discovered that by noticing that it wouldn't focus to infinity. (first two clips...esp the second one) I stopped filming and remounted the lens that seemed to fix it. (Second two clips) Now that I have the footage I notice every so often the color shifts like you are rotating a pola or something. Will an incorrectly mounted lens cause this problem or do I have a camera issue I need to have looked at? Any insight would be appreciated

Cooke 9-50 Close Focus 1 '6" Little to no breathing. Prone to flairs...I always use a french flag when shooting without a Matte Box It is sharp and acceptable wide open. Front diameter is 83mm Covers Super 16mm at about 17mm on

I use a Cooke 9-50 lens. I did buy it for 16mm but I do use it quite a bit for 2k on RED/EPIC/SCARLET...here's a screen grab.... T4 This should give you a good idea of sharpness and contrast on dark and light skin. I should be getting my first 16mm transfers with the lens in a week or so...I'll post a screen grab from those so you can get a visual idea of the lens when shooting film.

Just a question in order to learn,,,nothing against the filming. Why is the hair/rim light green? Was that intentional or a product of artifacts?