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Showing results for tags 'KODAK'.
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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.
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Selling 4 cans of new, unopened 16mm Kodak Vision3 250D film. Bought from Kodak three weeks ago, stored in temperature-controlled condition. $150 (+ shipping) per can Pickup possible in Los Angeles 90012
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Hi all. I have a couple of questions regarding super 8mm shooting. I've been shooting Super 8 for a few years now, haven't used it much, but have gone through a few rolls of film in my spare time. I've been reading about colour temperatures, and have slightly confused myself. I read somewhere that all Kodak film is tungsten balanced, and that by putting a cartridge of 50D into my super 8 camera for example, is engaging the 85A Warming filter. By putting 500T into my camera it disengages the filter, unless I chose to override it for shooting in daylight with tungsten stock. Is it the other way round? It makes more sense that the filter is only engaged automatically when placing a Tungsten stock in the camera. I'm sure its different for all camera manufacturers, but if anyone has an input for my specific Canon 318m camera that would be great. A separate question. I'm planning to shoot a short film on Kodak Tri-X B/W Reversal stock in the coming months. What coloured filters are recommended for shooting Tri-X in daylight, and interior fluorescent or tungsten environments? Mainly for maintaining contrast levels etc.. -
Baby Driver just debuted at the SXSW festival for the lucky few who were there and got the chance to see it early (comes out wide on August 11). This is Edgar Wright's long awaited new film he's been wanting to do for 20 years. What makes this puppy extra special is that the titular character, named Baby (yes, really), played by Ansel Elgort, suffers from tinnitus, and constantly listens to music to drown it out. He's a getaway driver who excels at what he does, and the film is cut to the music he listens to. His boss played by Kevin Spacey promises him he'll be out after one more job. Rest of the cast is led by Lily James, Jon Hamm, Jamie Foxx, Flea, etc. The film is shot by the amazing Bill Pope (who also shot Wright's incredible Scott Pilgrim Vs The World) on 35mm anamorphic, G-series lenses according to set pics. I actually asked Edgar details on the formats as there is some Alexa seen in set pics, and there they are: "90 percent shot on 35mm anamorphic, some Alexa mini for running shots, some Alexa for night shots, one drone shot!" Domestic trailer in QT 1080p quality: http://www.hd-trailers.net/movie/baby-driver/ International trailer with tons of new footage and with a completely different feel, only available in awful YT quality so far: Very exciting
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Hi, I've got for sale my trusted Super16 camera kit. I've bought it in fall of 2010 from Mr. David Odd. as his personal camera. He had it converted to Super16 by P+S Technik in 2008 and had installed color video tap by Visual Products, inc. Since 2010 I've shot with this camera about 10x 400 ft of film. Here is footage What's in kit: Arri SR1 Super16 camera, 180 degree fixed shutter - HDTV 1:1,78 gate (brighter, from SR3) - Visual Products color video tap PAL - PL mount - wideangle PS Technik eyepiece (made by Voigtlander) 3x super16 magazine 1x spare magazine (not converted to super16) 1x SR3 magazine (with TC) LWS 15mm support rods (2x) Arri BP-7 base plate (for 15mm studio) CE - Precision Speed Control 2 (for other frame rates than 24 fps) Arri VSU - variable speed unit (not as exact as CE) 2x 12V old batteries (as spare, needs recelling) 12V NiCd charger 12V discharger handle, incl. remote switch --------- I live in Bratislava, Slovak Republic. Shipping only in EU. Price is 1700 € + 150 € for shipping --------- PHOTOS
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Got some questions about pushing and pulling film stock after reading this fantastic article about shooting La La Land on film, and after a recent wedding I shot. I'm not a complete novice or anything but still only been shooting motion picture film for a couple years now. As I said, I shoot weddings among other things on Super 8 and sometimes, you just gotta deal with the light you're given. Last wedding I shot, the ceremony was EXTREMELY dark, I'm talking like, you could barely see the couple with your eyes dark... So I was shooting 500T on my Beaulieu 1008XL (f1.2 lens, 225º shutter) wide open then I had CineLab push it a stop in development. I DID get back an image amazingly but it is pretty darn grainy. It's ok but I'll have to work around it with my other footage. And