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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 old-school cinema. Though, the theatre is forced to close and he’s made redundant; the digital age has no use for disciples of the past. Down on his luck, his fate is bettered after an encounter with a young woman, Anna. His optimism is short-lived, though, and he becomes the victim of a different kind... On the surface Philistine is about a cinema projectionist who loses his job, but deeper down it's a film about film, cinema history, and a respect for the past. My viewpoint is that we, the younger generations, are becoming detached from the history of cinema - which I feel is a bad thing. Although the topic is dramatic, and when written "loses his job" sounds like a cliche student drama, the narrative and stylistic approach is absurd, abstract, playful, comical and shocking. As I'm posting on a cinematography forum comprised of cinema lovers, I assume it may mean something to you when I say that both the writing and directing of Philistine have taken heavy inspiration from the work of the French New Wave. For those that aren't familiar, their stance was particularly anti-Hollywood, and so they would make their films in the most rogue fashion possible; both in terms of narrative and technical approach. This is something I too believe in. I also feel as if many student films are the same (partly down to the use of the same cameras and partly down to their pursuit of replicating formulaic narrative and stylistic hollywood standards) and so with this film, and anything I create in general, I tried to stray as far from the 'norm' as possible. I hope that people see that in the kickstarter. 16MM FILM: The choice to shoot on 16mm was there from (almost) the very beginning. Following from the birth of the concept - old-school celluloid cinema projectionist being ousted by the digital - I knew that it would be hypocritical of me not to shoot on film. It's a film about film and the impact that the easily accessible digital has on it. And so, not only does film LOOK beautiful, it serves the story. I flirted with the thought for a while until I saw a 16mm film that my tutor had made and was promoting. After research I gathered some figures to see if this dream was actually possible; and it is, though I can't do it on my own. What's more, after seeing the 'Kodak deal' go down in February of this year ("Disney, Fox, Paramount, Sony, NBC Universal and Warner Bros all pledge to continue buying filmstock from the company, even as the majority of directors and cinemas choose to go digital"), I feel now more than ever it is important that we, the younger generations, keep film alive. BUDGET: The proposed budget for the kickstarter is £2000. Film costs (stock, camera, development) comes to just over half of that at £1100. Now, film in the digital age is of course an aesthetic choice, and we could easily just use a RED digital camera, but I hope those of you reading do see the reason for and passion behind the use of film for Philistine. The camera rental company and developing lab are extremely enthusiastic about my choice to shoot on film and are really helpful in answering questions and teaching us and taking us through the process. If any of you like the sound of my film and could spare some change towards it we'd be forever grateful; we have a lot of money to make in short amount of time and so every little helps! All feedback is welcome and thanks for your time! KODAK DEAL ARTICLE: http://www.theguardian.com/film/2015/feb/05/film-studios-kodak-deal KICKSTARTER: https://www.kickstarter.com/projects/sophiehurry/philistine-16mm-short-film?ref=video FACEBOOK:https://www.facebook.com/PhilistineFilm/?fref=ts TWITTER: https://twitter.com/PhilistineFilm

Entrants Can Win up to $12,500 in Prizes and Have Their Clips Screened at Slamdance ROCHESTER, N.Y. (November 11, 2015) - As part of Kodak's ongoing celebration of 50 years of Super 8 filmmaking, the company has launched the Kodak Super 8 Filmmaking Challenge, and is seeking submissions now through December 21. The inaugural online contest, which is free to enter, is designed to showcase the wide range of creative uses of this small gauge format by passionate shooters from all walks of life who revere its unique look. Filmmakers, home movie aficionados, documentarians, sports enthusiasts, musicians, promo/spot creatives and experimentalists from all over the world are invited to submit clips that were originated on Super 8 film and range from 15 seconds to 5 minutes. Entries will be taken in one of three categories: POV (fiction), Action (lifestyle) and Flashback (non-fiction). Once the submission period ends, there will be two rounds of voting open to the general public. The semi-finalist round will begin December 22. The top three videos in each category based on audience votes, along with two semi-finalists from each category chosen by a jury, will be screened at a Kodak event at the Slamdance Film Festival in January 2016. Fifteen films will be chosen in total. The second stage of voting will determine the overall first, second and third place Audience Award winners. A professional panel of jurists assembled by Kodak will select the Jury Award semi-finalists and winner. Prizes will range from a Kodak PixPro SP360 Action Camera and a Pro8mm Rhonda Super 8 camera, to film stock, processing and swag, valued at up to $12,500. The Kodak Super 8 Filmmaking Challenge is hosted on The Audience Awards contest platform. Entrants will need to create a valid Audience Awards account, free of charge. Viewers can also sign up for free to watch and vote for their favorite clips from December 22 to January 25, 2016. All submissions must be shot on Super 8 film, either with or without sound. Hybrid productions need to be comprised of a minimum of 50% Super 8 footage. Clips can be from any year, original pieces of work or excerpts of longer form projects, and previously exhibited or distributed. For more information and official rules, visit the Kodak Super 8 Filmmaker Challenge.

