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Showing results for tags 'kodak'.
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Greetings Everyone! Need some advice here on a sailing documentary which I have shot on S16 with an Arriflex SR3 camera. After a lot of struggles and failures, I have reached 50% of what I really wanted to achieve. Anyways, I have started assembling the footage. Cinelab Mass., has done a good job. I have the negatives scanned to 1080p HD without timecode. Few editor friends of mine suggested that I get the negatives scanned again with a timecode and then with a final cut timeline get a 2K scan and grading done the way we do for movies. I wish to showcase the documentary in film festivals. Do you think an HD output won't do justice? Generally,what formats are documentaries shown in film festivals? advice and suggestions welcome.
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Hi, I have this made in Germany Kodak and I opened up the film door to make sure it was all in working order and now I can't close it. This camera is a little weird, you push a button to release the film door and I assume it is the same to close it, but it won't close. I'm a little stumped and was wondering if you guys knew anything. I'm planning on using this as my B&W camera and my Ricoh for color. Thanks!
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<iframe src="https://player.vimeo.com/video/244517536"width="640" height="360" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe> <p><a href=" ">iron sportster 883 hd</a> from <a href="https://vimeo.com/user18835395">Prashantt Rai</a> on <a href="https://vimeo.com">Vimeo</a>.</p> https://vimeo.com/244517536 I shot this long time back, early 2014 perhaps. Had the negatives scanned, graded, and 2k footage stored in a hard drive. The drive crashed. Data recovery guys were asking a lot of money. I got it scanned again now. I shot this with a focus puller and a driver one early morning on Kodak 200T.
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Hi, Im selling my Aaton A-Minima Motion Picture Camera Package. Pristine Condition. I last used it in summer and everything is working great. I got it couple of years ago and got some extra stuff overtime. I will be selling it as a package without separating anything. History First owner got it in brand new condition from Abel Cine (LA) about 14 years ago. Im the second owner and took great care of it and enjoyed shooting with it a lot…. (note: Camera was never rented out !! - and lightly used) Asking : $9800 USD Location: Toronto, Canada HERE IS THE LIST OF STUFF THATS INCLUDED IN PACKAGE: Aaton A-minima Camera (PL MOUNT) - Serial Number : A284 Oppenheimer Battery Handle - Power Base Battery Handle (IMO its the best accessory for minima) “Swan Neck" Attachment Mini-Base (amazing base !!) Custom Mini-Euro release Plate Battery Charger Cables (x2) Oppenheimer Batteries (x3) Magazines + 2 Covers ( One Mag stays on camera, so doesnt have the cover) (x3) Aaton + Oppenheimer Threaded Rods ( all compatible with mini-base) 50mm (Short Rod) 100mm (Medium) 120mm (Long) - best for Rederock micro follow focus (included in list) (x1) Original Aaton Wooden Front Handgrip (Walnut) (x1) Lemo 2 pin to Lemo 2 pin Cable (Handgrip to Camera) Original Tiedown for Handgrip (Compatible with all rods) (x1) RedRock Micro Follow Focus (x2) micro lens gear included. (x7) Original A-Minima Empty Spools (hard to find, reusable) (x10) Kodak Vision, 2, 3 FilmStocks ( Filmstocks specially for Aaton A-Minima with original spools) - All filmstocks kept in fridge. (x2) Kodak Vision - 250D / 7246 (x3) Kodak Vision 2 - 500T / 7280 (x2) Kodak Vision 2 - 250D / 7205 (x2) Kodak Vision 3 - 250D / 7207 (Respool) (x1) Kodak Vision 3 - 50D / 7203 (Respool) Extra Stuff (x4) Duracell Ultra Lithium CR123 - CR17345 Batteries for A-minima EyeCushion Sekonic - Studio Deluxe - Model L-398 (No: 410772) Pelican Case for Camera Aaton A-Minima User Guide Booklet. Please let me know if you have any questions. You can PM me. Or you can use gnlkrmz@gmail.com address to get in touch. Thanks, .... .... .... .... .... .... LENS NOT INCLUDED !!! (IMAGE SHOWN FOR THE OVERALL SETUP, INCLUDED IN PACKAGE - EXCEPT THE LENS !! .... LENS NOT INCLUDED ( IMAGE SHOWN FOR FOLLOW FOCUS AND OTHER ACCESSORIES) .... -
Hi all, I'm starting prep work for my college thesis at Emerson and I'm researching into the different challenges with shooting the project on film. I'm particularly thinking 16mm, just for budgetary reasons, and can't seem to find a Super 16mm camera that shoots up to 300 fps other than scientific/military cameras. The film is about a track athlete, so I'm wanting to get some very beautiful, frozen moment shots of our talent running. Does anyone know of any cameras that shoot as high as 300 fps? I see most of the HS cameras from Arri only go up to 150 fps. Thanks!
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Hi everyone, I'm writing a piece on the history of colour correction/grading through the ages and was wondering if any of you have been in the business long enough to have first hand experience of grading with film before it went digital? If any of you have any information about who to talk to or know of anywhere that still processes film (preferably in London), please let me know!
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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 very highly appreciated. Christian
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Hello everybody, I was hoping to find the Kodak Super 8 film camera at the NAB2017, but I haven't have any luck. Does anyone knows what happened to that project? MOY
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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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Hello All! New user here and I'm hoping this great community can help me out. For the past week, I have been desperately trying to find a comprehensive and complete guide to processing Kodak Super 8 Tri-X 7266 at home. I can't seem to find any localized complete source of information on how to do this--while I've been able to find what sort of materials I'd need, the chemistry bit seems really though to understand. There seems to be multiple opinions on what sort of chemistry to use, but no real guide on how to do it or which chemistry works best. Now to be honest, I've never developed reversal film at home before--however, I do have a darkroom, and have been devleoping my own still film (black and white and color) since I was about 13 (I'm 25 now.) I've been shooting Super 8 (and Reg. 8, and some 16 here and there) for a long time now, and I'm to the point where I'm shooting so much of it, I think it might make sense to invest up front in the materials to develop at least Super 8 Tri-X at home. I should also say: I'm not a chemist--I have a degree in English, so I took 1 chemistry class in all of my education--and it was the history of chemicals--so my ability to understand how chemistry works is pretty sad, to be honest--I know how to follow mixing instructions on bottles and packets--that's about it! I'm just interested in processing the film for reversal results--I'm not interested in cross processing or anything 'artistic'--I'd like to just reproduce the results from the lab, if at all possible Can anyone provide a resource that goes over exactly what chemicals to use to process Super 8 Tri-X 7266 (and possibly where to buy them), mixing instructions, and processing times? I would be forever in your debt! Here's my materials list: -Chemistry -Spiral Lomo Tank -Containers for chemistry? -100 or 300 watt bulb -Drying device (Morse Drying Drum (or similar) Thanks to all for your time and help! Owen - Cleveland. -
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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Shared it in the Super 8 forum but figured such huge news warranted a post here as well! Kodak is reviving Ektachrome 100D!! http://www.kodak.com/US/en/corp/Press_center/Kodak_Brings_Back_a_Classic_with_EKTACHROME_Film/default.htm
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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, 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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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. -
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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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). -
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? -
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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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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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
