JohnSellers

Hey Guys, I've read the Kodak website and some older posts regarding this topic but they didn't fully answer my questions and raised a couple of new ones. Recently I have acquired some different 35mm and 16mm film stocks from a friend who saved a whole bunch of film from shows he had worked on and hasn't ever used. He never stored any of it in the fridge but put the rolls in an Esky (icebox) and put it in a dark cool dry cellar type of a room. We are from sunny Australia so summer temps can get up to the mid-high 30's sometimes 40s (degrees, celsius) or 85-105 Fahrenheit. He gave me around 1500ft of 16mm 200T (7217) short ends ranging from 40ft-100ft each dating back to December 2006. I also got given a couple of factory sealed 400ft cans of 35mm (200T/5217, 250D/5205) a 50D(5201) recan as well as a recan and 300ft shortend of 16mm 250D(7205) all from march 2008. I think I'm going to freeze all the sealed cans as I do not know when I will use it, probably not in the next 3 months anyway. I'm thinking all the march 08 stock should be ok. I have heard about how you shouldn't freeze or fridge short ends and re-cans because of condensation problems. What are your opinions and recommendations on this? Has anyone done this and had any problems? Should I freeze all the stock I got given? Also on the note of freezing I read about putting them in ziplock bags before freezing. Do you just ziplock the can or do you go into your change tent and ziplock the black bag and re-seal the can? If the latter is the case I would assume you don't bother doing that for new sealed 400ft cans. Now the 200T from December 2006 I wouldn't be surprised if it had some side effects, but what would I expect and how would I combat any issues when shooting? Overexposing slightly? I was thinking that before shooting I should maybe get a dip test of 1 of the rolls and maybe shoot a controlled test like a colour chart to see any effects. Any other suggestions? Lastly, I heard that I need to allow adequate time to let it thaw out, ranging from 1-3 hours. If I took them out of the freezer a day or 2 before I was shooting would that be sufficient and not cause any problems? Anything different to allow for the shortends and recans? Any other things to be aware of for when I do need to do this? One last question, is it bad to freeze film, thaw it out for the period of a shoot (a couple of days) and if you don't shoot it to re-freeze it? Thanks in advance to any questions you can answer, I know there is a fair range of questions there and any information on any of the freezing process or any other information I should be made aware of will be greatly appreciated. I Look forward to hearing from you soon! John.

This certainly is an interesting discussion. As I follow this thread there are two small things I hope you could clear up for me to help my understanding on this topic. Firstly, what is OLPF? as mentioned: "In a way, you're already making OLPF decisions when you choose diffusion filters." Also can someone provide me more information about aliasing? What is meant by this term? Thanks in advance

Hi Adrian, Thanks for replying. Sorry I don't think I asked my question clearly enough and was very tired when I typed it out, sorry. I do understand how the slating process works and my question does refer to the actual clapper board itself and use on set. I saw someone (in another city) have a slate that they had made up (I assume in something like word) for a dumb slate (without timecode) and they had made a slate layout with the roll/scene/take typed out (exactly as you see on the slate itself) and they just typed the name of the production, director, DP etc... and then put this 'template' over the top of the slate and covered it with some sort of plastic to write on with a dry-erase marker for the roll/scene/take. It looked very clean and neat and easy to read. Better than just using camera tape and hand writing - as I normally do. I was thinking that it would be great to do this and then just type out the info for when a shoot comes up and then 'slipping' the typed up template into the plastic cover so it can be easily transferrable between shoots. The reason I ask the question here is because I am very useless when it comes to doing anything in word other than just straight typing and thought someone here might currently do this and have the size and everything perfecty worked out already and would be happy to pass it on. Also while I'm here I should ask if anyone does the same with a timecode slate and could pass it on, so I don't have to ask again later. Anyhelp would be greatly appreciated, otherwise I will have to find a friend who has the computer skills and see if they could do it for me. Thanks, John

Hi, Does anyone have a Slate template that they have created on the computer and print out for use on commercials and other productions for your standard slate? Would anyone be willing to share? Do you cover this with any type of plastic to write on it and protect it and also easily interchange them between jobs? What works the best? Thanks for your help :) John