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Found 12 results

  1. Just for educational purposes, here is some footage from a short I shot last year. We were stealing this, so we couldnt light anything. It's all available light. https://vimeo.com/174719862 We shot 5219 with a 2 stop push. I rated it at 1250, which gave me about a t/2 in some places, but often my meter said "E.U.", so I really wasnt sure how it would turn out. We I went in for the transfer i was very very impressed by how it held up, even with it only being 2-perf. I'm so used to thinking that you need to shoot digitally if you want to shoot available light at night, but this turned out exactly how I had hoped. We shot on super speeds at a t/1.4-2 split. The transfer was on a Spirit 2k at Fotokem in LA. We set basic looks as we went, and that's what this is, just a basic grade, right out of the scanner. If you want to download the 2.5gb 422HQ you can find it here: https://www.dropbox.com/s/n5qo2cm9au9wo7k/L9974909_CR_A15_A17.mov?dl=0 Here is the finished short: https://vimeo.com/130967218
  2. For sale is 1200ft (3x 400ft cans) of 35mm Kodak Vision3 500T 5219. Freezer stored, sealed cans, packaging intact. $400 for all. Terrible iphone photo included.
  3. Happy Sunday, I recently watched Inherent Vice for the second time and was truly captivated by the cinematography. I loved the soft vintage look, the noticeable but fine grain in the midtones and the creamy lens flare. Does anyone know how this look was accomplished? I've managed to research my way to knowing that Robert Elswit used Panavision Primo spherical primes from the late 80s, but what accounts for the grain? Was the stock simply pushed a few stops to give it a look which matches period in which the film takes place? I've been searching and searching, but I've not managed to find any interviews with Elswit about the process. I also read somewhere that they used "old film stock found in someone's attic", although I haven't been able to confirm this. Any help or leads greatly appreciated! Best, Kaspar
  4. Hello all, I am looking for Kodak 5219/ Fuji 8547 Recans, Short ends and factory sealed. If you have any/know where I can get them please let me know. I've already checked with the major resellers.
  5. 35 mm short ends for someone who wants to come pick them up, best offer accepted. 400' recan 5213, 200' recan 5219, 170' 5219 - all from March of 2015.
  6. Hey, I was digging through an old drive and found the original scan of some super 16mm I shot for a music video earlier this year. This is Kodak 7219 500T, rated at 800asa, with a one stop push. We had planned on converting to black and white in the grade, so I the extra grain of the one stop push sounded great and worked out really well in the end. It was telecined to HDSR on a Spirit 2k. We go an unsupervised "flat scan", that was then rendered out to a 1920x1080 prores 422HQ. The vimeo compression really took a lot of the grain away, So I've included a few still frames as well. Photos are here: https://www.dropbox.com/sh/b66wby9zoaro0zx/AACshQrxKQuknafW2SvVAqgga?dl=0 I hope this is helpful to someone!
  7. I am selling 9 rolls of 5219 (400' rolls). The film has been properly stored and all the cans are sealed. Asking $1,500. If you are interested please email me at: adam@adamcohendp.com
  8. I am selling 9 rolls of 5219 (400' rolls). The film has been properly stored and all the cans are sealed. Asking $1,500. If you are interested please message or email me at: adam@adamcohendp.com
  9. Anyone selling 35mm recans or knows someone who does? Looking for any of the following stocks: Kodak 5219, 5213, 5218, 5217 OR Fuji Eterna 8573, 8583, 8553. All in the range of 200T to 500T. Price per foot cannot exceed $.12 Willing to pay shipping cost! Thanks
  10. Hi all, I've recently finished shooting a music video on 4-perf 35mm, 5219. I'm about to send the film off for processing/transfer and I'm sort of stuck as to whether I should get an HD telecine or a 2k scan. The price difference given the amount of film I'm working with is not that large of a concern. My lab of choice (the wonderful Video and Film Solutions in Maryland) uses a Spirit for both. Now obviously, as it's a music video, it'll only ever be viewed on computer screens, so I'm sure the difference won't be too drastic between the two, but there are still some factors to consider. First off, a solid amount of the video is shot in a city (Richmond, VA) at night, with only available light, meaning I was basically consistently rating the film at around 2000 ASA, sometimes higher. So grain will definitely be an issue, and on top of that, I plan on pushing a few of the rolls 1 stop. From my previous experience with 2k scans, it seems as if the higher resolution relative to HD makes grain seem even more apparent in scans than it does in telecine, so would the combination of the thin negative, the push, and the 2k scan make the grain way too intense? I understand that "way too intense" is a vague quantifier, so I guess to put it a bit better, would I be better off in terms of keeping the grain at a manageable level (given the negative that I'll be working with) with an HD telecine or a 2k scan? And I guess in a more general sense, what would be the advantages (or disadvantages) of going with 2k in this situation? Also, this may be a stupid question, but just to clarify my understanding, it's definitely possible to maintain the 1:33 aspect ratio with an HD telecine, right? Any time I've previously had HD telecine of 35mm it's been automatically cropped by the lab to conform to a 1920x1080 frame. But theoretically wouldn't it be possible to maintain the full 4-perf frame with no cropping if I specifically instructed the lab and just have bars on the left and right of the frame? The film was framed for and always intended to be presented in that format. Any help is greatly appreciated! Thanks, Dylan
  11. Hey everybody, Awhile back I was asking all about savides' use of pull processing and had some really helpful responses. Here's the end result of a fun visual test I got to apply to a music video. Ended up overexposing between 2-4 stops depending on the situation, and the pull processing another 2. Shot with 5219, 2k scan, super speeds. Thanks for the help as always! https://vimeo.com/68156200
  12. There doesn't seem to be much experience-based info floating around about 5230 500T... I'm just curious if anyone here has shot this this stock and can comment on it's look, grain, and the result that push/pull has on contrast, color, and grain. Anyone done full or partial skip bleach with it? Any other notables? I'm beginning to evaluate stocks for a project, and I'm wondering if I can get significantly different looks by mixing '30 with 5219 and playing with processing, since I'd need an ASA 500 stock for the entire project. Also, 5230 doesn't seem to bear the Vision label... is this a DI-minded stock or something else? Cheers,
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