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Found 27 results

  1. Hello everyone, I've got some questions about materials and push-processing in the 30s. I'm working on a the British documentary "Coal Face" (1935) by GPO film unit. There is quite a bit of information on GPO in general but almost nothing on that particular film. I studied photography, so I could tell just looking at the film that some parts of it were heavily pushed. Since it's a scientific paper I can't just "know" it's the case, I have to bring arguments in favour of it. And while I know that the extreme graininess and high contrast are good indicators for push-processing, it would be even better if I could find further proof, and that's where my questions start. I'll include two screenshots from the film, that demonstrate the huge difference in quality. The first screenshot is from a scene above ground inside a building whereas the second was made in a coal mine. According to one of my sources [Enticknap, Leo. "Technology and the GPO Film Unit" The Projection of Britain: A History of the GPO Film Unit. Eds. Scott Anthony and James G. Mansell. London: Palgrave Macmillan on behalf of British Film Institute, 2011. 188-198.], the camera used by GPO was a Autokine with a 50mm/2in lens with a minimum aperture of f1.9, most likely one of these: https://www.scienceandsociety.co.uk/results.asp?image=10405810 Does anyone know where I could find out which stock they used? At the time most likely panchromatic, but that's about as far as I got. The other thing is, I found lots of information for photography and push-processing but next to nothing on film and push-processing, though I'm assuming it must have been quite common, especially in the documentary movement. If anyone knows of any (quotable) source for this kind of information, it would be a great help. I found some websites but a published book or an article in a journal is always preferable. Thanks a lot!
  2. Im planning on shooting a double feature sometime soon on 16mm and I was wondering what the best film stock is for emulating the colors you see in movies like The Texas Chainsaw Massacre, The Evil Dead, Etc.
  3. Hi There! I'm selling two batches of expired, unopened 16mm film stocks. Most are vintage stocks. Shipping is free and they would be shipped using the US postal service only to the lower 48 states. Batch 1: 12 Rolls of Expired Vintage 16mm Film Stocks - 100' rolls $119.00 5 X Vision 3 500T/7219 2 X Vision 3 200T/7213 2 X Kodak ESTAR Base HQ Microfilm 1 X Kodak EXR 50D/7245 1 X Kodak Ektachrome/7242 1 X Kodak Kodachrome II One of the Vison 3 500T boxes has the paper worn and torn off but appears completely unopened. Buy: https://www.etsy.com/listing/650732138/12-rolls-of-expired-vintage-16mm-film Buy: https://www.etsy.com/listing/650732138/12-rolls-of-expired-vintage-16mm-film Batch 2: 11 Rolls of Vintage Expired 16mm Film Stocks - 100' rolls $139.00 3 X Kodak Ektachrome/7242 (perforated both edges) (100 ft) 3 X Kodachrome 25 (100 ft) 2 X Eastman Ektachrome Commercial / 7252 (100 ft) 2 X Eastman Color Negative / 7254 (perforated both edges) (100 ft) 1 X Kodachrome II (100 ft) Buy: https://www.etsy.com/listing/653128152/11-rolls-of-vintage-expired-16mm-film Buy: https://www.etsy.com/listing/653128152/11-rolls-of-vintage-expired-16mm-film
  4. Hello everyone! I am a Phd student and I am currently writing my thesis about the cinematography of Terrence Malick's films; I would like to ask if anyone knows what film stock was used in the shooting of Days of Heaven. So far I have only been able to find on the internet that Néstor Almendros used a "new Eastman ultra light-sensitive stock negative"...
  5. Hi Everybody, I've just acquired an Arri SR2 Advanced and wanted to know if someone knows where I can find dummy film stock ? I need to practice a bit before starting to shoot something real. I live in Switzerland and we don't have labs and film stock anymore in here, everything is closed and out of stock... Let me know. Thank you
  6. Hello Group, Just watched "Atonement" (2007) and it immediately looked like Fuji to me. It had those typical saturated and "airy" colors - as opposed to the more "earthy" colors usually found on (Eastman) Kodak stocks from EXR through Vision3. I know that's a broad generalization, but words can say only so much. IMDB states that it was shot on Kodak Vision 2, but somehow it doesn't look like it at all. Perhaps the digital color grading changed it dramatically without looking "tweaked". With recent digital color grading it is hard to tell anyway which film stock was used, especially when the grading is heavy. Still, my bet would have been Fuji (I know there were different neg stocks, not only regarding speed (ASA/ISO), but to my eyes this almost screams Fuji, both in the daylight and in the night time footage. Any information about how this (great) look was achieved and which stock was used is highly appreciated. Thanks in advance, Christian
  7. Hello everyone, In March of this year i bought from kodak 3 rolls of 16mm film stock 500T (400 ft. each). They were intended to use for a shortfilm, but we ended up using only one. The two remaining have been keept refrigerated ever since, both are unopened. I'm planning to use this rolls for a stopmotion animation, but i wont be able to start shooting until May 2018. In the meantime i have to transport this rolls to another place to keep them storaged. So my question is: Could the rolls be damaged if i keep them out of the refrigeration for a few hours and then refrigerated again? From the information i've gathered on the internet apparently the film is in good conditions to be used, since the rolls are relatively recent and have been refrigerated. But correct me if i'm wrong, i'm a newbie using film stock :) Thank you for your help!
