Anthony Schilling

Yes, Detroit used it for filming crash tests and the film schools had it going up until the end. I only got to shoot the 7240 125T and I think it was the same emulsion from at least the early 70's. It really had a newsy film feel from 1970. It did transfer a bit better than K40 and E100D, and that's something I'd like to see as a focus point if they will be putting some R&D into reversal. Problem is their full capacity roller was the R&D roller, so now they need another even smaller one?

Kodak had a whole gamut of color reversals, Ektachrome VNF, which stood for "video news film". "Film at 11" meant just that, because the VNF stock could be easily processed at the station and transferred with a projector style telecine. It was considered a low contrast reversal for video transfer. The Canon Scoopic was made as a point and shoot news gathering camera as in "getting the scoop". Surprisingly Kodak offered at least 4 VNF stocks in 16mm until January 2005. When Vincent Gallo made "Buffalo 66" he wanted vintage NFL Films look. Someone told him he had to shoot on reversal and Kodak made a special batch in 35mm for him. The advice to shoot reversal was ill advised because he ran into major problems in the post film chain and almost had to scrap it. Fortunately someone was able to just barely pull it off. I liked the final look of the film, and although reversal may not be practical for full length features, it is a special part of film history and has many great artistic uses today.

Excellent news! I'm hopeful that these folks will be doing some R&D and eventually offering some cool new film stocks. After all they want to be IN the film business, unlike Kodak who is more or less "stuck with a film business". Another member mentioned that they will be working to improve the grain on their 100ASA reversal, but it would be great if they eventually also offered a 200T reversal film.

Looks like they might hit the goal this weekend!

Can you set exposure manually with the 310xl? In my cameras I just let the camera read it as 160 and manually close the aperture 1/3rd stop in daylight. Reversal film, especially b&w, look richer when rated at box speed or even 1/3rd under exposed.

It would be nice if they could just formulate something awesome that looked like Velvia or E100D but a little lower con like VNF something that looks great projecting but scans pretty ok too

My wife started binge watching this on Amazon last week and we're hooked. Last night our stream happened to freeze during the title: David Mullen ASC. Nice work, love it!!

I can't find it now but just read an article yesterday about how owners of newly converted digital theaters are angry with Nolan giving 70mm film screenings first dibs on showing the film. They're actually calling it a move backward because hey, digital is newer technology right. The author seems to be under the impression that they are projecting the camera original. Comical but annoying.

Perfect, i did the 1x super 8!

I wonder if they are doing any reformulations or improvements with the Scotch-chrome? Or do they plan to reproduce the existing formula at first?

Yeah even if the machine was free, it would be pretty impractical to own given size, maintenance, parts ect... But it's a sign that the technical hurdle of telecine is getting better and cheeper, as any technology should.

Wow, look how much some of these former big boy scanners are selling for now, or actually not selling. I used to pay big bucks twice a year to have my films run through the Shadow. http://www.ebay.com/itm/Thomson-SHADOW-HD-SD-Telecine-Film-Scanner-/301319132473?pt=LH_DefaultDomain_0&hash=item4628051539

Do you want to work with film, video, both? Film schools these days have gone mostly digital.. but instead of learning only what someone is teaching, you can find out all the technical info you need right here on the old interweb. The best way to do it is get a camera, do what you want to do and learn from it as you go. If you find some passion for what you are doing, you will get better and make a name for yourself.

A friend of mine has been living in a tent for the last 2 years so he can pay off his student loads from NYU film school. He graduated 10 years ago and has yet to make a film. Save your money, buy a camera, and start shooting.

It's not that easy. Trying to color correct away from the mask will use up all of your bandwidth. The mask needs to be neutralized in the capture, either with software or possibly a cyan filter if you have enough light.

