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Bought eight 400ft rolls of 16mm double-x about nine months ago directly from Kodak for a shoot that was cancelled due to covid. It's been in a refrigerator since then, so should be just about as good as new. Prefer to sell it all, but happy to sell in parts as well. Located in LA, so local pickup/drop-off preferred but can ship if paid for. Looking for 130/roll, but open to offers.

I am selling Kodak Double X 35mm film short ends - 70 meters, or 230 ft. From another film production earlier this year. Purchased directly from Kodak, kept refrigerated at all times. Kodak rates it as 250asa, i shot is as 125 and got lots of details in shadows. I can ship it with USPS priority service in the US. 100$

Hi, has anybody else encountered this problem when using the Aaton Penelope in 2 perf configuration using Kodak 5222 or any other film stock for that mater? (See below) This is happening in the middle of takes, while the camera is running so it's not a gate check then re-raking issue. The camera wasn't making tell-tale "problem" noises. We shot 12 rolls. The issue is across all 3 mags used but got progressively worse as the shoot went on. The tendency is for more instances towards the tail of the rolls. The heads are OK. It didn't happen on roll #1. Roll #2 22 times. #3 3 times. #4 5 times. #5 1 time. #6 +25 times. Then things go crazy. This from the lab: Roll 7 goes out of frame 5 time every foot throughout roll (with the 3rd perf) . At about 36 ft from tail it is almost a continuous 3 perf going out of frame 16 time every foot. Roll 8 is good for about 75 ft then it starts going out of frame (with the 3rd perf). It starts out 1 every 18 ft to 10 every foot. Roll 9 is good for about 25 ft then it starts going out of frame (with the 3rd perf). It starts out 3 every foot to 8 every foot throughout. I haven't got the report for rolls 10-12. I expect the worst. Any thoughts? Thanks in advance Paul

Hey guys, Awhile back I was asking questions about 5222 and the use of color filters. Here's the end result. 5222 2k/scan by the lovely colorist arnold ramm. shot with super speeds 18mm and 32mm mostly, around a 5.6 during day and a 1.3 for interiors. Some outdoor scenes used a red filter. Thats about it! Found the film to be absolutely lovely in the way the highlights blew out because of the absence of the anti halation backing. Got some cool flares from what I presume to be bounce back from the gate of the arri 435 as well (our gate was not painted matte black but is silver). https://vimeo.com/68155252 Raffertie "Build Me Up" dir. Vincent Haycock Best,