Will Montgomery

Tried the release cable on the front button (never noticed that hole before!) and it worked while I pressed the cable release but wouldn't keep running if I let go.

It would just be nice for those shots when I don't want to hold the camera... just an "on/off" switch.

Is this the demo you are thinking of?

 

GET EXPOSED: Request a copy of the EXPOSED DVD.

 

http://www.kodak.com/US/en/motion/16mm/exp...orderform.jhtml

That's a great one, good interviews, but I think the one I'm talking about is called "The Difference" from 2004.

There was a great test sequence where they shot a docked boat on a bright day and you could really see the difference between film and a DigiBeta camera. I realize DigiBeta isn't HD, but I would think the characteristics would be simular.

Actually, I really liked the DVD on the Vision2 stocks as well. I found it interesting that the DP that shot the 250D demo kept saying that he couldn't really explain why a daylight balanced film was necessary, but it just felt right. I don't have quite enough experience comparing daylight and tungsten films, but in transfers with a decent colorist, it doesn't seem to matter as much.

Kodak has a demo DVD about the difference between 16mm, 35mm and Digital Betacam... it would be worth calling Kodak and asking them to send it to you (its free).

I'm sure much of the DigiBeta look would carry through to HD, just in a higher resolution. The difference was most appearent on a bright day when there were alot of whites. Video just couldn't show detail in the brighter areas where film captured more information and looked warmer.

There is so much to consider, especially lighting, that it is hard to get a real comparison... but it appears that with the same size crew and lighting expertise, its easier to get a better picture out of Super 16 than one of the HD cameras you mentioned.

I actually contacted Kodak to see if they had any 16mm Kodachrome, they've been out of stock for a while now. And of course they're not making any more. I know Dwayne's still has it, that's where I just got 2 rolls.

I wouldn't worry too much about the date, just store properly and it should be fine for a few years past expiration. The stocks that seem most suseptable to issues would be higher speed negative stocks due to background radiation.

You'll be able to unload some on eBay if you want in a few years for a good price probably.

Ilford stoped making movie film a while back, I had a rep contact me. But I'm sure there's some floating around somewhere.

So Kodachrome 16mm is gone too???

I thought it was just Super 8, but my Kodak rep said the 16mm is no longer available either. The only 16mm color reversal stock available is 7285 Ektachrome 100T.

Bummer.

J and C photo carries it in 16mm.

Checked with J and C photo, they were out of stock, but expect more in within 3 or 4 weeks. Guess its a good sign that they still make it.

The price is $22 a piece while Kodak's Tri-X and Plus-X is $18.56... But the extra silver content interests me enough to give it a try. Just want to make sure I get it processed properly.

I would use the standard Zenit K-3 lens, 7.5mm in diameter (or close to that). I'm sure there are some 85 filters available somewhere.

Thanks for the input.

Since Kodachrome Super 8 is disappearing, I thought I'd try 16mm Kodachrome with my K-3.

Only problem: my K-3 doesn't have a 85b filter and I'm wondering if I really need it since I'm never projecting the film... I always transfer and color correct with a good local Telecine shop.

Is it worth losing the sensitivity if I'm correcting the color anyway?

I'm familiar with Kodak's B&W stocks, I'd love to run some tests with Neopan or Fomapan. I'm sure I can get Neopan from Fuji, but are there any US distributors for Fomapan?

Call Kodak's 800 # and ask for any DVD film demos they have available... A really nice lady took some time and found several for me.

There's a great one called "Embracing the power of light" on the Vision2 stocks where they compare Vision to Vision2 and have shorts in each speed of film to show potential. Also shows some 35mm vs. 16mm in the same stock.

Another one called "The Difference" has interviews with cinematographers about film. It has a GREAT demo of Digibeta vs. 16mm vs. 35mm. If you have a project where they can't decide between video or film, show them this and you might have a sale.

There is one on S16mm called "The Power of Shooting Super 16mm Film" from January of 2001 that shows off what that format can do.

Fuji also has a demo on the Super F Series, I think you can order it online from the Fuji site... or try calling.

Good luck, and let us know if you run accross any others... they are great references.

Just got out of "Good Night, And Good Luck."

Have to say that I was stunned at how beautiful the film looked. The sharpness and detail was amazing, and the shadows were handled great too. I know many cinematographers who dream of shooting a feature in B&W so Robert Elswit must have had a wonderful time shooting it.

As far as I know, there are only 2 b&w negative stocks available from Kodak... is there any way to tell what might have been used? Or is there a possibility that a color stock was used and printed in b&w?

Kodak also has a 3200 speed "Max-T" stock for still cameras... I wonder what that would look like in a movie film? Probably no compelling financial case could be made for its production, but it would be fun to experiment with.

Kodachrome is processed by Dwayne's photo in Kansas, they handle Super 8, 16 & 35mm. I believe they are the only company in the hemisphere that still processes it.

They are very quick and offer good service. Target and Walmart use them for Super 8 Kodachrome.

www.k14movies.com

Is Kodak coming out with a Vision2 800t? Or is there not enough demand?

Seems like it would be nice to have a faster stock available for certain available light shoots.

Thanks, my bad, I see it should be over in the film stock forum.

I know Kodak obsoleted 800T with the new Vision2 stocks, but why?

Was it too grainy or not enough was sold? What were the issues with it?

Seems like it would be nice to have a really high speed film for available light shots...

Anyone have more info on the Leicina Special?

What advantages does it have over the Beaulieu's?

What type of lens mount is that?

How about that? I never noticed that little hole in the trigger. I will try that out this week. Thanks for the info!

I wish there was a way for the K-3 to film without holding the button... like a Kodak K-100 where you flip a switch and it runs (until it winds down...). When on a tripod it would be nice to let it shoot without having to hold your finger on it constantly minimizing a chance of movement and for other applications when you can't always be holding it.

Had my K-3 upgrade last month by Du-All camera in NYC. They removed the film guides and worked on the film path... but more importantly did the S16 upgrade AND modified the viewfinder to match the S16. I was told it wasn't possible by a few people, but they seem to have alot of experience with viewfinders. All of that for around $500. With K-3's going for $150 on eBay, that's a pretty good deal for a S16 camera. They also showed me a wild video tap on a K-3 as well.

www.duallcamera.com

Should have the first test rolls back next week.