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Found 9 results

  1. Hey everyone, I'm getting ready for a film challenge where our entire short will be made on a single 100 ft reel of Kodak 7219 and shot on a Krasnogorsk-3. In preparation for the shoot I decided to do a lens test with the stock Meteor 5-1 lens on my original Blackmagic Pocket Camera. Surprisingly though, my footage all seemed to be about a stop under exposed. I know that the aperture of a lens doesn't always let in as much light as it should and that T-stops are supposed to correct for this, right? So is this the case here? Have those of you that use the Krasnogorsk-3 encountere
  2. Finished another camera test with my Canon Scoopic 16 (Original Model) this time I pushed 7219 +1 stop instead of +2 and shot during sunset instead of the dead of night. I rated the film stock at 800 and metered normally. Processed at the Kodak Lab in NYC - Tony was such a great help and his communication was instant anytime I reached out to him. Scanned at Metropolis Post on their Director at 2K Flat Pass ProRes 444HQ - The team at Metpost was also great to deal with and had instant communication with me and never made me wait. Turn around time was faster than expected. Color
  3. Dear Cinematographers, Been carrying around two 100 ft. rolls of 16mm 500T film for the last year. It has been in a 10˚-20˚ cooler for six months. Someone told me freezing negative film would cause the remjet to stick, so I then refrigerated it in about 40˚ for six months. Now that I am ready to shoot it, the question presents itself: How am I to expose it in order to compensate for the yearlong stagnation? That is, if it not already too late. Sincerely Grateful, Kurt Cassidy-Gabhart
  4. Hi, first time posting here. Has anyone tried to shoot 2x anamorphic lenses with 16mm film (let's say kodak 7219 stock) and how did it go? From what I knew, 16mm has 1.37:1 ratio. So use with 2x anamorphic lenses it's gonna be 2.74:1 which wider than 2.40:1. So I have more room to readjust a frame in post right? What about the image quality, does it look good? I did a research online but I haven't seen any decent one yet. FYI: I'm planing to shoot on Arri SR-II, Kodak 7219 and Kowa Prominar anamorphic prime set. Thanks in advance.
  5. As it looks like I will be getting either a 2K or 4K scan for my 16mm short film (and not doing a traditional A/B negative cut,) my main concern now is preserving the grain structure that I achieved in-camera. I went for a specific look with this film and pushed 7219 2 stops, creating a nice amount of grain. As I read and look online and different clips on Vimeo & YouTube, I see a lot of 2K scans that look too pristine. Not all, but a lot. So my question is will I still be able to retain that kind of gritty look with a 2K scan, or will it defeat the purpose of the original look I w
  6. Hello, INFO: 1) I shot some R16mm/S16mm tests and had a telecine at two different labs. The R16 was done at Lab 1 and the S16 at Lab 2 (also a second telecine of the same R16 footage was done at the same lab, Lab 1.) 2) All the stills are shot in the exact same location. Meter: F1.2 and on 7219 3) The S16 is shot at F2 with a 9.5mm Zeiss Super Speed Prime 4) the R16 stills were both shot at F1.3 with a 16mm Zeiss Super Speed Prime. Shots: R16 Lab 1 (Tele 1) R16 Lab 1 (Tele 2) S16 Lab 2 Questions: 1) Why does the S16 image seem to ha
  7. 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 we
  8. This Summer I'll be in France shooting some B-Roll in the Paris Metro/subway. It will be entirely available light down there, and I'm pretty sure it's all fluorescent. How best would I avoid light flicker? Camera is an Arri 416 Plus, shooting 7219. MOS. My usual framerate is 24fps with 180 degrees shutter otherwise, but if I'm down in the Metro with presumably 50Hz fluorescents, would it make sense to shoot that footage at 25fps since it's MOS, and the 1 frame difference in camera speed would be negligible in post? I'd prefer not to pull out the shutter tool and switch the angle manua
  9. Hello - I'm in the process of finishing up a documentary that I shot last year. I'm almost at picture lock and it's time for me to start thinking about color correcting and grading my project. My film was shot on two different film stocks, Kodak's 50D 7203 and 500T 7219. Both films were processed normal and were given a flat pass telecine on a Baselight system to HD ProRes422HQ files. I've tried some correction tests with this footage and I am having a devil of a time getting everything to balance out. The transfer is obviously lacking in contrast, and when I try to correct that it kn
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