...I've been shooting Tri-X since my student days in 1992. I love it's qualities and nothing quite compares to it. I'm beginning to wonder just how long Kodak will continue to produce this B&W reversal stock. Should I be bulk buying it or am I just a bit paranoid after 'losing' K40, 64T and 100D ???

Hi all. I am 4th cinematography student. I am about to shoot a short commercial on s16. I have shot on film a few times before but I would like hear other opinions on how best to a achieve a cold daylight look on film. Basically the story is that a couple wakes up very early in their city apartment and leaves for the countryside. I want the piece to start off very cold looking in their apartment and then gradually get warmer as they leave the city in their car and arrive in the country. I have only one roll to shoot this piece on. It's a thirty second ad so that should be loads of stock. Bug that brings into question how I can get a varying level of "coldness" on the one roll. I will be shooting on Kodak 200t 7213. My initial thought is to shoot the grey card with an 85 in. The remove that for the early scenes. Then later for the car scenes to use a 81ef so a slightly warmer, but still cold look. Then finally for the countryside scenes to put the 85 back in. Does this seem like a good plan to achieve what I am looking for? Very open to suggestions and opinions, or indeed any help at all. Thanks.

Strategic appointment demonstrates Kodak's commitment to motion picture film and ambitious growth in the entertainment sector ROCHESTER, NY (October 7, 2015) - Kodak announced today the appointment of Steve Bellamy as its new president of Motion Picture and Entertainment. Based in Los Angeles, Bellamy will be responsible for growing and deepening Kodak's relationships with creative luminaries and business leaders in the entertainment industry, working on creative advocacy programs, creating partnerships and new business models, and developing Kodak-branded solutions for the entertainment industry. A serial entrepreneur and award-winning media creator, Bellamy founded The Tennis Channel, The Ski Channel, The Surf Channel and The Skate Channel television networks and is truly a creative executive. A lover of film and music, he is a prolific creator in both mediums. As a writer/director, his movies have won over 40 global film festivals, from Amsterdam to Canada to Mexico and the United States. He has personally won six best director awards including the Las Vegas International Film Festival. In all, he has shepherded over 10,000 hours of content creation. As a songwriter and recording artist, Bellamy has toured the country, had singles on commercial radio and his work is regularly found on film and television. He has spent the last six years as CEO of Action Sport Networks and will remain the chairman of that business. "I'm thrilled and relieved that Kodak remains committed to keeping film alive and well," said filmmaker JJ Abrams. "It only feels right that film remain an available option in the world of filmmaking. And Steve Bellamy is an ideal talent to help realize this priority." At Kodak, Bellamy will work with Andrew Evenski, Kodak president and general manager of Entertainment and Commercial Film, to create deeper relationships with Hollywood's film and television studios. Both will report to Steven Overman, president of the Consumer and Film Division. "Kodak has always been driven by bringing innovation to a wide range of industries, and Steve Bellamy will help us deliver leading creative solutions to the entertainment industry," said Overman. "Steve brings a combination of creativity, industry experience and entrepreneurial success to our business." "Film is a vital part of Kodak's culture and we are pleased to welcome Steve on board to help us grow this business," said Evenski. "Steve's hands-on experience in the entertainment industry will help us to create new opportunities for motion picture film." "This is a huge win for Kodak," said Kodak Chief Executive Officer Jeff Clarke. "His relationships, access to talent and the love of film make Steve the perfect person to spearhead the next chapter of this storied division of Kodak. The initial group of filmmakers we have spoken to are ecstatic that he is onboard!" "The Kodak brand is iconic in the film business," added Bellamy. "My main goal is to make sure that film remains a viable and reasonable option for those artists who want to continue to shoot on the medium."

