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Hello everyone, I am currently shooting a feature on both S16 and S35mm stock. When shooting on S35 (5207) my blacks are black and look really nice, I keep them around 4-5 stops under and they look great. But when it comes to 7207/7219 if I do the same they look super grainy a bit too much. How can I reduce the grain in the shadows? 1. Is it better if I rate my 7207 at 200ASA or even 160ASA? 2. Should I rate my 7207 at 125ASA and then pull down one stop? 3. Should I try and keep the darkest part on the frame 3.5 / 4 stops under and try and maintain that with my spot meter instead of letting it go lower and then later crush it in post to get rich blacks? A bit lost here on what would be the best approach for this. Thanks

COIFFEUR EXTRAORDINAIRE - WAITING FOR LEGROS teaser: This was a very challenging film project! Three years in the making! How do you bring 1700s France to Colorado? Movie magic, of course... Shot on film with a 16mm Aaton prototype of the Aaton 7 model and with a Double 8mm Keystone K 27 Capri. Film stocks: KODAK 500T 7279, 250D 7205, 500T 7219. We pulled out all the stops to make this film spin-off the BOB: NON-UNION PSYCHIC graphic novel. Many old-school film techniques were used in order to bring Coiffeur Extraordinaire - Waiting for Legros to life: shooting on real film, elaborate costumes, amazing wig constructs, miniatures, paper cutouts, green screen, live action, illustrations, still photography, digital effects, and more. People are asking, "Where do I see the film?" Well, the film has just begun festival submissions, but a private online screener will be available to all those who buy the BOB: NON-UNION PSYCHIC graphic novel. When you purchase the book, paperback or digital, you will receive a GOLDEN TICKET, which will grant you a link and password to watch the film. The screener will be unlocked this Friday at 10:00am Mountain time. Go here to get the book: https://asapimagination.com/collections/bob We can't wait to share this epic short film to our fans and colleagues! Thank you for your support! FILM ROCKS!

Hi, Does anyone knows how to expose this film in the two configuration mentionned ? is it possible to have good result in low light by pushing in development ? (any experience with that ?) I am opened to any tips regarding reversal film treatment as a 1st AC (conservation, use and elese ...) For upcoming projects, i am wondering how it would look like. The first one is a low light / hangar / industrial environment with light coming from a dancefloor with 5 people on it (the aim would be to have color effect / aberration and dynamism like in the 'domino' movie, the dancefloor lights would help accomplishing this nighclub ambiance) The second one is more of a natural ambiance in bright daylight with characters in the frame running on a road and other narratives sequences in the city ... Thanks in advance ! cheers

Hello everyone, I am seeking for examples of filter use on 16 mm, anything from glimmer, black promist to effect filters (stars ...etc) will do. If movies also pop in mind don't hesitate 😉 I am in research for an upcoming 16 mm video (dance performance, with natural light) that we'll shot with the aaton xtr , 7219 film, zeiss 12 mm & zeiss zoom 12-120 (by mind). Caméra on dolly or stand, 'black swan' inspired of some sort . Thanks ! Jordan

Hey guys! I just finished a 16mm shoot and am on the process of sending the negatives do be processed by CineLab London. They offer tons of scanning solutions and I'm kind of confused with some of them. Would love if you guys could help me with some questions :) 1.They state that all of the scans are deliveres as .dpx "full frame" files - Full Frame is only the image? Or will I see the borders, sprockets and etc? 2. What does it mean to have the negatives "overscanned"? They offer this option only on the Scanity scans - does it means that I'll see the sprockets, borders, etc? 3. What are the image quality difference between Spirit and Scanity scans? Is it significant? Thanks for the attention!

Greetings, I'm selling 8 rolls (976m/3200ft) of KODAK 16mm VISION3 500T Color Negative Film 7219 acquired in 2012 (August). 500 Euros (+ shipping) Best regards, Tiago Carvalho