Jump to content

Search the Community

Showing results for tags 'kodak'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • Cinematography Forums
    • General Discussion
    • Cine Marketplace
    • Cameras Systems and Formats
    • Lighting for Film & Video
    • Camera Operating & Gear
    • Camera Assistant / DIT & Gear
    • Grip & Rigging
    • Visual Effects Cinematography
    • Post Production
    • Students, New Filmmakers, Film Schools and Programs
    • Lenses & Lens Accessories
    • Film Stocks & Processing
    • Books for the Cinematographer
    • Cinematographers
    • Directors and Directing
    • In Production / Behind the Scenes
    • On Screen / Reviews & Observations
    • Business Practices & Producing
    • Camera & Lighting Equipment Resources
    • Jobs, Resumes, and Reels
    • Please Critique My Work
    • Cinematography News
    • Sound
    • Off Topic
    • Accessories (Deprecated SubForum)
    • Regional Cinematography Groups

Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Occupation


Location


My Gear


Specialties

  1. 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.
  2. Hi all....got back the 400ft of footage from Cinelab London for the personal project I'm shooting on my father - an athlete, still at nearly 82 years of age.....this is a personal project and family heirloom.....so Im putting my hands in my pocket and going for it....
  3. I'm sure most of you have seen this beauty by now. Dropped out of nowhere yesterday and set the entire Internet ablaze. First of all, do yourselves a favor and avoid watching the trailer on YouTube or any other source than Netflix itself obviously. The trailer is apparently in 4K on the platform, I watched it on a big screen and it's obviously much less compressed and much more representative. The deaging can be seen from the opening of the trailer with Pesci and De Niro and at the end of it. Looks pretty darn impressive when viewed properly on Netflix. De Niro's skin looks a bit smooth on more compressed versions, it does not on Netflix itself. Otherwise, I've been checking out a bunch of set photos to determine how much was film and digital. The producer Emma Tillinger Koskoff pulled some numbers a while ago which were incorrect for some reason, ie 30% of the film being shot on 35mm, and that everything involving the deaging required shooting digitally. However, Thelma Schoonmaker said half of the film has them deaged. So that means half Alexa (as listed on IMDB) and half 35mm film. IMDB lists the following info: Arri Alexa Mini, Zeiss Master Prime and Cooke Panchro/i Classics Lenses Arricam LT, Zeiss Master Prime and Cooke Panchro/i Classics Lenses I don't know if anyone here knows Prieto or someone else involved with the film and can provide maybe more technical info? I also saw that Prieto tested some special rigs consisting of multiple cameras at a rental house. And you can see one of the rigs on the set photos, seemed like several Red cameras which are presumably there to capture facial data for the deaging. And the Alexa which is now being regularly used by Prieto and Scorsese for low light work (Wolf, Silence). Gorgeous work as expected and a film that's been in the works for a decade, Schoonmaker and others close to the project have said it's a different animal than Goodfellas and Casino despite the obvious initial similarities. The film is opening at NYFF late September too, presumably released in November on Netflix, Scorsese has been said to make a push for a wide release of sorts with possibly an exclusive theatrical window of a few weeks.
  4. Hey everyone, I'm getting ready for a film challenge where our entire short will be made on a single 100 ft reel of Kodak 7219 and shot on a Krasnogorsk-3. In preparation for the shoot I decided to do a lens test with the stock Meteor 5-1 lens on my original Blackmagic Pocket Camera. Surprisingly though, my footage all seemed to be about a stop under exposed. I know that the aperture of a lens doesn't always let in as much light as it should and that T-stops are supposed to correct for this, right? So is this the case here? Have those of you that use the Krasnogorsk-3 encountered this problem? Does this mean that when shooting I should meter for 250 instead 500 to get proper exposure? Any thoughts?
  5. Looking to mimic 320T 5277,with a custom picture LUT,on my C300 Mii. I have the film stocks spatial frequency, relative log exposure, and wavelength (nm) and access to a testing facility. Could this info be transformed into a custom picture setting? I havent seen any exact LUT,in my research.
  6. 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