Kodak used to have an 800T film in the first Vision line. They scrapped it when Vision2 was released because you could push the V2 500T 5218 a full stop to 1000ASA and still have finer grain than the 800T did. What gets my goat, the public perception of film is that it's outdated and stagnant technology. And digital gets all the buzz and hype like any other new gadget. When the fact of the matter is that film technology is very complex and has been evolving for 100 years. And thanks to digital technology, it's only now that we are able to interpret the full resolution of film in a video format. In fact films biggest drawback has been the not so great video interpretation it has gotten for so long. If you look at any cheesy digital rendition of inherent film flaws, a lot of it is actually replicating that crap transfer jobs they were subjected to back in the day, like flickering, vignetting ect... Unfortunately, all the digital advancements in film scanning which lower costs and improve quality get no hype at all. Ask around and no one has even heard of a telecine.

I can't see the clip to know exactly what you describe, but motion blur is directly related to the exposure time of each frame. Longer exposure times will have more motion blur, shorter exposure times will have a more staccato motion with sharper images.

Older films, especially Kodachrome were higher contrast, which makes the colors pop a little more. The rich blacks, density, and grain structure help define it as well.

The 2K does look very nice.. Did you do you're own coloring Geoffrey? I think some of the darker scenes are a little cold, and the whites are off in 1 or 2, but all the money shots with the bride and groom looked perfect, the TriX was very nice would have liked to see more. Usually my first line of attack in color correcting is to find something white and use that to balance the highlights.

Ahh that makes sense. I haven't used Spectra for scanning in a few years (wish i could afford it more often) but I agree that they do excellent work. I've sent about 5 projects there over the years and the colorists were always really good at giving me the look I was going for. I agree that the 50D here is a little too clean. but with my experience, the clean up tools they have are very handy with 500T.

Nice job, it was really enjoyable to watch. David- how did you get your footage so clean and sharp?

NFL Films makes up a sizable chunk of usage but what's the point of scrapping 16mm all together as long as they are making film? Kodak says they sell film to a variety of segments like fine art, commercial, amature, wedding films ect...World wide all that still makes up for a customer base that isn't worth upsetting. And i'm sure that base is using more than $14,000 worth, which is the minimum amount for a special order. And look at super 8. You see a commercial here and there that uses it, but world wide it's mainly used by a loyal customer base of armatures and artists that they don't want to piss off. Super 8 requires carts and loading where 16mm requires little effort and cost to cut and perf from the film they are already making. They know that a lot of people were upset by Kodachrome and Ektachrome getting the ax, but the production of it became unfeasible. Also, I really doubt that they will make any major decisions on axing more film until they start subsidizing the production of it with flat screen film production starting in 2015. For now they plan on spinning off motion picture film on the side in smaller quantities while the giant machine stays busy churning out the tech film.

Yes i got this on Facebook. The former research facility is just a much smaller tooling of the original, a luxury that Kodak does not have which is essential for the current demand/production of film. Between that and Kodak's alternate plan of film based touch screens will hopefully be a perfect solution to this whole conundrum of film production. I really hope to see some cool new stocks from Ferrania. I would encourage people to contact them with imput and support, they are welcoming it.

Pro8mm sold out right away, I called to inquire after the announcement and they were gone! Hopefully it goes well and i can get one next year-

That's great! You can test the meter without a cartridge out in the daylight and see what kind of readings you get. Sans cart, your camera will meter at 100ASA on daylight settings, or i160ASA on tungsten setting. The filter switch on the Nizo works differently with ASA settings than most other cameras. For example, If you load a cart of 50 daylight, the cart will disable the filter but the ASA rating depends on the filter switch... Daylight setting will read the film as 40 (overexposing 1/3rd) and tungsten setting will read it as 64ASA (under 1/3rd). Basically, make sure the filter switch is always set on the right condition, whether it's automatically disabled or not. 200T will read 160T/100D, with the little extra exposure a good thing.TriX (160T/200D) you will just leave on Tungsten setting since the camera sensor maxes out at 160ASA, 500T will read as 160T or 100D, over by 1&1/3rd stops but then you just set it manually from there. happy shooting!