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.

Filmmaker Panel at Independent Film Week to Focus on Producing Low-Budget Features on Film NEW YORK, September 22, 2015 — A panel featuring award-winning filmmakers Ferne Pearlstein (Imelda), producer Adam Piotrowicz (Listen Up Philip), director Ari Taub (79 Parts) and cinematographer Franco G. DeMarco (Hedwig and the Angry Inch Worm) will explore the process of creating low-budget features on film here at IFP’s Annual Independent Film Week. Kodak, a Premier Sponsor of IFP Week, will host the seminar on September 23 at 11:00 a.m. in the Bruno Walter Auditorium (111 Amsterdam Avenue, at 65th Street). “Realizing Your Vision on a Budget,” which is open to conference-goers, will explore the panelists’ real-world experiences in bringing their project to the big screen on motion picture film without breaking the bank. Moderated by Scott Macaulay, editor-in-chief of Filmmaker Magazine, the panel will focus on the filmmakers’ choices and the benefits they reaped. “This is a great opportunity for filmmakers to hear first-hand about how easy and affordable it is to tell their story on motion picture film,” says Andrew Evenski, president and general manager for Entertainment & Commercial Films at Kodak. “We’re committed to helping independent filmmakers tell their unique stories and realize their vision on film.” To attend the panel, you can purchase passes to the conference at http://www.ifp.org/conferences/filmmaker-conference/purchase-pass/#.VAoL3mRdVEk. For more information on Kodak, visit http://www.kodak.com/go/motion. For more information on Independent Film Week, visit www.independentfilmweek.com. # (Panelists are subject to availability) About Kodak Kodak is a technology company focused on imaging. We provide – directly and through partnerships with other innovative companies – hardware, software, consumables and services to customers in graphic arts, commercial print, publishing, packaging, electronic displays, entertainment and commercial films, and consumer products markets. With our world-class R&D capabilities, innovative solutions portfolio and highly trusted brand, Kodak is helping customers around the globe to sustainably grow their own businesses and enjoy their lives. For additional information on Kodak, visit us at kodak.com, follow us on Twitter @Kodak, or like us on Facebook at KodakNow. About Kodak’s Entertainment Imaging Business Kodak’s Entertainment Imaging business is the world leader in providing motion picture film and imaging products, services, and technology for the professional motion picture and exhibition industries. For more information, visit www.kodak.com/go/motion. Follow us on Facebook (facebook.com/KodakMotionPictureFilm), Twitter (@Kodak_ShootFilm), and YouTube (youtube.com/KodakShootFilm). (Kodak is a trademark.) 2015

I am selling 9 rolls of 5219 (400' rolls). The film has been properly stored and all the cans are sealed. Asking $1,300. If you are interested please email me at: adam@adamcohendp.com