  7. Hello guys and gals, So, yesterday, while processing some Tri-X Super 8, something nightmareish happened during the second developpement after re-exposure : after 1 min in the 2nd developer (where the emulsion properly reacted and darkened), it slightly started to lift from the plastic and then it litteraly disloved into the developper : no floating gelatin flakes, just a plain black developer... The weird thing is that I already processed Tri-X this way, here is an example : https://vimeo.com/326184819 Here is my protocole, I have included as much info as I can : 1 – Soaking in a 25°C water bath. 2 – 1st Developer : Ilford Multigrad 1+9, 20min (continuous agitation on 1st minute, then 10sec each minute), 25°C. 3 – Hardening stop bath : Adox EcoStop 1+29 + 40ml/L of Tetenal Hardener. 6 min, 20°C, continuous agitation. (https://www.fotoimpex.com/chemistry/tetenal-hardener-to-be-added-to-the-fixer-or-stop-bath-1000-ml.html?cache=1564733928) 4 – Washing, runing water, 2 minutes. 5 – Bleach : Potassium permanganate 0,4% + Sulfuric Acid 10% equal part, 6 min, 20°C, continuous agitation. 6 – Washing, runing water, 2 minutes. 7 – Clearing bath, Sodium metabisulfite 6%, 2 min, 20°C, continous agitation. 8 – Washing, runing water, 2 minutes. 9 – Hardening stop bath : Adox EcoStop 1+29 + 40ml/L of Tetenal Hardener. 6 min, 20°C, continuous agitation. 10 – Washing, runing water, 2 minutes. RE-EXPOSURE : 2x1min 80W 1m in a white tank filled with water. 11 – 2nd Developer : Ilford Multigrad 1+9, 4min (stand), 25°C. The same solution I used as 1st developer. And that's where the emulsion dissolved.... Usually, after that, I use an hardening fixer for 5 minute, washing 10 min on runing water, rinse with distilled water, let it dry and digitalise with a Retroscann Universal. It's fastidious, but cheap ! Side notes : - Processing in Lomo Tank. - I know Ilford says not to use Ilford Multigrade for processing film (Universal PQ is recommanded instead), but through my test phase it was the only thing I had on hand, so I tried and it worked as you could see on vimeo. - I've never found any information about the shelf lif of the Tetenal hardener. As it is supposed to be mixed with Stop or Fix, I mixed it with the Adox Eco Stop to be sure I won't use an hardening bath tha is no longer working. Anyway, I mixed a new solution and it was still a disaster. - I use the hardener to compensate the softening of the emusion by the bleach. One bath before to strenghten, one bath after to reinforce. I thing the bleach isnt to blame, otherwise it the continous agitation in the clearing bath would have the same mechanical effect, so I guess it is a chemistery issue. The film is perfectly fine during re-exposure, bleaching is complete, after touching the film, the emulsion is normal. - I dont know why the developper is dissolving the emulsion on second use but work perfectly fine on the first one. So that's it, if anyone have an idea, i'm all ears ! Thanks ! Jérémy
  8. 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) ....
  9. Some more items up for auction including a very beautiful Elgeet 1" f0.95 c mount lens! https://www.ebay.com/sch/analogfilms/m.html?_trksid=p3692 (If interested in the films, especially purchasing multiple rolls, feel free to PM me here)
  10. Starting October 1st for Super 8!! So excited! "Update from the Film Factory: â € KODAK EKTACHROME 7294 Color Reversal Film is back! Super 8 availability starting October 1st 16mm arriving later this year â € Learn more at kodak.com/go/ektachrome" https://www.instagram.com/p/BoJRytzF1fA/?taken-by=kodak_shootfilm
  11. Hello! I have for sale: 5218 Vision 2 500T ~930' across 4 short end cans + (1) 400' factory sealed can 5205 Vision 2 250D ~ 1800' across 9 short end cans Please see photos for specific lengths per can. Sold as is; in LA for local pick-up. Willing to ship at recipients expense. Email me at jacobkubabojsza@gmail.com for quicker response. $300, OBO
  12. Hi! I've been hunting around to find some interesting expired film stocks to shoot on. I found a lot of 16mm 500T Vision 2 - "ESTAR" base for sale. I did some research and found some Kodak write-ups about this ESTAR base stock - polyester stock, interesting... The only film I've ever shot entire projects on is 35mm and 16mm Vision 3 (as well as experimenting with some expired Vision 2 stocks). I've never heard of this ESTAR base film before. Any one have any knowledge on this? Also, any idea how it might hold up? - seller says it was stored cold and is factory sealed. Of course, I'd test it ahead of any real shooting, but I'm curious if any one has any idea if it's worth it before I buy the lot? Could be fun to do it regardless as it is selling for fairly cheap! Attached is a photo of the label - curious that it doesn't even have a film code starting in "7." Could this be an experimental stock?
  13. Hi, I'm a filmmaker from Switzerland, I have 7 unopened cans of Kodak Vision 250T and 7 cans of Fuji Reala 500D left over from my grad film project in 2004. Both are 16mm single perf, 122m (400ft). Stored in freezer since. Current condition unknown. Selling for 30 swiss franks per can (=30 USD). Serious buyers only please! Online bank transfer in advance. Minimum order: 3 cans. Shipping to USA costs ca. 40-80 USD, depending on weight. Europe is less. I will be travelling to the UK and US in Feb/March, could possibly bring stock personally (not sure about x-rays?). Best regards Bernie
  14. Hello everyone, My friend Fred and I wanted to go out and do a camera test on my ARRICAM. My other friend and her dog were in town visiting at the time, and we thought they had a cool story to tell. One thing led to another, we ended up making this tiny little documentary call Zema. Check it out if you are interested: Shot in one day with only available light. Tested 6fps, 24fps and 48fps on Kodak 5207 and 5219 stock with Zeiss Superspeeds MKIII. Film processed at the Kodak lab Pinewood Studios. Would love to hear your thoughts. Share it if you like it! Cheers, and have a nice day! Tsering