it got me to researching it some... After reading about pushing and pulling online and on Kodak's website here it seems like pushing may not be the best idea for low light contrary to my thinking. Plus this quote "Push processing is not recommended as a means to increase photographic speed." I know pushing only increases light that's hit the film therefore more light gets brighter whereas little light get a little brighter hence more contrast. So why does Kodak speak against it so much? In low light should I just shoot at box speed and then fix in the scan. I know Phil of Pro8mm says on his site that pushing is largely unnecessary with the quality of scans these days. Thoughts from other scan labs like Gamma or CineLab? What's the point in pushing film then? Also... pulling film. In the La La Land article, they mention shooting 250 at 100 and 500 at 200 and then pulling in development. Does anyone do this? For film I've overexposed, I've always just done normal processing and fixed in post due to the large latitude of V3. Would it be better to pull? They mention finer grain and lower contrast in the article. I always just figured it was a fix for overexposure. A novice viewpoint, clearly. Also how they heck are they shooting nighttime at 200ASA!? Sorry for the long post but a bit confused and curious about more experienced shooters' thoughts.
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Hello cinematography.com friends! I just finished up my latest short film and I wanted to share it with you guys. Shot entirely on vision 3 super 8 stock (50D,500t) This was my first attempt at creating a narrative on actual film. The camera used was a Sankyo 40s xl and the process/2k scan was performed by Pro8mm in Burbank. Thanks! Happy New Years. - Hunter <iframe src="https://player.vimeo.com/video/197584631"width="640" height="486" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>
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Hi everyone, I just wanted to get a few perspectives on grey cards. I currently own a cheap Neewer card that has worked fine for my purposes so far, but I've always wondered how accurate it is. Because I intend to test some film stocks soon, I want to find one that I know is perfect. I've been thinking about getting the Kodak R-27 card, but the price tag of $27 for a piece of cardboard has made me hesitant to do so. I can't help but think that if I'm going to pay money for a reference like this, maybe I should look at other options as well. Does anyone have any grey card recommendations as well as advice on using one? Thanks. -
IT IS HERE AT LAST Silence is Marty Scorsese's passion project he's been wanting to make for 27 years ever since he read in 1989 the book Silence written by Shūsaku Endō. It is set in the seventeenth century, it follows two young Portuguese Jesuit priests (Garfield, Driver) who face violence and persecution when they travel to Japan to locate their mentor (Neeson) and propagate Christianity. They shot for 8 months in Taiwan with a crew of 750 people for a budget of 48 million dollars. It opens on December 23rd as a limited release and in January wide. It is shot by Scorsese's new go-to cinematographer, ie the great Rodrigo Prieto who shot The Wolf Of Wall Street, and the pilot of Vinyl (HBO) with him. They shot on film for the day scenes and on the Alexa for night scenes, just as they did on Wolf. There's an article to come in the January issue of AC (which will be an issue featuring articles exclusively (except for Passengers shot by Prieto on the Alexa 65) of films shot on film). -
Hi, everyone It's my first time posting here :) I've received my first test roll (Kodak 200T) from the lab, shot with my K-3 and the 17mm-69mm Zenit. Loaded carefully in semi-darkness and unloaded in total darkness. Camera was covered with plastic tape when filming (except the meter counter). I found two issues: There are light leaks all over the footage. Not following a constant pattern, some shots are more affected than others but always with the same shape. I've attached two stills of them. I set the speed at 24fps but the footage is in fast motion with the telecine at 24fps. It looks as it was filmed between 12fps or 14fps. I made two shots at 48fps additionally and that ones are running at the correct speed to me. Is it possible that the fps dial is not matching the actual speed? Thank you very much everyone, Marcos
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Hi, i'm trying to cut costs and working on a film project shot entirely on Kodak 7222. If anybody has some for sale, i'm interested. thanks Constantin
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For Sale: 2 cartridges of Kodak Super 8 Ektachrome 100D film. Has been kept in freezer since purchased from Kodak. Asking $120.00 US plus shipping.