Kodak and UFVF Honor Students From Singapore, Poland and United States ROCHESTER, NY (August 10, 2015) - Kodak has named five students as award winners in the 2015 KODAK Scholarship Program, a global competition held annually in collaboration with the University Film and Video Program (UFVF). This year, the Program received a record-breaking number of applications, with over 55 film schools from around the world nominating students for the KODAK Student Scholarship and KODAK Student Cinematography Scholarship. Winners received their prizes at the University of Film & Video Association (UFVA) Conference on August 8, at American University in Washington, DC. "Kodak is fervently devoted to the next generation of filmmakers," said Andrew Evenski, president and general manager of Kodak's Entertainment & Commercial Films, "and partnering with the UFVF keeps us closely connected with the institutions teaching these up-and-coming artists. We continually see a tremendous interest from students in producing their projects on film. Many of them grew up shooting digitally, and are now enthusiastic about capturing their images with the magic of celluloid. Creating product grants and scholarships is one way Kodak can help ensure they achieve that opportunity." Award-winning cinematographer John Bailey, ASC led the judging panel, which evaluated entries based on sample reels, faculty recommendations, and academic achievements. The three 2015 KODAK Student Scholarship Program Award winners are: Gold Award ($5,000 tuition scholarship award and $5,000 KODAK Motion Picture product grant) - Max Bessmertnyi from New York University's (NYU) Tisch School of the Arts Asia in Singapore for his film The Tricycle Thief. Silver Award ($4,000 tuition scholarship award and $4,000 KODAK Motion Picture product grant) - Paulina Skibinska from National Film School in Lodz, Poland for Object. Bronze Award ($3,000 tuition scholarship award and $3,000 KODAK Motion Picture product grant) - Matvey Fiks from School of Visual Arts in New York for Babushka. The two 2015 KODAK Student Cinematography Scholarship Award winners are: First Place ($4,000 tuition scholarship award and $5,000 KODAK Motion Picture product grant) - Nicolas Aguilar from Chapman University, California, for his cinematography on Run. Award of Merit ($1,000 tuition scholarship award and $3,000 KODAK Motion Picture product grant) - Ziryab Ben Brahem from San Diego State University, California, with Wake. With a mutual passion for education, Kodak collaborates with the UFVF to ensure this program is possible. The UFVF is a not-for-profit organization that engages in and promotes worldwide education, research, innovation, and charitable activities in the arts and sciences of moving images and aural communication. "We are honored to recognize the work of these talented filmmakers, and delighted to put film into their hands and see where they take us," added Evenski. "With studio agreements in place and the recent launch of several Kodak programs to support every budget, artists - from students to award-winning filmmakers - can confidently choose film to fulfill their vision." For more information, visit www.kodak.com/go/education.

Stop By to Shoot Film and Enter to Win Super 8 Production Package LOS ANGELES, June 2, 2015 - Kodak will celebrate the 50th birthday of the Super 8 format at Cine Gear Expo, which takes place June 5-6 on the Paramount Lot in Hollywood. Activities in Kodak's area (#XO 102) include Stop By Shoot Film sessions with Pro8mm, a preview of the new Logmar Super 8 camera, and an opportunity to win a Super 8 production package. To highlight the weekend's festivities, registered Cine Gear Expo attendees can stop by Kodak's Airstream to get a hands-on opportunity to shoot Super 8 film for free. Kodak and Pro8mm will host four Stop By Shoot Film workshops, beginning Friday, June 5 at 5:45 p.m. and continuing on Saturday, June 6 at 12:00 a.m., 1:30 p.m. and 3:00 p.m. Signups will be taken at the Kodak booth (#XO 102) on a first-come basis. Stop By Shoot Film sessions are designed to provide hands-on opportunities to use motion picture film. Participants receive basic training and a roll of KODAK Super 8 film, which will be processed and scanned to HD in Pro Res by Pro8mm. (Note: photo ID required to check out the camera). Cine Gear attendees have the opportunity to win a valuable Super 8 production package, which includes over $200 worth of Super 8 film from Kodak, and $500 in services from Pro8mm. The highly anticipated Logmar Super 8 camera will be on display in Kodak's area. Made for professionals, the new camera will be exclusively distributed by Pro8mm, and features an electronic viewfinder, WiFi remote control, audio recording, and much more. "Super 8 has stood the test of time," said Andrew Evenski, president and general manager of Kodak's Entertainment & Commercial Films. "It is the first love and experience for so many filmmakers, from first time users to Oscar® winners. Super8 has launched careers, captured life's most important moments, and preserved art for five decades. These are the same reasons Super 8mm endures today, and will remain a strong format of choice in the future." Filmmakers who are interested in producing their next project on film are encouraged to come by the booth and learn more about the support Kodak can offer. Evenski noted, "Film isn't just for the studio's tentpole productions. It has always been a big part of the independent and emerging filmmaking community. We want it to stay that way and are here to work with filmmakers to make shooting on film a reality."

