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Found 21 results

  1. Just did an awesome workshop in NYC with MONO NO AWARE where through the magic of cross processing, we got color reversal from 500T! There's a small amount of info online about it but essentially we shot 500T rolls on Super 8 cameras that only meter up to 160T and without the daylight filter engaged, shot the film. So basically exposing it about 1 2/3 stop over what it normally should be. Apparently this is necessary to get the right exposure for this unorthodox method. Then we developed the film in a LOMO tank with a Tetenal E6 kit and some adjusted times. Then once it was developed, we put the film in a tray with some fresh water and photoflow and using a sponge, gently scrubbed the film to remove the remjet backing. Then dried it and projected it! The film ends up with yellow highlights and blue shadows but it looks pretty solid! In actual projection, it looks better because your mind tends to disregard the bizarre colors especially given the yellow hue of most projectors bulbs anyways. So check it out! It's fun to know there is a way to get color reversal other than the Agfachrome 200D and hopefully the Film Ferrania whenever that materializes. Also that's yours truly at 9:05.
  2. I just got my Canon Scoopic 16 back from Bernie at Super16inc and I'm ready to shoot with it. I've really wanted to test the Kodak 500T stock pushed 2 stops to 2000 but expose it at 1600 for a 1/3 overexposure. I'll be shooting downtown Buffalo, NY at night using street lamps and various city lights and really want to see how this performs. I have the original grey model scoopic 16 and from the manual, it says it is F stops not T stops and it's 24fps with 1/64 shutter. I have a sekonic L- 478D-U that I will use for metering. Can anyone give me any tips or let me know if I'm doing something wrong with how I'll be metering and pushing the film? Thanks in advance! -Ryan
  3. ....my first EVER footage shot on 16mm is coming back me via certified post tomorrow or the day after.... ...the footage has been Telecine'd to HD size and exported as ProRes 422 on a pen drive.....its coming to me clean of timecode marks etc so I can use in the final edit...... My question is......does anyone use Telecine for final piece edit? Obv its to save money on 2k/4k scans that I ask.... .......the final piece will be on social media and at its largest viewed size on a 43" TV at the factory for tourists to watch when the master blowers are not there making glass at the time OBVIOUSLY all I have to do is watch the footage on the mentioned TV and make a decision but I wanted to know if people in my budget situation use Telecine in final edits Tech details Film: Kodak Vision3 500T Camera: Aaton XTR XC Lens: Cooke Varokinetal 9-50mm Format: Standard 16mm Client: Gibraltar Crystal Footage: master glass blowers making pieces at the glassblowing factory to edit into a piece for marketing purposes and for walk-in visitors to watch
  4. Dear Cinematographers, Been carrying around two 100 ft. rolls of 16mm 500T film for the last year. It has been in a 10˚-20˚ cooler for six months. Someone told me freezing negative film would cause the remjet to stick, so I then refrigerated it in about 40˚ for six months. Now that I am ready to shoot it, the question presents itself: How am I to expose it in order to compensate for the yearlong stagnation? That is, if it not already too late. Sincerely Grateful, Kurt Cassidy-Gabhart
  5. 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.
  6. Happy Sunday, I recently watched Inherent Vice for the second time and was truly captivated by the cinematography. I loved the soft vintage look, the noticeable but fine grain in the midtones and the creamy lens flare. Does anyone know how this look was accomplished? I've managed to research my way to knowing that Robert Elswit used Panavision Primo spherical primes from the late 80s, but what accounts for the grain? Was the stock simply pushed a few stops to give it a look which matches period in which the film takes place? I've been searching and searching, but I've not managed to find any interviews with Elswit about the process. I also read somewhere that they used "old film stock found in someone's attic", although I haven't been able to confirm this. Any help or leads greatly appreciated! Best, Kaspar
  7. Looking for Fuji S16mm stock, either old school Super F/Reala or Eterna. 8622 64D 8646 250D 8674 500T I purchased 20 rolls of F series, thinking I could augment it with another 20 rolls if I looked hard enough. There was a lot of it on ebay at one point, but it hadn't been stored properly and due to the age, I was concerned it wouldn't be good. Since then, I've struggled to find anything but 35mm. So I've been buying all the Fuji 35mm stock I could afford and have quite a bit. So the option for me is to shoot half the movie 35m and the other half 16. However, I have all the equipment to shoot 16 and not enough to shoot 35, which is a conundrum. So this is why I'd rather just shoot everything on 16 and not worry. The project I'm thinking about is more of a film noir piece, so grainy/gritty is OK, which is why the older Fuji stock should work fine. I kinda dig how the stock delivers a pinkish warmth, almost like an old move which has faded. Let me know if anyone has anything. I've called around to different stock houses and the only stuff I've found is 35mm.
