gavin

Hey there, i just won an award at a short fim festival and got a voucher for £500 of any Kodak 16mm or 35mm stock. Its straight fromKodak so will be in perfect condition. If your interested i'm going to sell it for half price, (£250), so give me a shout if your intersted, my email is gavsplace@hotmail.com cheers, gavin

Hey there all, I won a kodak cinematography award at brief encounters festival last year and have a £500 voucher for any 16mm or 35mm Kodak stock. There is no way i'm going to use the stock this year and so wanted to offer the stock to someone at a super cheap price. I thought £250 would be fair and a pretty good deal for anyone wanting stock. You can literally choose any Kodak 16mm or 35mm stock. let me know if your interested at gavsplace@hotmail.com or on 07792 972528, see ya, gavin

Hey there all, I won a kodak cinematography award at brief encounters festival last year and have a £500 voucher for any 16mm or 35mm Kodak stock. There is no way i'm going to use the stock this year and so wanted to offer the stock to someone at a super cheap price. I thought £250 would be fair and a pretty good deal for anyone wanting stock. You can literally choose any Kodak 16mm or 35mm stock. let me know if your interested at gavsplace@hotmail.com or on 07792 972528, see ya, gavin

Try and lock the exposure when possible ( quite a few members had chinon cameras at our local cine club years ago, i remember they nearly always underexposed and the auto iris shut down with any hint of sky in the scene). First task is to test that camera. Good Luck yeh, going to telecine it myself, so will go for the 64t i think to get that extra bit of speed in the low light. We are gonna light it up like fireworks night on location to get this film exposed. I hope this chinon behaves its self, ive seen some footage my dad shot in the 70s on it and it seemed pretty stable...heres hoping. Thanks for your advice, much appreciated The cool thing about either method is even if your results are not perfect, as long as they are consistent you can than add a slight modification to the method on the next cartridge. If you want to be sure your camera is reading the cartridge ASA correctly, always have a "spare" K-40 cartridge available so that you can compare sensitivity versus ASA of the film with a known constant, the K-40, with the other film cartridge. I will give that a bash, clever clever. However, i had my chinon's light metre checked yesterday and apparently its underexposing 2.5 stops!!! (the reason for this is that its now illegal to sell mercury batteries and so i have to put a battery in the camera that is close to the origanal but power surges the light meter a bit, bugger)........So thinking about bying a seperate light meter, its gotta make life better.... will post the results of this 64t stock, doing tests this weekend then shooting a couple of weeks down the line. cheers for the wisdom, gavin

Ive got a reasonably good quality 70's Chinon, its 8mm-56mm i think. Its compatible with a large selection of ASA's which is helpful. Thanks for your reply. I saw the kodachrome 40 today but ended up ordering some of the new ektachrome 64T. I figured because i was shooting under tungstan that it would be appropriate stock and also wanted that bit of extra speed as getting enough light will probably be an issue. I also wanted to save cash by going for a reversal film so i dont have to get it put onto positive, (if thats the correct terminology). I was suprised to find that the faster the film, the grainier, i guess im gonna have to live with that choice now!! I think i will follow your advice and get an external light meter, dont trust the onboard one, any suggestions ? Also, what do you mean by 'rating the film at 400'? is that something you do when it gets developed..? Hope you have the time to answer all the rudimentry questions!!! cheers, Gavin

Hey there, Ive just dug out my dads old super 8 to shoot on two commisions. Ive plenty of experience on 16mm but nothing on super 8. im aware of the issues of under exposure so i want to ask two simple questions... i) what is the best colour film for an indoor shoot under tungstan (potentially low light) ii) what is the best colour film for daylight shoot, (either natural light or daylight temperature bulbs) Also, do you guys use light meters to get your f stops or put the camera on manual ap? I look forward to hearing the wisdom, Gavin