  8. Hello everyone! I am a Phd student and I am currently writing my thesis about the cinematography of Terrence Malick's films; I would like to ask if anyone knows what film stock was used in the shooting of Days of Heaven. So far I have only been able to find on the internet that Néstor Almendros used a "new Eastman ultra light-sensitive stock negative"... Thanks!
  9. Hello, I am preparing to shoot a project where I what to use both 16mm and 35mm stocks. The plan is to shoot the CS to MS sized shots in16mm (7203) and the wider angle shots in 35mm. I am looking for advice about which 35mm stock to use that will best match the 16mm 7203 in grain, contrast and color. Any suggestions would be much appreciated. Thank you. Steven Holloway steven@shfilms.com
  10. 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
  11. 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.
  12. What would be a good place to buy short ends in large quantities, at a good price, perhaps locally. Also I've some digital restoration on new super8 footage, it included sharpening, But It didn't have the artificial look I'm used to seeing with that kinda stuff. I'd like to do it with 16mm. Here it is done with avisynth. Thanks
  13. Has there ever existed a film stock equivalent or similar to what Fuji Velvia 50 was in the still-photography business?
  14. Has there ever existed a film stock equivalent or similar to what Fuji Velvia 50 was in the still-photography business?
  15. Hi, I'm looking to shoot my first 16mm short with a Bolex H-16. Going for a cinema-verite/60's avantgarde feel in terms of low light/natural light. Nearly all of the shots will be interior at night. Going for a look very similar to the scene below from 1:40 to 2:07 Curious to see if anyone can narrow down what film stock was used for this (or what similar stocks made today could work in a similar way)?? Also any idea what f.stop he was shooting at in said scene would be helpful as well! Thanks!
  16. Hello everybody, Being a "working on 16mm film" lover (after struggling with the film purchase...old stock usually) I start thinking on how to develop this 16mm NEGATIVE B&W film market (better say, to revive it hopefully once and for all!) In conclusion, AS WE SPEAK, I am able to produce the following type of 16mm film, FRESH and in ANY quantities! Type: 16mm negative Black&White Film speed: 100ASA/21DIN, 200ASA/24DIN, 400ASA/27DIN Perforation 1R Winding: B on standard plastic core, length: 400feet/roll packed: sealed tin can (2 rolls/can! = 800feet/can) The film is guaranteed to work within standard specs/each speed (specs printed also on leaflet). Price: $160/can (2x400'=800') I need you to help me with the following survey (and also I'm waiting for your questions!): 1. Is this an affordable price? he he 2. Which film speed you use most ? 3. How many cans you will buy as the first order? 4. How many cans (800' of film) you think you'll buy/ month at this price? 5. Are you interested in buying the processing chemicals for it? Please replay to this post as in the bellow example: 1. yes 2. 200 3. 2 4. 4 times/month 5. yes Please ask as many questions you like!! I'm really interested if this endeavor of mine might have a future! Thank for looking! Valerian
  17. Hello, I'm working on a project for 2015 that I want to shoot on black and white 16mm film. I've watched several films online shot with Tri-X film and a few on Double X but the blacks are so dark (I know, they're supposed to be). :) These are great film stocks but for my film I kinda don't want the blacks to be so black. For example, one of my favorite films is the 1956 version of "The Bad Seed" and as you can see from the photos the black and white image is not so dark. The blacks aren't so black like they are in the modern stocks. I might not be explaining this well. You can see from the fireplace below that there is black and that the liquor is obviously a dark color but the overall scene isn't dark on the edges and has an even grey scale tone. Even the images with more dark areas aren't as black as what I've seen in modern B&W stocks. Is it possible for me to achieve this lighter toned black and white imagery with modern black and white film stocks? Or would I have to shoot on color film and do a grey scale/desaturate/black and white treatment on it in post? This discussion lost me a bit: http://www.cinematography.com/index.php?showtopic=50105&hl=%20black%20%20and%20%20white&page=2 I think someone in that post had a great idea of shooting with a still film camera using the film stock I'd like to use with the setup I plan to shoot and see how that looks. I'm going to try that.