  8. Just for educational purposes, here is some footage from a short I shot last year. We were stealing this, so we couldnt light anything. It's all available light. https://vimeo.com/174719862 We shot 5219 with a 2 stop push. I rated it at 1250, which gave me about a t/2 in some places, but often my meter said "E.U.", so I really wasnt sure how it would turn out. We I went in for the transfer i was very very impressed by how it held up, even with it only being 2-perf. I'm so used to thinking that you need to shoot digitally if you want to shoot available light at night, but this turned out exactly how I had hoped. We shot on super speeds at a t/1.4-2 split. The transfer was on a Spirit 2k at Fotokem in LA. We set basic looks as we went, and that's what this is, just a basic grade, right out of the scanner. If you want to download the 2.5gb 422HQ you can find it here: https://www.dropbox.com/s/n5qo2cm9au9wo7k/L9974909_CR_A15_A17.mov?dl=0 Here is the finished short: https://vimeo.com/130967218
  9. I shot a short roll of Kodak 500T (16mm). Upon finishing I noticed, much to my dismay, that the ISO on my light meter was set to 50. So, the fast film's exposure index is rated at 500T and I overexposed by how many stops? Can either push or pull (pull, right?) processing save this spool? The negative is probably pretty dense too, right? I saw a latitude test where film was overexposed by 5+ stops and it looked nice. Hoping there's a way to remedy this problem.
  10. Hi everyone, I'm helping with my friend's project for a cinematography class. We'll be using an arri S. Unfortunately he got 500t film and we will be shooting in daylight with an 85 filter. I wanted to ask if anyone here had any suggestions for our shoot, and my friend is concerned about what the f-stop should be set at with such conditions. Thank you.
  11. Hi, I recently acquired a Minolta XL 84 Super 8 camera. I have some Vision 3 Kodak 500t already so I wanted to use it with this camera. The instructions for the Minolta says it takes Daylight ASA 25 or 100/Tungsten ASA 40 or 160. If I shot on Auto, in low light with the 500t (let's say on the street at night or in a dark theatre) do you think it will be okay? If not, any recommendations for Manual mode? Thanks.
  12. 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
  13. Hey, I was digging through an old drive and found the original scan of some super 16mm I shot for a music video earlier this year. This is Kodak 7219 500T, rated at 800asa, with a one stop push. We had planned on converting to black and white in the grade, so I the extra grain of the one stop push sounded great and worked out really well in the end. It was telecined to HDSR on a Spirit 2k. We go an unsupervised "flat scan", that was then rendered out to a 1920x1080 prores 422HQ. The vimeo compression really took a lot of the grain away, So I've included a few still frames as well. Photos are here: https://www.dropbox.com/sh/b66wby9zoaro0zx/AACshQrxKQuknafW2SvVAqgga?dl=0 I hope this is helpful to someone!
  14. I wanted to see if I could get any advice about shooting Kodak 7219 500T film in my Canon Scoopic. The ASA speed maxes out at 380. Will this overexpose everything? Should I only shoot with interior lighting? Could it be used in daylight with an ND filter? I'm new to this, so I'm still learning a lot. Thanks for any advice! - Joe
  15. Hey guys, I'm looking for a bit of advice, stock-wise. We're shooting the first ten minutes of our feature film this month and unfortunately my DP is as unfamiliar with film as I am. For outdoor scenes, I'm looking into the KODAK Vision 3 250D. One shot in particular, we transition from the roof of our building to the inside of our apartment. I dug up an article on Fuji's old 250. The tester claimed it would work very well under such a transition. I'm assuming that Kodak can achieve the same result? http://www.fujifilm.com/products/motion_picture/lineup/eterna_vivid250d/demo/ what would you recommend, lighting-wise, once we hit the interior. In the same one-shot, we travel quite aways around the apartment. Sometimes, windows are plentiful, sometimes not so much. for everything else, I thought we could use kodak 500t. but I don't know how that would match up either. does anyone know if I'm looking in the right places? if not, can you point me in the right direction. (i also considered throwing an 85 on something like a 200t to achieve the same effect, but I'm new at this, and I don't really know what I'm talking about) thank you for your help, for more information on our movie check us out at po.st/sowhat
  16. Hey gang, I've got a roll of expired Kodak 500T EXR 7296 in my fridge here that I'd love to shoot. Trouble is it's a) pretty freaking old and b) probably hasn't been kept in a cool, dry place for a large part of its life. This particular film was discontinued in 1995 but could have been made anytime between then and 1989. Naturally there are too many variables to really know how it'll look but is there anything I should keep in mind if I want to shoot it? Rate it faster? Slower? Any thoughts would be great. Cheers, James.