So, I recently got a case of Kodak Black and White Reversal bleach Parts A and B to process some Kodak TRI-X 7266. I'm guessing this is the actual bleach, and Part C is the replenisher which I didn't get because I don't user replenishers for developers, fixers, clearing baths, etc. When I looked at the box instructions on how to prepare 20 gallons of bleach and replenisher, it said to first prepare 15 gallons of water, then add Parts, A, B, and two bottles of C then top it off to 20 gallons. Question: is Part C absolutely necessary? If not, then when preparing 20 gallons of bleach, how much should it be topped off to after just putting Parts A and B? Thanks in advance for any input.

I just purchased a Kodak Instamatic M6 from ebay. It arrived in excellent condition, but was not working (the seller did not say it WOULD work) anyway I checked to make sure all the contacts were clean on the battery compartment, and the cartridge compartment looked decent...all in all it looked like it was in great shape. I opened up the auto exposure control battery part and there was only one battery in it and the battery was corroded a bit, so i removed it cleaned out the compartment and left the battery out. (I am going to buy the necessary two replacement batteries for the auto exposure control) The trigger pushed in, but the motor did not sound as if it were running. i pushed it several times but to no avail. (i think i heard the motor run for a split second twice, but nothing else) my friend looked onver the camera with me and we sprayed some contact cleaner on the regular battery contacts just to make sure. the trigger still did nothing. I held the camera up to my ear and heard a low sort of vibration, as if something completed a circuit inside the camera, but i did not push the trigger in...it was doing this by itself. I took the batteries out and it stopped. I came here and saw a forum post of someone having a similar issue and the replies suggested that the trigger may be "stuck" on or defective, or that the drive shaft gear is not working...because its neoprene and probably has broken because the camera is so old. FINALLY, after all that explanation my question is essentially what should I do now? I have a couple cartridges of film so i could pop one in and see if that works (but i dont see how that would change the trigger) or should i try and take it apart and clean the contact with the trigger, or is it the gear....or basically what are my options.

Renowned Cinematographer John Bailey to Judge Competition ROCHESTER, NY (March 19, 2015) - As part of Kodak's ongoing commitment to the next generation of filmmakers, the company has issued its annual call for entries in the 2015 KODAK Scholarship Program. This international program is designed to encourage and foster new talent by honoring student filmmakers who demonstrate exemplary filmmaking skills and creativity at the undergraduate and graduate levels. Three Student Scholarship Awards and two Student Cinematography Scholarship Awards will be granted. The deadline for submissions is May 15. John Bailey, ASC, a distinguished cinematographer who has advanced the art of cinema, will lead a panel of judges to assess the entries based on sample reels, faculty recommendations, and academic achievements. This is Bailey's fourth consecutive year as a judge. In addition to receiving the Lifetime Achievement Award from his peers in the American Society of Cinematographers (ASC) this year, his long list of credits include American Gigolo, Ordinary People, The Big Chill, The Accidental Tourist, Groundhog Day, As Good as it Gets, Incident at Loch Ness, Big Miracle, The Way Way Back, and A Walk in the Woods, among many others. He also writes a blog for the ASC - John's Bailiwick - on a range of topics that affect the art and craft of filmmaking. Accredited film schools around the world may nominate up to two students for consideration for the KODAK Student Scholarship, and one cinematography student for the KODAK Student Cinematography Scholarship. The cinematography student nominee may also be nominated for the KODAK Student Scholarship Award. Submissions can be made through the online submission process which allows VIMEO or YOUTUBE URLs to link to samples of a student's work. Kodak, in collaboration with the University Film & Video Foundation (UFVF), holds this annual contest to encourage students pursuing a career in filmmaking. The following prizes will be awarded to the finalists and announced in August: KODAK Student Scholarship: Gold: $5,000 Tuition Scholarship Award and $5,000 KODAK Motion Picture Product Grant Silver: $4,000 Tuition Scholarship Award and $4,000 KODAK Motion Picture Product Grant Bronze: $3,000 Tuition Scholarship Award and $3,000 KODAK Motion Picture Product Grant KODAK Student Cinematography Scholarship Award: First Place: $4,000 Tuition Scholarship Award and $5,000 KODAK Motion Picture Product Grant Award of Merit: $1,000 Tuition Scholarship Award and $3,000 KODAK Motion Picture Product Grant Since 1991, Kodak has been supporting future filmmakers and encouraging excellence in the field of motion picture education. The company's ongoing efforts include a range of opportunities that students and educators can use to enrich their knowledge of the art and craft of filmmaking, including educational materials and discounts, in addition to sponsorship of film festivals, awards, seminars and student showcases that raise awareness about emerging talent. For more information, visit www.kodak.com/go/education.