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Hey, Ive got about 4000' of old fuji that I am planning on shooting a short on. Ive had it for about 6 years in my fridge. its half Eterna 250T 8553 and half Eterna 250D 8546. I just got the snip test back from fotokem and it looks like my layers are between .25 (red and green) and .70 (blue) off from what they should be. Im wondering if, for instance, I could add a yellow filter to my lens when I shoot to make the overall shift of my blue channel get back more in line with the other channels? Does it work that simply, or am I missing something. My thinking goes that if I add 1 stop of yellow to the overall image, then that would put my blue channel at roughly .20 over where it needs to be, and then if I over expose by a stop then that will help the overall quality of the image (though it will still be grainier than normal and a little funky in the colors. Is this reasoning sound? -
I recently purchased the expired Kodak Film Stock listed below and would like any suggestions on the best F-Stops for exposure. I plan to telecine to 1080p or 2K. Will be using a K-3 16mm camera. 7246-250D 7274-200T 7279-500T 7289-800T 7298-500T Thanks Nate
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Colorlab and Kodak are having a film workshop on October 26th and 27th in Rockville, MD. Randy Tack, cinematographer and lead imaging instructor for Eastman Kodak, will be leading the workshop. Topics covered include 16mm and 35mm cinematography and the motion picture film workflow. Participants will be shooting and screening dailies both on film and digitally. Please pass on the information to anyone you think may be interested. It's FREE, but spots are limited and filling up fast! For more information or to register, go to: http://www.colorlab.com/workshop.html
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Hello, this is my very first post on this forum so first of all thank you all for having some time to read and answer this question. I'm going to shoot a project on S16 (arri 416 plus) next month and I don't have nearly the same experience with film than digital so I'm sorry if this sounds really newbie. Basically I'd like to know what's the real and usable dynamic range of kodak Vision3 and all the elements that affects it (print, scan, etc). I Research on this forum, internet and on Kodak's website and the numbers change considerably. Kodak says it's about 10-11 stops, then I read that the official number is 14 (this is hard to believe) and some friends told me it's about 7 stops (-3, +4). Also I wanted to know if the print and the scan are really important to save the dynamic range. I read a Kodak document that recommends to use 16bit scan when the stock is Vision3 to hold all the dynamic range in there. Also, which scanner do you recommend me? What I read the best one is DPX 16bit but it may be really expensive so I'd like to have a cheapest solution that can hold the DR of the film. Thanks!
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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$
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I recently purchased some Kodak Vision3 re-cans and short-ends film stock. I’ve read differing opinions in regards to refrigerating versus freezing the film. Some have recommended to not freeze the film as it may be damaged from the process. Is there any general consensus as to the best practice for storing film? Kodak literature states that freezing film is an appropriate step for longer term storage (more than six months). I don’t know when I may use it and if the time period will exceed six months. Can I promptly freeze the film to slow the degradation process? With my film stock being re-cans and short-ends, I feel I should be more mindful of degradation, but with it not being in factory-sealed cans anymore should I avoid freezing? What are the best techniques to safely store new and opened film stock? Fridge or freezer? Should I place the cans in zipped plastic bags? Should I insert selica gel packets to reduce moisture? Any tips or suggestions would be helpful. Thanks!
