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Found 17 results

  1. Hi, I've worked mainly 7222 with self processing(D76/Dektol), now I wonder what type of film can be used for print stock. I've read from the list of motion film, Kodak 7202/7203 is used for BW print stock. But when I check from resellers 7202 is colour negative film. So I am bit confused now, is anyone could recommend suitable print stock for projection? What I want to try here exactly is, I want to make positive duplicate from my negative which is possible to project. I guess slower film(lower ISO) would fit for duplication and control the contrast, it seems really hard to find p
  2. "The Captain" - 2017 (German: Der Hauptmann) Directed by Robert Schwentke. Shot by Florian Ballhaus, son of Michael Ballhaus. ... Great (end of) war movie. Tense, ironic, a lot of WTF's... (pardon my language) Even based on a real story! :) ... "SCHNELL-GERICHT HEROLD" = "QUICK-JUSTICE HEROLD" 🙂 - You'll get it when you watch it. And keep watching it while the credits roll :)
  3. Hi, I am planning on shooting a short film on my Bolex B8. It takes double run 8mm film. I want to shoot in black and white (film stock I can find for my camera includes Fomapan reversal 100, Fomapan negative 100, and Fomapan negative T200). I am relatively new to shooting on 8mm and I was wondering if anyone had any tips for me, especially in regards to the best way to light for B/W 8mm? I hope to get as sharp an image possible, I understand that shooting at a higher aperture will help, and that using newer lenses will also help (although I do not plan on purchasing new lenses). I love high
  4. Great news for film enthusiasts in Australiasia! Archives New Zealand has reached a deal with Park Road Post Production to take ownership of all film laboratory equipment and set up a new film processing laboratory here in Wellington, New Zealand! This has been approved by the NZ government and is to serve Archives in finishing all their restoration needs in the coming years, but also to provide processing for public use. The Archives are taking the ECN and both B+W Neg and Pos machines (No ECP), a number of printers, cleaners etc. This will be a full service laboratory, employing mos
  5. Hello group, Just got a 100ft roll of 16mm 1R Eastman 7222 Double-X neg stock. The label states "© 2002". Also bought supposedly fresh Double-X stock very recently and the label says "© 2009". Q 1: anyone know what's the deal with the dates (same with Ektachrome 100D BTW)? Q 2: should I compensate for sensitivity loss with the 2002 Double-X stock? I know that overexposing Double-X is bad - not like current Kodak color neg at all. Love the classic look of Double-X with its typical 'vintage' grain pattern ranging from shadows all the way up to highlights. Any reply/tips
  6. Struggling to find any information online about grading a 16mm black and white transfer. I have done grading work but would love some tips on grading 16mm transfer specifically black and white. Any resources would be appreciated.
  7. My first ever short film just released, my first time being a cinematographer. Shot on a single Canon 550D (T2i) DSLR with most shots using a Canon 50mm f1.8 lens at f5.6 and some wide shots using the Canon 18-55mm f3.5 at f5.6. Lighting wise, I used 3 800 watt tungsten halogen red heads and 1 5600k LED on some medium-close up shots. I cut out shapes to use as cookies and shape the light with some flags. It was a zero budget film, all locations were due to good contacts in the local area. I'm no expert, never went to film school or anything, I just need some opinions from the masters. The crit
  8. I know it's traditional to have use colour lenses on the camera for B&W photography, but can you also use filters on the lights in the same way? Perhaps just to make a part of the frame look a certain way, or is it just better to use grads for something like that? Also given this will probably not stay on topic anyway... does anyone have any other tips for shooting B&W?
  9. Hi cinema lovers, I've been a lurker on these forms for a while now, and I'm not sure if this is the right place, but but this is my first post! I'm a 3rd year film student at Falmouth University (UK) and I'm directing a short film called Philistine. I'm here to both share with you my kickstarter and receive any valuable information/tips on shooting with film (it's my first time). We'll be shooting on a Bolex H16, using Kodak 16mm Double X Black & White Negative (7222). It's Tungsten 200 and Daylight 250. SYNOPSIS: Cinema projectionist Marcelle works for an independent, arthouse, and
  10. I said I would share a bit of what I am shooting at the moment here in Ireland, which is a black and white short - film called "The Trap" and is being directed by Shane Europa. I know that this part is always filled with super big movies that all of you shoot, hopefully there is a bit of room for a short - film :) THE PROJECT'S BACKGROUND... A while ago I received an email from a person who was looking for help to shoot a small and independant experimental project. He attached a trailer shot by himself envisioning how he wanted the project to look like. That person turned out to
  11. How you go about when you expose for black and white? Does an exposure for black and white differ in term of how you do your exposure and calculation with the light meter, from working in colors? Does the highlights and shadows work the same way as they work shooting in colors? Beside any color temperature consideration, how you work with your exposure when you are shooting black and white, you approach it in a very different way taking more in consideration the reflectances on the subjects? I know for instance if you apply a red filter (such as RED #23) the red object will beco
  12. Hi!! Here is my small black and white stock ready to be shoot. 5600 ft!! As you can see it's a mixed stock, all expired. I've already shot RAR2496, Regiscope and Tri-X with good results. Don't know what could happen with Perutz, Orwo, Svema, Dupont, Tasma or with the oldest one Agfa Wolfen Ultra rapid. You think its crazy to ask the lab 1 stop push with this old stocks? Have you ever use any of this stocks? Any suggestion? Bests!! Andrés
  13. Hello, I'm working on a project for 2015 that I want to shoot on black and white 16mm film. I've watched several films online shot with Tri-X film and a few on Double X but the blacks are so dark (I know, they're supposed to be). :) These are great film stocks but for my film I kinda don't want the blacks to be so black. For example, one of my favorite films is the 1956 version of "The Bad Seed" and as you can see from the photos the black and white image is not so dark. The blacks aren't so black like they are in the modern stocks. I might not be explaining this well. You can see from
  14. I'm hoping to do a music video for a music group and they want to do it with a white background. I'm confused on how much space i might need and what else I'm not realizing i'll need to do the video. (besides camera, the right lightning, tripod and hopefully a dolly). I have some examples. Can anyone give some advice on what they think is the right amount of space compared to the videos i've put up? http://www.youtube.com/watch?v=o3TwzXr_jFQ You can put the music on mute, I just need advice for the visual. I know they did the music videos using film, so I want to get that out of th
  15. Hi everyone, I have always loved the 1979 movie Manhattan by Woody Allen for it's cinematic look and amazingly beautiful black and white and underexposed scenes (thanks to Gordon Willis) and of course for the compelling story and acting. I'm trying to learn more about lighting at the moment and It would be great to get some input on how they lit this particular scene. The scene I'm thinking of is the one where's he is on his sofa talking into the tape recorder.
  16. Dear all, I hope this isn't too rookie a question for this site, but I'm trying to make a decision about a project which we will almost certainly want to shoot in black & white on a Canon DSLR, and I realise that it takes me to an essential question about how those cameras record data. I've done tests shooting 10 seconds of footage in the Standard picture profile, the same in Technicolour CineStyle and in Monochrome. All three tests gave me pretty much the same size of file with the same data rate. Here's the question: Does this mean that I'm getting a more detailed image i
  17. I am planning on shooting a short film with my T4i, planning on grading it black and white in post. I know that lighting for black and white is different than color and requires some more contrast (because color is no longer a factor). What do you think the best way to gauge what it will look like in black and white, short of metering and hoping?
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