  18. I just found out that Film Source LA have no 16mm short ends on hand, and virtually no 35mm short ends, whatsoever. They recommended Comtel in Burbank, but the owner there wants to sell his short ends for about $10 less than what Kodak charges for new film. I was literally quoted $150 for a 400 ft. roll of Vision 3 50D stock. Kodak's price is $160.80. Does anyone know of a good source for short ends? Looking for a place that tests the film with a densitometer, and doesn't keep old stock on hand for years at a time. -Jerry Murrel Little Rock, AR
  19. 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
  20. Greetings, I was recently given a Canon 514XL camera. I am familiar with still film in general but am not clear on how this camera works with various stocks and I have no manual. I know the cam works as I have run a roll of Tri-X through it and got it developed successfully. That being said I am not interested in taking black and white at this time. I am going to Las Vegas in January and want to get a couple cartidges of color film to shoot outdoors on the strip (during the day) as well as inside on various casino floors. I have been browsing the forums and it seems like Vision3 50D would be good for daylight/outdoor and possibly 200T or 500T for inside, but I am not sure as I have no experience with either. What is confusing me is how my particular camera will treat these films. I have been reading about needing an 85 filter for the T films, but I'm not sure if the 514XL has that built-in or not? I'm not even sure if the cam will support these cartridges due to the issue of setting the ASA correctly with the notches, etc. In addition, I've read on this forum that it might be better to just use the higher-ASA rated T films with a screw on filter instead of using two different stocks. As far as grain goes, I honeslty don't care. I like grain (within reason) and this is a personal project. It adds a certain character so reducing grain across lighting scenarios is not my primary goal. If it's clean, great. Light to moderate grain, great also. I am really hoping a nice gentle soul on this forum will offer some guidance to an amateur who is new to this area. I was going to post in the new user forum but this sub-forum seemed more approriate. Mods can move thread if necessary. Thanks!
  21. Hello, I'm doing some school project, and I need to know exactly how the processed and developed film negative (preferably Kodak Vision3) looks. Can someone, please, post here some detailed photos of processed and developed film negative that comes directly from camera (no copy)? I would be extremelly grateful!! :wub: What is the main differences between processed and developed negative from camera and distribution copy film stock? Does the distribution copies usually using the same film stock type that is used in camera? Is there some distribution copies on Kodak Vision3? Does Kodak Vision3 contain sound, and if yes, what type? Can Kodak Vision3 (or other camera film negative) contain SDDS or Dolby Digital sound, or just analogue optical audio? Many thanks in advance for all your replies!!
  22. Dear Sirs I'm writing a short article for the next Torino Film Festival,referring to the New Hollywood retrospective 1967/1976 ,so for write something of less flat or boring, in that era are there any common influences in the way to use light,lenses and film stocks(the retrospective will focusing on Five Easy Pieces,Mean Streets,Pat Garret and Bil ly the Kid,Klute,TheConversation,Sugarland Express,California Split ,They Shoot Horses,Don't They?,Scarecrow,TheLast Picture Show etc., to less known films like Electra Glide in Blue,Dillinger,Little Murders,The Swimmer,The Friends of Eddie Coyle,Smile,Monte Walsh, Inserts,The Culpepper Cattle Co.Cisco Pike) I really appreciate any help you can provide.
  23. Hello every one. I shot this film in a Nikon r10 . The camera hasn’t been used in 32 years so… as a result of these tests, I will get it checked as far as the lens and the mechanism goes. The thing is, I did expected to see some grain, but this is excessive right? The B&W is a reversal 200 ASA, and the color one is a Negative 250 daylight. I did use the auto exposure meter built in, in the camera. I shot it at 24fps and 59 fps (the b&w). Got it transferred at pro8mm and color corrected scene – to –scene. So, if any one can share his or her ideas, pls do. I want to know what I did wrong not to repeat it again. Thanks every one. this is the link to the video of the film
  24. I just started getting into super-8 last year. I had an old Canon 514 XLS. Late last year, I started experimenting with Ektachrome 100D for outdoor use. As someone with no experience working with actual film, it seemed like the easiest, most affordable film stock to use for outdoor filming. I had to take a break for a bit, but now that I'm coming back, it seems like this stock has been discontinued. I've been trying to figure out what some other good film stocks would be. Does anyone have any suggestions or even a list of different super-8 film stocks? Since I don't know much about film stock, I've been having trouble even figuring out what I should get next and what I should experiment with. I see Wittnerchrome being mentioned a lot on forums, but, besides being unable to make sense of their website, it seems like their cartridges are going for upwards of $30, which is a pretty big jump over what I paid for Ektachrome. Right now, I'm just looking to experiment and figure super-8 filmmaking out, preferably affordably as possible.
  25. I'm a film student currently in pre-production for my first 16mm film. We have three rolls of film stock, and can choose from 50T, 250D, 250T and 500D We have three different aesthetics: One indoor scene in a swimming pool, where we will hopefully have 3/4 natural light and I'm hoping we will be able to use 250D Kodak stock, using only natural light. Two outdoor scenes (although in the English countryside, in May) in one of which we are hoping to acheieve a look similar to 70s photographs of Californian swimming pools, such as http://www.latimes.com/features/home/la-hm-backyard-oasis-photos,0,7657842.photogallery?index=la-hm-backyard-oasis-photos-002 while in the other, we are hoping to acheieve a colder 90s style such as this film demonstrates: http://vimeopro.com/yvonlambert/sallatykka/video/40155357 Sorry for the very long post, but does anybody maybe have some advice on which film stock to use? We are using the Arri SR3 and have access to 'basic filters' Thanks!
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