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Updated and reduced price from earlier this year. I currently have a small inventory of factory sealed cans of Kodak 16mm negative in storage in France. I had planned to shoot it myself, but the need is no longer there, so I'm willing to sell it at a discount. If you're interested, and located anywhere in Europe, it would be easy for me to ship it. I have in proper storage: 9 brand new sealed 400' cans of 7203 50D 1 brand new sealed 400' can of 7207 250D 200ft shortend of 7219 500T 100ft shortend of 7203 50D 240ft shortend of 7203 50D The new cans are 70 euros each and assuming someone wants to buy alll 10 cans I'll throw in all of the shortends for free. You have my guarantee they are just as shootable though. The shortends where made at the end of shooting days when film was still remaining in the camera mag but it needed to be loaded with a different stock for the following day. The rolls were cut with scissors in a changing bag and put back in their cans, still on a core. To reiterate: - 70€ / can (preferably would like all 10 purchased) + shipping Message me if interested.
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Hello, I was wondering, how close the Vision 3 films are to each other? Of course the sensitivity and grain differ, but are there much if any differences in terms of colour, contrast and perhaps sharpness too? After all they are being advertised as being intercuttable. If the obvious things like grain are not taken into consideration, would it be impossible to distinguish the different Vision 3 stocks from each other? To a slighty other thing, if the Vision 3 films are very similar, does it make a lot of sense to have 4 stocks that practically look the same? It shouldn't be a big thing to add an extra stop of ND or an 85 filter. Kind regards, Valter
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Earlier today I purchased a Kodak Instamatic M6 Super movie camera. It is missing the battery and the cover for the meter, and I am unsure of what battery it runs. I put 3 batteries into the pack on the bottom, and put a cartridge of film on it, and as dumb as it sounds, I have no idea how to turn it on. I tried pressing the trigger, but nothing happens. Is it because I do not have a battery in the meter? And if so, what is the battery I need for it?
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http://goo.gl/R5ZPn0 Interesting read, but I think it got a little heavy handed against digital. Particularly that his argument about an audiences reaction to pixels vs film seems pretty moot when everything is scanned and presented on digital projectors these days. Would be interested to hear other peoples thoughts. -
Fomapan R100 Kit + Kodak Tri-X 7266 failure
Roger Cambell posted a topic in Film Stocks & Processing
Hello everybody. My name is Rogers and this is my first time posting on Cinematography.com Today for a school project I attempted developing Kodak Tri-X 7266 with a Fomapan R100 Kit in a lomo tank. I followed the instructions yet the project did not work well. It appears as if the whole emulsion was removed from the base of the film leaving it clear. My problem is I can't figure out at what step this happened. Would someone have any information on what could have caused this to happen? Perhaps it was during bleaching something went wrong? Also, it would be nice to understand the re-exposure part a little bit more. This was my first time so I was expecting some chaos. Thank for reading my post and to anyone who can spare some info! -
I'm shooting a project on Vision 3 250D & 500T 16mm soon, we will be scanning to 2K. I've only shot 16 mil once before and am hoping to get something that will look sharper than we got last time. This is what we ended up with last time. http://www.marzmiller.com/ghost (this was also a 1080 telecine, not a 2K scan, processed normally and telecined at Fotokem) Right now I'm thinking of shooting up a stop and a half and pulling one stop, as well as some de-graining in post. Any other ideas on how to get the look I'm going for? I guess the look could best be described as I want it to look like very clean 35mm. We just don't have the dough for 35 this time. - M
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Does anyone know if using anamorphic lenses on S16mm was common before the release of the Hawk V-Lite16 lenses? I'm looking to shoot a project on these lenses soon and am hoping to use an Aaton XTR, just wondering if it will be easy to find an anamorphic viewfinder attachment for the camera. Or if it would be better to go with a SR camera. A 416 seems to be out of the question for now due to budget reasons. I believe this camera shares the viewfinder design with the SR cameras anyway. (the 416 I used just had SR ground glass in it.) Alternatively what other (if any) Anamorphic 16mm lenses are available in Los Angeles. - M