  17. Hey gang, I've got a roll of 500t Kodak 16mm that says to rate at 500 in tungsten light and at 320 in daylight. Is this just calculating for light loss with an 85 filter for me? I've also got some Fuji Eterna 500t that doesn't say this on the tin. What's the dealio? Cheers! James
  18. To all those film stock experts! I have just started learning about film stock at film school BUT we are shooting our first short films soon and need some extra help! I am planning to shoot my film outside at an oval - Potentially simulating sunset for most of the shoot and I was wondering what the best film stock to use would be! I really want to make the most of sunset and dusk, creating beautiful silhouettes etc. My teacher is saying go with 500T, but it could be grainy when shooting later. What do others think? Thanks in advance, Josie
  19. Hello and thank you for any help in advance. I shot my first couple of rolls of 16mm yesterday (Vision 2 and Vision 3 500T in a 16mm Arri from the 60s). To help you understand where I'm coming from with this question, I shoot digital regularly and also 35mm film stills, which I develop. Also, all the tools I was working with yesterday are ancient--finicky in the working, but working. My hope for the two different shorts are medium to high contrast with fine grain and lots of saturation. Here's my problem: I need to know whether to tell Fotokem to push the film a stop or two. Both shorts should take place in a darkened apartment with one practical light suggested as the only light source and a moment where I shoot a darkened room with "moonlight" spilling in--a 250 Lowell light with CTB through a set of blinds. As we were getting readings from an ancient Spectra light meter, the reading kept coming up with a 2.0 on the key side and a 1.0 on the dark of my subjects. The camera's lenses would only open up to a 2f. I was told to overexpose by a stop, but I kept taking a reflected reading using my Canon 7D and getting the light that I wanted--same reading but the light looked right. I exposed for the 2.0f through the entire shoot, not overexposing at all. Also, that means the darks are gonna be DARK. But I'm concerned at this point. Plus, I may not be understanding a "dense" negative. In still film processing, you can only expose the negative once. If I didn't expose for details in the darks, then there really isn't an amount of pushing I can do in the developing that is gonna make up for that after I develop my negative. Should I have exposed for the darks, which would have made the scene look like a well lit daytime scene and then pulled back? (These are shots I took with my 7D with the same settings dialed into what I was dialing into the Arriflex. The performances were so good yesterday, I really want this to turn out and I have to give instructions to the lab tomorrow. Any help is much appreciated. Thank you in advance! Best, Monty
  20. hello everyone, I'm a final year cinematography student of ftit, chennai, tamilnadu. Within a month, I'm going to do my diploma film, the academic exercise.My director wants a blue tone overall the movie. so somebody give me suggestions to achieve it since i'm a budding cinematographer. Herewith I'm attaching all the equipments i would be provided : Arriflex III, 500T (2 nos), 200T (4 nos), lenses- 24mm-290mm zoom, 24mm, 35mm, 50mm, 85mm, light- 1kw, 2kw, 5kw. I know many methods would be available like using filters and all, but i would like to know the effective method that would be apt for the mentioned requirements. By the way, the diploma genre is a thriller. Regards Kirubanidhi
  21. I'm shooting on a bolex, I figure Kodak 500t is the best option (I remember reading in a topic, that it "saw into shadows well). That being said I've also heard that fuji does better with mixed lighting sources, and the metro certainly has a mix of tungsten and fluorescent. I'd also be interested in the best place to transfer it in Montreal. Any general tips for shooting in the Subway?
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