Hello Everyone, There is no catch in the title, I have 8 rolls of Kodachrome super 8 from about 1999. You could still develop those rolls as B&W film. I'm just asking anyone that is interested to pay for shipping and shoot/use the films! I really want someone in this community to pick them up and make good use of them. I'll ship anywhere in the world, shipping cost will be payed via paypal only. Please PM if interested. Best, Oron.

Hey, I was reading through Kodak's 'The Essential Reference Guide for Filmmakers' and came across the following: A word about film speeds You probably know that motion picture films use exposure index (EI) to indicate speed. Although similar, EI is not the same as the ASA or ISO speed used for still films. EI denotes a somewhat conservative figure related to the higher quality requirements of motion picture film that must be projected onto a large screen. Typically the EI speed is about one stop lower than ASA or ISO. EI 500 film, therefore, is the equivalent of ASA/ISO 1000. Is anyone able to develop further on this? It is the first time I've come across the concept that EI is not the same as ISO. If I take what is written literally, does this mean that I should be setting my light meter to read at 500 instead of 250 (assuming I am shooting on say 250D stock) to get correct exposure? All the best, Connor

Hey, I have read in several places that slower stocks yield a more contrasty look. Does anybody have any experience with this? Would Kodak 50D be noticeably more contrasty than, say, 250D? I am shooting a scene during an overcast day and am thinking that using 50D over 250D would give the image more contrast, as I am worried that the light may look too flat on the actor's faces. Alternatively, might it be better to go with a less contrasty stock and reserve option to add contrast in the grade?

Hey, I have read in several places that slower stocks yield a more contrasty look. Does anybody have any experience with this? Would Kodak 50D be noticeably more contrasty than, say, 250D? I am shooting a scene during an overcast day and am thinking that using 50D over 250D would give the image more contrast, as I am worried that the light may look too flat on the actor's faces. Alternatively, might it be better to go with a less contrasty stock and reserve option to add contrast in the grade?

New KODAK Director's Award, WIF Product Grant to be Presented at Slamdance & Sundance ROCHESTER, NY (January 19, 2015) - Kodak will once again support the independent filmmaking community at the Slamdance and Sundance Film Festivals, which run concurrently in Park City, Utah, beginning Jan. 21. At Slamdance, the inaugural KODAK Director's Award will be presented on Jan. 29 during the festival's awards ceremony. The winner, who will be chosen by a jury of Slamdance judges, will receive a KODAK Product grant valued at $10,000. Over on Main Street at the Sundance Film Festival, Women In Film (WIF) will present a KODAK Product grant for 5,000 feet of film as part of their Women In Film/The Incentives Office Grant on Jan. 25. This award - chosen by a jury of educators, filmmakers and artists from WIF - is presented to a female director in the Sundance Film Festival Shorts Program. "These two festivals showcase innovative filmmakers who bring fresh ideas and a new perspective to the screen every year, and Kodak is dedicated to supporting their art," says Andrew Evenski, President and General Manager for Entertainment & Commercial Films at Kodak . "Motion picture film plays an important role in the indie community, giving these unique storytellers the creative freedom and option to tell their stories as they envisioned." Many films screening at Sundance were produced on KODAK Film, including A Walk in the Woods (Dir Ken Kwapis, DP John Bailey, ASC); Christmas, Again (Dir Charles Poekel, DP Sean Price Williams); Digging for Fire (Dir Joe Swanberg, DP Ben Richardson); I Smile Back (Dir Adam Salky, DP Eric Lin); Mississippi Grind (Dirs Anna Boden and Ryan Fleck, DP Andrij Parekh); and Umrika (Dir Prashant Nair, DP Petra Korner), among others. At Slamdance, Tired Moonlight (Dir Britni West, DP Adam Ginsberg) chose Kodak film, alongside several shorts in the lineup. Both held in Park City, Slamdance takes place Jan. 23-29, and Sundance runs Jan. 21-31. For more information, visit www.kodak.com/go/filmworthy.

