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Showing results for tags '50d'.
Found 15 results
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I am shooting a short film on Super 16 this June. The entire thing will take place during the night, with 70% being interiors. Low-key, hard lighting, tungsten lighting, with plans for use of haze as well as lens diffusion. The film will be black and white, so naturally, the obvious instinct was to use Kodak's only black and white negative film, Eastman Double-X. However, after further review, I am beginning to have my doubts. In the lead up to the shoot, I have been reviewing a lot of 16mm work shot on 7222, both on YouTube and Vimeo, and one aspect that is giving me a great deal of apprehension is the sheer level of granularity present in this stock at this format size. From much of what I have seen from the 7222, the grain is just far too intense for what I feel comfortable with, and I can see it being a big distraction in the frame. I had the idea of simply shooting on Kodak 7203 VISION3 50D and taking out the saturation in post. The downside to this is of course that we would lose two stops of exposure, and have to light night interiors for 50 ISO. More lights, brighter lights, hotter lights, more electricity, more output, higher budget. Whether or not this change is practical and worthwhile over something such as grain structure and granularity, I am not certain. I am unable to escape my feeling that the 7222’s grain is just way too overpowering, so I wanted to reach out for some advice regarding the extent to which shooting on a lower speed film stock will complicate things. Am I too in my head regarding 7222's grain? It should be noted that shooting the film on a larger format such as 35mm is out of the question for budgetary reasons, and I am also entirely opposed to using any kind of DNR in Resolve. Any input is appreciated. Thank you. -
Hello everyone, We are about to shoot a commercial on 16mm and our priority is to achieve the cleanest image possible, with minimal grain. Ideally, we would overexpose 50D by one stop, but we are not sure we ll have the conditions to do so. Given that limitation, I’d love to hear your thoughts on the best approach: 1. Shooting 250D at 100 or 125 ISO and correcting in post. 2. Shooting 250D at 50 ISO and pulling one stop (or even two stops) in processing. 3. Sticking with 50D at box speed (no push or pull). On a previous project, we had excellent results overexposing 50D by two stops, but that might not be possible this time. Would love to hear your experiences and recommendations! Thanks in advance!
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FS: Kodak 7203 (16mm 50D) 400ft rolls FRESH FACTORY SEALED (8 available)
Guest posted a topic in Cine Marketplace
Just arrived from B&H today. Project got cancelled so trying to get rid of these ;( $200/ea. Pickup in LA -
Yesterday I shot my first ever roll in my new Eclair NPR. It was a 400' roll of 50d, a short skit with some friends. It was really fun shooting with it and the camera was great to use, I'll remember this first roll. What were your first experiences with the Eclair NPR? What did you shoot? How did it go?
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Hello everyone. I accidentally left the Wratten (85b) filter on while I was shooting with a Vision 50D in daylight. anyone could tell me what to expect? I am sure that the color temperature will be much warmer with red/yellow/orange overcast over the image. If so, there's any chance that i can slightly correct the "problem" in post prod? i've also used the automatic exposure of the camera and my biggest fear is that the image will look too much dark and underexposed to be used. Anyone with the same experience? Thanks for the attention.
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Hey all! As the topic reads... I'm urgently Looking for Kodak EXR 50D 16mm film or maybe Fuji 64D... Ideally in New York, but I could travel or pay for post. Film love to you all! -
Hello folks. I'm reading conflicting stuff about the rating of 16mm stock. Do you guys rate your stock a full stop over or 2/3 for day exterior? How about night exterior? I'll be shooting 250D and 50D mostly for now, on regular 16. I'm already compensating for the prism light loss on my Bolex Rex5 so I don't want to overexpose too much. What are your experiences? Thanks for your input!
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Does anyone know how this camera will expose 100d and 50d? It's new to me and I can't afford a test reel right now. Thanks! - Hunter
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The topic title says it all. Was hoping to get some opinions. I have a few reversal so I'd have to purchase the negative but I'm willing if I'd be getting much better results. Thanks! - Hunter
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Hey, I have read in several places that slower stocks yield a more contrasty look. Does anybody have any experience with this? Would Kodak 50D be noticeably more contrasty than, say, 250D? I am shooting a scene during an overcast day and am thinking that using 50D over 250D would give the image more contrast, as I am worried that the light may look too flat on the actor's faces. Alternatively, might it be better to go with a less contrasty stock and reserve option to add contrast in the grade?
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Hey, I have read in several places that slower stocks yield a more contrasty look. Does anybody have any experience with this? Would Kodak 50D be noticeably more contrasty than, say, 250D? I am shooting a scene during an overcast day and am thinking that using 50D over 250D would give the image more contrast, as I am worried that the light may look too flat on the actor's faces. Alternatively, might it be better to go with a less contrasty stock and reserve option to add contrast in the grade? -
Hi everyone, I'm shooting a short soon and due to budget reasons have a selection of stocks that have to be used. I was wondering if anyone had experience of a pull process on 5203, 1 or 2 stops. We're going for a pastel, soft contrast look which i've seen great examples of on Kodaks' faster stocks but was wondering how it might come out on 5203 as it seems naturally more vivid and contrasty. The kind of look is seen in the Gordon Parks image below (something comparable in an exterior). cheers!
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Here is another fashion shot with 50d Vision 3. The telecine was done by Ochoypico, the camera used my Beaulieu 4008 ZM2.
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Looks like Kodak wants us to get excited. Here's a video of the assembly line for 50D.
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Can someone tell me how vision3 and vision2 differ? Also what would you consider the nicest daylight stock? I can't find any decent hd examples of vision3 50d, could someone please link a few?