  15. Hi, that was the Laboratory of Self-taught Cinema - Experimental (STCL-X) in Brindisi, Italy. Me and my sister (the actress) founded the Lab as a way of gather all the filmmakers of the area, either professionals (I am an Electric, she's an Actress), either kids. Consider that the area of the Lab is dangerous, as robberies and gunfights happens very often (another robbery few hours ago), so this was mainly an effort of grabbing kids from crime. Eventually the Lab died in less than twelve weeks. However we were able to make two test: one digital on Blackmagic Micro Cinema Camera, and the other on Film (old and damaged 7219, on AATON XTR and Angenieux 12-120). I performed cinematography, lighting, I also operated the camera, directed the shoot and loaded the magazine. You can download HD Telecine and 2K 16bpc DPX scans of the film test here, as the project is licensed (CC) BY-NC-SA This was our film test. It was just to try the Camera and Lens, and also to try my intended look for our next project. Then the following is an actual short; my sister improvized a monologue while I was preparing the scene. Blackmagic Micro Cinema Camera and Angenieux 12-120. I want to put also the files of this one online, soon.
  16. Kodak Cinematographer's Field Guide https://photographysgoldenage.wordpress.com/2018/07/27/kodak-cinematographers-field-guide/
  17. Hi All, I'm selling 35mm short end recans. I came into this stock a few years back, a friend worked on the Wolf of Wall Street and was able to get me there recans. I thought I would use them on a project by now but haven't got around to it and they have been kept in safe storage. I'm looking to sell footage at below price points: Kodak 5219 Vision 3 500T Color Negative - 5,817ft (Price = .25/ft) Kodak 5260 Vision 2 500T Color Negative - 400ft (Price = .20/ft) Kodak 5212 Vision 2 100T Color Negative - 3,687ft (Price = .20/ft) Kodak 5201 Vision 2 50D Color Negative - 400ft (Price = .20/ft) Kodak 5217 Vision 2 200T Color Negative - 1,395ft (Price = .20/ft) Fuji 8583 - 400ft (Price = .20/ft) Fuji 8563 - 400ft (Price = .20/ft) All recans have over 250 ft of film, some are full 400ft recans. Please PM me or email hschleiff@gmail.com if interested in purchasing. I am based in NYC, but can ship if needed. Best, Harry
  18. 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
  19. Could anyone help me understand what microfilm is? One of my professors just gave me a roll of this.
  20. Full book https://photographysgoldenage.wordpress.com/2018/10/03/kodak-cine-photoguide/
  21. Hello everyone. I accidentally left the Wratten (85b) filter on while I was shooting with a Vision 50D in daylight. anyone could tell me what to expect? I am sure that the color temperature will be much warmer with red/yellow/orange overcast over the image. If so, there's any chance that i can slightly correct the "problem" in post prod? i've also used the automatic exposure of the camera and my biggest fear is that the image will look too much dark and underexposed to be used. Anyone with the same experience? Thanks for the attention.
  22. Hi All, I'm still really new to the forum so I hope this is the right place to post this. I was wondering if anyone had any advice on buying 35mm in bulk. I'm still a student and I love having the student discount with Kodak, but is the student deal the best I'm going to find? I'm assuming for fresh stock it probably is. I know a lot of people on here shoot with expired stock, does anyone have any suggestions on where to find expired stock in bulk? Thanks so much, Thomas
  23. Finally i am back in Business. After ma Moviecam Compact was stolen from a British Guy (who actually is a registered Member here) :angry: i am a happy owner of a nice Film Camera again. It took me a few Years to save up for a new Camera as i am dealing with serious Health Condition (Heart Condition, kiddney failures etc...) and therefore my income comes from Health Insurance. A few days ago i could get a sweet ARRI SR2 Super16 - Advanced (12fps <-> 75fps) with two fresh recelled Batteries (recelling was just 4 months ago) a Charger, 2 Mags, a Ocular Extender and a Arri Lense Support Fork (for FF and MB) If i told you that the Camera was about 1800 US$ you probably wouldn't believe it, would you? haha. I also got a High Speed Zeiss 16mm lense for about 600$. i think it was a good Deal Your Oppinion?
  24. Interested to add an Angenieux 50mm 1.5 S5 or Kodak Ekton 50mm 1.5 lens to my equipment. Would anyone have a nice copy offering for sales or know where I can get one? Thanks and Best regards, Teddy
  25. Im am curious to gather some opinions. I plan on shooting a short in the near future on 16mm. Naturally my choice of stocks are limited to Kodak, and for production purposes 250D would be my best option. Now, really hate doing color correction and DI. I dont like doing it myself, and I dont want to pay to get a colorist to do it for me. I am wondering, how accurate are the colors of 250D, raw out of the stock? What sort of work would I have to do in post to make them accurate. Are there options for me in filtration to normalize the stock? My thought process is, that I want the stock to have an accurate color baseline for me to modify to fit my story. I am looking for a warm, medium contrast, and slightly diffused look. Something in between George Washington (2000) and The Long Goodbye (1973). For this, my idea of was to shoot with some TLS Rehoused Super Baltars, and apply a Tiffen Warm Black Pro-Mist 1/4. What do you think?
×
×
  • Create New...