Hi, I'm a student cinematographer with a shoot coming up, on 16mm with the Arri SR3. I have a couple of shoots planned during the blue phase of magic hour (civil twilight and the blue hour), on a beach. I think I'm correct in saying that I need to shoot with daylight colour balance to match the blue tones in the sky as tungsten will make them even cooler? I was wondering if anyone has any thoughts on the different aesthetics of 500T and 250D? (aside from the obvious sensitivity and colour balance differences). Is there any particular advantage (visual or otherwise) to shooting 500t with an 85 or 250d straight up? All the best, Connor

Hello, I would like to hear some advice, tips.. About 16mm film Vision 3 and it's grain. I recently shot a roll of 100 feet of Vision 3 250D and it turned out great for a Krasnogorsk K3 that I bought for $70 on ebay. I noticed grain specially in the shadows even when I was exposing for middle gray or 18% gray and I had enough light. Nothing wrong with grain. I understand is part of the texture of film and I like it. What I don't like is that after color grading the video (2k, ProRes 444) The grain was moving a lot and it was more like RGB grain than the organic look of film grain. Here is the story: I got to the place where I shot this when the sun was setting. I prepared for shooting and by that time the sun was behind a mountain and I didn't have any specular light. But being Vision 3 250D I was still getting good numbers in the meter. (Sekonic 558). ASA: 250 Frame Speed: 24 Shutter Angle: 150 Apertures: f11 at the beginning, f8 15minutes later, f5.6, etc. I mean there was enough light to expose the film properly. The meter was not suggesting apertures like f1.4 or f1, but I still can notice this grainy areas. Is this normal? Was it because of the time of the day or light conditions? What would you do in that situation? Over expose and then pull in processing? Is it a post production problem? Also do you sharp the image when downscaling from 2k to 1080? I know it's supposed to be almost the same but the image was much larger than the 1080 frame. I can live with that, but I would like to learn more and hopefully get even better results when shooting film. It was my first time with 16mm by the way. Thanks you guys for sharing info and advice. You Tube: http://youtu.be/SKxsLj_p1Jk Dropbox: https://www.dropbox.com/s/cs9ipoxxervacqp/K3%20Wide.mp4?dl=0 You Tube softens the image to a point where grain is almost imperceptible so I'm including a file that you can download if you wanna take a look closer.

Hello, We have 35mm film stock to sell: 760ft of short ends - Kodak 500 T / 5219. Purchased direct from Kodak. Available for £20 total. . 4 x 400ft rolls of Fuji Eterna 250D. Purchased from Bwark Films. Available for £80 total. The film is being kept in a fridge. Collection from South East London (SE4) would be ideal, but happy to negotiate alternative collection/delivery. Please enquiry via: akua@kindproductions.com. Thank you, Akua

I am selling 9 rolls of 5219 (400' rolls). The film has been properly stored and all the cans are sealed. Asking $1,500. If you are interested please message or email me at: adam@adamcohendp.com

Myself and John Holland will be taking a tour of Cinelabs, one of the two boutique film labs in London, on the 13th November to see their recently revamped facilities. If anyone would like to join us you'd be more then welcome, please let me know here and I'll add your name to the list.

I am selling 9 rolls of 5219 (400' rolls). The film has been properly stored and all the cans are sealed. Asking $1,500. If you are interested please email me at: adam@adamcohendp.com

Anyone selling 35mm recans or knows someone who does? Looking for any of the following stocks: Kodak 5219, 5213, 5218, 5217 OR Fuji Eterna 8573, 8583, 8553. All in the range of 200T to 500T. Price per foot cannot exceed $.12 Willing to pay shipping cost! Thanks